Everyone knows that the code-hero career of Ernest Hemingway ended with the great man putting a shotgun to his own forehead, after years of infidelity to a series of wives, disgraceful episodes of bullying, and embarrassing displays of drunkenness and vanity. By the time Hemingway pulled the trigger on his 12-gauge Boss, it was all gone for him: the powerful athletic physique and once superlative health, the unsurpassed ability to produce clear and elegant English prose, even the penetrating insight and cool lucidity underlying his impeccably stoical point of view.

He had essentially prophesied his own end in his great 1938 short story The Snows of Kilimanjaro:

He had destroyed his talent himself. Why should he blame this woman because she kept him well? He had destroyed his talent by not using it, by betrayals of himself and what he believed in, by drinking so much that he blunted the edge of his perceptions, by laziness, by sloth, and by snobbery, by pride and by prejudice, by hook and by crook. …What was his talent anyway? It was a talent all right but instead of using it, he had traded on it. It was never what he had done, but always what he could do. And he had chosen to make his living with something else instead of a pen or a pencil.

Paul Hendrickson takes Hemingway’s 38-foot Wheeler cabin cruiser, the Pilar, built for him in 1934, as the center and symbol of the final 27-year, 3-month trajectory of the author’s literary career and life, and chronicles Hemingway’s whole sad end game, the struggle of the human being to live up to his own masterfully-designed and brilliantly-marketed personal myth, his failure, crack-up, and decline. Yet, Hendrickson sympathizes and finds in Hemingway’s process of personal self-destruction still ever so much to pity and admire. As he puts it in the title of his prologue: “Amid So Much Ruin, Still the Beauty.”

Few great writers have ever received such an extraordinary tribute. Hemingway’s Boat represents the product of massive and intensely focused research. Hendrickson can lovingly describe the details of the room where Hemingway used to stay in the Ambus Mundos Hotel, as well as tell you exactly which models of Vom Hofe and Hardy salt water reels he fished. Hendrickson even throws in some rather significant and ground-breaking criticism, arguing quite persuasively that it was Hemingway, in Green Hills of Africa (1935), who really invented the non-fiction novel, not Capote or Mailer thirty years later). Hemingway’s Boat is, in the final analysis, a passionate and deeply personal eulogy to a great man delivered in finely crafted prose that is worthy of its own subject.

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It has been a very long time since anyone has produced a fishing memoir as good as Luke Jennings’ Blood Knots.

Jennings, who I found is, oddly enough, dance critic for the Observer, describes the (exotic to Americans) bildungsroman of an ordinary British angler, who starts off –like the rest of us– with cheap tackle and humble access to low quality, near-home angling opportunities before gradually progressing to more exciting waters and nobler quarry.

In Jennings’ case, we get some astonishingly exciting accounts of how much sporting excitement can be found in pike and carp, barbel, tench and rudd. Luke Jennings can make the encounter with a canal-bred pike lurking off a London tow-path read like Jim Corbett stalking a man-eater in the Himalayan foothills.

But Blood Knots is not only a fishing book. It is an account of the coming of age and moral education, in today’s modern world, of a surprisingly exotic survival: the recusant Catholic gentleman. Jennings’ family, as he puts it, was of “bookish gentry, each beggaring itself to pay for the education of the next… born of windy vicarages and dusty cantonments.”

His first powerful influence was his father, a Hussar officer awarded the Military Cross for pressing home an armored attack at Ijsselstein in September of 1944, despite two tanks being shot out from under him. The second, as the saying goes, “brewed up,” and Jennings’ father only lived because he was thrown out of the tank by the explosion. He was badly burned. The scars on his face remained highly visible, and Mrs. Jennings had to dress his burned fingers every day for the fifty years of their marriage.

Jennings attended the (Benedictine) Ampleforth College, and provides this testimony to its unmodern ethos.

Father Paul Neville, the former headmaster of Ampleforth, was once talking to a fellow principal who informed him expansively that his own establishment’s purpose was ‘to prepare boys for life.’ ‘Ah,’ said Father Paul quietly. ‘Ours is to prepare them for death.'”

At Ampleforth, Jennings met his second major influence, a recent Ampleforth graduate named Robert Nairac, then serving as junior master.

It was important to know whom you were dealing with and so, on the first night of the autumn term, three of us cooked up a excuse to knock on the new master’s door. We trooped in to be greeted by a tough-looking figure with unkempt black hair and a cheerful grin. He was lying on his bed in his shirtsleeves, smoking. Around him, on the sheets, lay the constituent parts of a twelve-bore shotgun and a pair of cleaning rods. On top of the chest of drawers was a falconer’s leather gauntlet, the fingers dark with dried blood, and a battered fishing-bag in which I could see a jumble of wire traces and pike lures. With the small sash-window closed, the air was heavy with gun oil and Balkan tobacco.

Nairac proved a superb sporting mentor immersing Jennings in “the rituals of the field sports” and “the near mystical sense of place and history that, on occasion, can accompany them.”

The same Robert Nairac, a few years later, became part of history. After Oxford, he joined the Grenadier Guards, and worked undercover against the Provisional IRA terrorists in Ireland. In May of 1977, while visiting a pub to gather intelligence, he was abducted, brutally tortured, and finally murdered by the IRA. His body was never found.

Blood Knots is the best kind of fishing memoir, the kind of book that demonstrates the necessary role of active participation in the processes of Nature in fulfilling essential needs in the cultivated human being’s spiritual life.

The best new book I’ve read this year was Paul Hendrickson’s Hemingway’s Boat: Everything He Loved in Life, and Lost, 1934-1961.

Ernest Hemingway was not only the generally recognized greatest American writer of fiction of his time, Hemingway seemed to have deliberately crafted his life to parallel and underline his art, emphasizing and exemplifying the same themes of manliness and confronting the same life and death questions. Hemingway became thusly, not only the great novelist, but a code hero, the equivalent of Achilleus or Beowulf as well as Nick Adams, in his own right.

When the great man, at 7 AM one July morning fifty years ago, crept out of bed, found the key to the closet where his wife Mary had locked away his firearms, took out his Boss best-grade double-barreled 12 gauge, inserted two rounds of high brass number 6s, braced the gun butt on the floor of his house’s foyer, placed his forehead against the barrels, and reached down and fired both barrels, Hemingway’s vast audience of readers and admirers experienced an international catharsis as the epic suddenly concluded and the curtain came down the tragedy.

Paul Hendrickson takes Hemingway’s 38-foot Wheeler cabin cruiser, the Pilar, built for him in 1934, as the metonymic focus and symbol of the final 27-year 3-month trajectory of the author’s literary career and life.

Few great writers have received such a tribute, featuring massive and intensely focused research (Hendrickson can lovingly describe the details of the room where Hemingway used to stay in the Ambus Mundos Hotel as well as tell you which models of Vom Hofe and Hardy reels he fished); ground-breaking criticism (Hendrickson argues very persuasively that it was Hemingway, in Green Hills of Africa (1935), who invented the non-fiction novel, not Capote or Mailer thirty years later); or anything like this sympathetic and deeply personal tribute in finely crafted prose worthy of its own subject.

In the final analysis, Hendrickson is writing to explain and to defend Hemingway’s crack-up, all the famous outrageous incidents of egotism, bullying, and vainglory, all the drink and all the damnation. His prologue’s title, “Amid So Much Ruin, Still the Beauty,” could have been the title of the whole book.

Hendrickson writes:

I have come to believe deeply that Ernest Hemingway, however unpost-modern it may sound, was on a lifelong quest for sainthood, and not just literary sainthood, and that at nearly every turn, he defeated himself. How? “By betrayals of himself, and what he believed in,” as the dying writer, with the gangrene going up his leg, says so bitterly in “The Snows of Kilimanjaro,” one of Hemingway’s greatest short stories. Why the self-defeating betrayal of high humanistic aspirations? The seductions of celebrity and the sin of pridefulness and the curses of megalomania and the wastings of booze and, not least, the onslaughts of bipolarism must amount to a large part of the answer. Hemingway once said in a letter to his closest friend in the last two decades of his life, General Buck Lanham, whom he had come to know on the battlefield as a correspondent in World War II: “I have always had the illusion it was more important, or as important, to be a good man as to be a great writer. May turn out to be neither. But would like to be both.”

I also believe there was so much more fear inside Hemingway than he ever let on, that it was almost always present, by day and more so by night, and that his living with it for so long was ennobling. The thought of self-destruction trailed Hemingway for nearly his entire life, like the tiny wakes a child’s hand will make when it is trailed behind a rowboat in calm water—say, up in Michigan.

Many years ago, Norman Mailer wrote a sentence about Hemingway that has always struck me as profound: “It may even be that the final judgment on his work may come to the notion that what he failed to do was tragic, but what he accomplished was heroic, for it is possible he carried a weight of anxiety within him from day to day which would have suffocated any man smaller than himself.” The great twentieth-century critic Edmund Wilson, a contemporary of Hemingway’s, who admired him early and had contempt for him late, wrote in his journals of the 1960s: “He had a high sense of honor, which he was always violating; he evidently had a permanent bad conscience.”

I repeat: best book of 2011, and best Hemingway biography/appreciation out there.

Hemingway’s Pilar