Prose is architecture, not interior decoration, and the Baroque is over

Prose is architecture, not interior decoration, and the Baroque is over

Ernest Hemingway, known for his minimalist and straightforward writing style, would likely agree with the statement that “Prose is architecture, not interior decoration, and the Baroque is over.” Hemingway’s writing is often compared to architecture in its simplicity and structure, focusing on the bones of the story rather than embellishing it with unnecessary details.

Hemingway’s prose is like a well-built house, with each word carefully chosen and placed to create a strong foundation for the story. He believed in the power of omission, leaving out extraneous details and letting the reader fill in the gaps. This approach to writing is reminiscent of architectural design, where every element serves a purpose and contributes to the overall structure.

In contrast, the Baroque style of writing is characterized by ornate language and elaborate descriptions. This style, popular in the 17th and 18th centuries, is often associated with excess and extravagance. Hemingway, on the other hand, believed in the beauty of simplicity and the power of understatement.

Hemingway’s rejection of the Baroque style can be seen in his famous iceberg theory of writing. He believed that the true meaning of a story should be hidden beneath the surface, like the majority of an iceberg lies beneath the water. By focusing on the essentials and leaving out the rest, Hemingway created a sense of depth and complexity in his writing.

One of the most famous examples of Hemingway’s architectural prose can be found in his novel “The Old Man and the Sea.” The story is deceptively simple, following an old fisherman as he struggles to catch a giant marlin. Hemingway’s spare language and precise descriptions create a sense of tension and drama, drawing the reader into the story without the need for elaborate embellishments.