{'fraction_non_alphanumeric': 0.033205619412515965, 'fraction_numerical': 0.0, 'mean_word_length': 4.807407407407408, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Awkwardness and Appreciation in Death in the Afternoon

The veneration of the iceberg principle, first articulated in Death in the Afternoon, has obscured the complexity of Hemingway’s artistic development. The bull fight book marks a decisive turn away from the art of “the omitted.” Offering itself as an experience of learning how to see, Death in the Afternoon immerses its reader in the awkwardness of being “a person unfamiliar” with a complex and demanding—although “minor”—art. Like Juan Belmonte, Hemingway now finds that in order to improve his style he must “break the rules” that have governed his early practice. The re-sult is an awkward form in which, rather than leaving things out, Heming -way risks the ungainliness of a book that “would have had everything in it.”