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A Note to Teachers from a Teacher:

In watching this documentary, I first wondered twentieth century. Some of these conversations
what anyone could reveal about Hemingway that hold onto older pedagogical approaches that raise
hasn’t been told already. One of the most striking artists like Hemingway up into “untouchable”
facts about Hemingway, given he was such a status, to the detriment of many young people
prolific writer, and his works are so well-known, is looking to see their own identities and experiences
that many of us in the United States are already reflected in literature. Others expand the canon to
familiar with his contributions, even if we haven’t include newer and more diverse voices that
read that much of it. And while his place in the Hemingway may have influenced but regardless
literary canon seems secure, even with debates stand on their own as powerful examples of the art
about what constitutes a canon, many of us realize and activism many of today’s modern writers
we know very little about Hemingway the man or embody.
what he brought to his art.
This guide intends to support classroom discussion
It isn’t uncommon for educators teaching about about the documentary, Hemingway the artist,
Hemingway to separate what they know of the man Hemingway the man, as well as support modern
from the artist, predominantly because of what is audiences looking to attain some understanding of
most well-known about Hemingway’s personal life. the world in which he lived. In contrast to the ways
Much of it seems problematic, all the more so instruction has often looked in the past, many
today. educators today incorporate instructional methods
that encourage young people to integrate writing
In watching this documentary and reading styles they love from writers they read. Students
Hemingway’s works with your classes, you are are then able to use these examples as creative
embarking on a fascinating journey. Throughout ways to tell their own stories.
his life, Hemingway traveled far to better
understand himself and some of the most Readers Note: This guide includes three parts that
important events of his time. Today, some of those build on each other, corresponding to the
events seem remote. But we must travel with documentary’s three parts. Each part of the guide
Hemingway to fully engage in his writing and introduces themes from the documentary, and the
explore how his life was so thoroughly integrated themes build on each other as the documentary
and invested in his writing. I think you’ll come away progresses. Timecodes marked throughout the
with a new appreciation for Hemingway the artist guide indicate key moments in the documentary to
and a greater understanding of some of the build understanding and inform classroom
twentieth century’s most important events. conversations. For additional media-rich resources
Many conversations about the established literary about Hemingway’s life and writing, visit Ken Burns
canon have emerged toward the latter half of the in the Classroom on PBS LearningMedia.

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 Educators, consider collaborating with your students to create classroom guidelines for
discussing the sensitive topics addressed in Hemingway and throughout this guide. These
tips from the Office for Intellectual Freedom of the American Library Association may be
included in letters to parents sharing the sensitive topics for conversations included here.

Additional Resources:

Exploring Trauma-Informed Practice in the Language Arts Classroom

'Those Kids:' Understanding Trauma-Informed Education (Opinion)

Suicide Prevention Hotline

About the Author

JULIA E. TORRES is a veteran language arts teacher and librarian
in Denver Public schools. As a teacher/activist committed to
education as a practice of freedom, her practice is grounded in the
work of empowering students to use Language Arts to fuel
resistance and positive social transformation. Julia has been
awarded the 2020 NCTE Colorado Affiliate Teacher of Excellence
award chosen as a 2020 Library Journal Mover and Shaker, and
serves educators as a member of the ALAN (Assembly on Literature
for Adolescents of NCTE) Board of Directors. Julia facilitates
workshops and professional conversations about anti-bias/anti-racist
education, social justice, and culturally sustaining pedagogies in
Language Arts, as well as digital literacy and librarianship. Her work
has been featured in several publications including NCTE’s Council
Chronicle, NPR, AlJazeera’s The Stream, PBS Education, KQED’s
MindShift, NY Times Learning Network, The Chicago Tribune,
ASCD’s Education Update, Rethinking Schools, School Library
Journal, and many more.

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Part I: “If it’s all beautiful, you can’t
believe it.”

The art of capturing all that is beautiful and beastly in the human experience. Fiction
helps us communicate truths about darker elements of life in a way that non-fiction
cannot.

Themes:
Death - Consider death and dying as War - War and its relationship to countries
reoccurring themes in Hemingway’s and individuals in which there is ongoing
literature and the documentary. How might warfare is a theme that Hemingway comes
Hemingway’s early experiences with death back to repeatedly, both as observer and
and killing have shaped him and his participant. Consider how the documentary
perspectives on life? Why did he continue to sheds light on his perceptions about war as
seek out experiences that brought him close seen through the letters he wrote to those
to death and dying throughout his career? back home, his journalistic coverage of war,
and the fictional stories he created.
Masculinity - According to the
documentary, in what ways is Hemingway Family - Hemingway’s relationship to his
considered an “alpha male”? How does he family was complicated and often fraught
embody stereotypes about masculinity from with conflict and other difficulties. Consider
the times in which he lived? (4:45) Are there Hemingway’s relationships with each of his
any ways in which he challenged the family members, particularly his relationship
standards of masculinity in his day? Did his with his mother (33:00, 35:24) and his father
portrayals of masculinity change at all (13:01) and how these relationships may
through the years? complicate your understanding of how
“conventional” families operated during this
Nature - Nature plays a significant part in time and in our own time. Further, consider
Hemingway’s personal life and his Hemingway’s relationship with his own
relationship to nature is a recurring theme in sons.
his literature. Nature appears as both a
stabilizing force and a catalyst that initiates Travel - If it is true that “everything is
his characters’ spiritual philosophical heightened when you’re a stranger in a
musings. (13:01-14:00) Consider strange land” (48:00) then one has to
Hemingway’s relationship with nature in appreciate how many heightened
comparison to our own. Hemingway loved experiences Hemingway had, given the fact
nature and he also loved to hunt. Is there a that he spent a large portion of his life
contradiction here? In what ways do we outside of the U.S. He deliberately sought
enjoy nature while dominating it, even if less out experiences that would force him to get
directly? Consider the ecological effects of out of his comfort zone. At the same time,
things like air travel, eating unsustainable given his position as an American citizen
foods, and using single-use plastics. traveling abroad, he could shape outside
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environments to his liking and create his personal life and in his literary
favorable conditions for his comfort and experiences. Consider how both acted as
survival. He was also always able to both directives for the artist and the man.
criticize and claim his American identity,
which others who did not share his social Loss of Innocence - Many of the
class or economic privileges were not. characters in Hemingway’s novels and short
Consider also Hemingway’s impact on stories either experience loss of innocence
tourism. Hemingway made the places he or cause another character to lose their
visited, such as Pamplona, tourist innocence. There is a correlation between
destinations. Do you think Hemingway this and the loss of innocence that
would enjoy these places now that so many Hemingway himself experienced as a young
more people can visit them? What did he man sent off to war. Consider Hemingway
value about traveling? as a protagonist in the story of his own life,
and consider how he may have caused
Heroism and Courage - Hemingway was those around him to experience loss of
known for making bold, courageous moves innocence as a result of their connection to
on the page and in life. As a returned “war him and the way he “was sometimes cruel
hero,” he was given a persona by the public and vengeful to those who helped him, but
and those in his community that he fostered also compassionate to those who needed
at some times (through his own help.” (5:44) (1:20:29)
exaggerations), and fought at others.
Consider the role of courage and heroism in

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Essential Questions:

1. What parts of the human experience during wartime are often amplified? Which parts
are we reluctant to discuss? Why might a veteran feel uncomfortable being celebrated
for heroism?

2. How are the public personas of artists or other social icons different from their real-life
identities? Does the general public ever really know the difference between fact and
fiction? What benefit could there be in crafting a narrative (about who someone is) for
public consumption? (27:00)

3. How does privilege contribute to a person’s ability to live as a full-time writer and
creator? (47:32) Does privilege affect who we perceive to be “great American writers”?
Explain your reasoning, anchoring your answer in examples.

Note: Privilege is unearned social power granted by the formal and informal
institutions of society to ALL members of a dominant group (e.g., white privilege,
male privilege, etc.). Privilege is usually invisible to those who have it because
we’re taught not to see it, but it puts them at an advantage over those who do not
have it. Source: Colours of Resistance Archive, “Privilege” (accessed 28 June
2013).

4. How can fiction help readers explore darker elements of life (e.g., war, death, mental
health, etc.) in a way that non-fiction cannot?

5. How might direct experience with trauma move individuals from innocence toward
experience? Is it ever possible to return to innocence after trauma?

Discussion Questions:

1. In what ways can we understand that Hemingway was privileged (consider: race,
socioeconomic status, education)? What aspects of power and privilege did Hemingway
experience growing up as a white male in the United States’ Midwest? Consider
opportunities he may have had and worries or concerns that he did not have that others
without his privileged identity may have endured. (9:30)

2. How might war be considered to be “state-sanctioned murder”? What are some of the
consequences for combat soldiers and loved ones they leave behind? (18:17-22:19).

3. How was Hemingway’s depiction of war in A Farewell to Arms different from depictions
that can come before this, according to Tobias Wolff? (1:43:52-1:46:23)

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 Extension: Consider anchoring questions 2 and 3 in a reading of Hemingway’s
“Solder’s Home”.

4. Today there is a common misconception that there is a difference between narcissistic

personality disorder and individuals having narcissistic traits. According to the
documentary (36:00), what elements of Hemingway’s life and attitudes align with our
modern-day descriptions of narcissism? How might this have contributed to the world’s
view of him as one of his time’s greatest living writers? (43:21)

5. How did his work in journalism contribute to Hemingway’s career as a creative writer?
(49:47)

6. Hemingway returned to journalism throughout his career. How did his journalism
change? What remained consistent?

7. Hemingway enjoyed the controversial sport of bullfighting. Why did he enjoy bullfights?
For him, what lessons did bullfighting impart? In what way(s) did bullfighting “give him
the feeling of life and death” that he was trying to remember from wartime? (52:40)
(1:15:34)

8. Hemingway often drew from experiences he had in his life when writing fiction—as many
writers do. What elements of Hemingway’s autobiography do you recognize in his
writing?

9. What societal attitudes were changing after WWI that created an environment in which
Hemingway’s writing—which in another time might have been considered degraded or
salacious—could be accepted? (1:52:31)

10. What modern celebrities can you name who have been destroyed by the characters the
public made of them? (6:33)

11. How did trauma and traumatic experiences shape Hemingway’s life and writing? Cite
specific knowledge from the documentary.

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Activities:

1. Read about PTSD in the following article, research two more, and record your findings in
the following graphic organizer.

What Is PTSD? (For students)

Edutopia: Understanding Trauma Informed Education (For educators)
Trauma Informed Teaching and Leading in Action (For educators)

K (what I already W (what I want to L (what I’ve learned)

knew) know, questions I
have)

Source 1

Source 2

Source 3

Create an informational presentation for your peers about PTSD and events from
Hemingway’s life that may have affected him. As you create your presentations,
consider his experiences with war and associated physiological changes he might have
endured (18:00) (20:00) (46:00) (1:40:31).

2. Read “Up in Michigan” and consider how it was a departure for Hemingway from the
understood and widely accepted literary rules of his time that often dictated who could
write what type of story. What risks did Hemingway take to write this story? What
assumptions did he make about the subject matter in creating these characters? What is
the overall impact of these choices on the reader? (49:42) (59:49).

Extension: Consider how “Up in Michigan” could be read as particularly modern

in its treatment of sex and consent and as a story that anticipated, by decades,
contemporary societal politics and our own #metoo movement.

Read and reflect on the following conversation about #ownvoices stories.

Q & A with Corinne Duyvis

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 Journal Prompt: What risks do writers take when they attempt to write from the
perspective of a character who is fundamentally unlike them (e.g., a different
race, gender, etc.)? What steps should writers take to avoid cultural appropriation
or the ethical implications of re-creating oppressive systems such as
marginalization and erasure? Is it possible to write successfully from a
perspective that is not your own? If so, should you?

Expansion: Read and discuss - Opinion | Just How White Is the Book Industry?

(1:02:08) Consider intentional departures Hemingway made from other writing published
in his time, specifically concerning content and style, then write your own short story
from a perspective that is not your own. Explain in an author’s memo why you made
specific voice and style choices.

3. In “Hills Like White Elephants,” Hemingway characteristically uses simple language to

talk about a complex topic without naming it directly (1:19:19, 1:38:43). The word
“please” becomes weaponized and the end is inconclusive. Read the short story and
consider this question: What can short stories do that novels cannot? How so?

Hemingway was known for “stet” (1:43:04) in which writers often intentionally break the
rules for dramatic or emotional effect. After reading “Hills Like White Elephants,” take
note of style moves Hemingway makes that you would like to imitate, like perhaps,
repetition (1:43:50). Recall that for the final ending of A Farewell to Arms, he drafted 47
different versions (1:47:10).

Create a story that is one scene, breaks the rules of grammar or paragraph
structure—with intention. Then, write a few different versions of the story or a
scene in the story, with small changes to each version. In an author’s memo,
explain the rule you chose to break and why.

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Part II: “Why mythologize? To woo people and
keep them at a distance...”

The art of creating a real-life character to hide behind and for public consumption. We
begin to distinguish the man from the myth.

Themes:

Domination: Many of Hemingway’s Hemingway sought out connections with

activities in his personal life afforded him the others, those connections were far and few
opportunity to exercise control over the between and he was often alone, even in a
natural world and some aspects of his life. crowd. Hemingway’s admission, “I would
Consider this desire for domination in rather have one honest enemy than most of
relation to how he could not control the the friends I have known.” (41:39) Viewers
public or critical reception of his work and learn about his feelings of isolation and
persona. loneliness, even amid tremendous
popularity as a public figure—a stark
Addiction: Hemingway, like many creative contrast.
people past and present, had addictions,
fixations and obsessions. Alcohol’s imprint Duality: In many ways, Hemingway’s
on his life is well-documented. Not all of his existence was that of multiple dualities. He
addictions were unhealthy, though. Some was one of the most popular writers of his
allowed him to develop specific knowledge day, but he also experienced bouts of
and depth of exposure in a particular area inconceivable loneliness. He was capable of
that one can only acquire through personal great love but callously dismissed or cut off
experience. those who did not please him or cater to his
whims. He loved to write creatively, but he
Loneliness/isolation: Hemingway often also made a career as a war correspondent
traveled to seek out other people, cultures, and journalist, a fact that isn’t quite as well
and experiences, but he also often traveled known. He was an artist, therefore a creator
to leave what he knew and venture into the (of worlds and stories), whose subject
unknown world to discover other parts of matter was often marked by great
himself. Another recurring theme in his destruction.
works is the communion between
individuals and the natural world. While

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Essential Questions:

1. How does an experience like travel impact creativity? Generally speaking, how does
adversity impact creativity?

2. Is it possible for a writer to write about a foreign society or culture from a place of full
understanding? What are the advantages and disadvantages of writing about a place
from the position of “outsider”?

3. How can creativity also ultimately lead to destruction? Conversely, how can great
destruction often lead to creativity? What are the connections between creation and
destruction?

4. How does creating a cult of personality both draw people in and keep them at bay?

Discussion Questions:

1. What types of avatars do we hide behind in everyday society? How does modern-day
social media force individuals to create depictions of themselves that may or may not be
who they are in real life? (4:00) How do these experiences affect our sense of our
identity?

2. What routines did Hemingway establish as a writer that helped him remain productive?
(8:04) What writing habits or rituals help you meet your goals?

3. How is bullfighting like a classical tragedy? What information do viewers of the

documentary learn about Hemingway as a person consumed with such an activity?
(11:30)

4. Compare Hemingway’s trip to Africa to his experiences during World War I (17:49-
19:27). How was each experience an attempt to moralize the act of killing?

5. What does the documentary reveal about Hemingway’s attitude toward family life or
traditional nuclear family structure? (32:10)

6. What effect did The Great Depression have on Hemingway’s writing? How did the public
respond to this shift? (42:39)

7. How did Hemingway's relationship with Martha Gellhorn (54:00) differ from his
relationships with Hadley and Pauline? (Part I 37:09 and 1:26:42) (1:30:49-1:32:25)
Consider the characteristics Martha Gellhorn had that were different from Hadley and
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 Pauline and the effect their relationship must have had on Hemingway. Consider the
ways Gellhorn may have been equal parts inspiration and rival and the impact this may
have had on the work Hemingway produced at this time. (1:32:25)

8. In his new life with Martha Gellhorn, how does Hemingway attempt to re-create
conditions that spurred creativity from earlier in his life? (Part I - 1:14:42) What other
famous historical figures are involved? Who else have you heard of who produced
creative writing during this time? What factors do you think led to Hemingway becoming
more renowned than the others? (56:55)

Note to educators: Guide students to think about authors publishing in the

1930s and 1940s (e.g., Langston Hughes, F. Scott Fitzgerald, etc.).

9. Do you think Hemingway ever felt trapped in the persona he created? Explain your
reasoning.

Activities:

1. Much of Hemingway’s life involved travel in the pursuit of adventure or circumstances

that would result in enhanced creativity—sometimes to escape his own family and the
banality of domestic life. How was his life in Cuba different from his life in Florida, the
American Midwest, or Paris? (1:06:58)

Describe the place you live with as much specificity as you can. Consider your street,
neighborhood, town, city, and state. Then, research a place you have always wanted to
go. How might your life be different if you lived there? If you have lived in another place
different from where you live now, you may choose to write about that place. Describe
your life and what it was, or might be, using as much detail as possible. Your description
can be written, an annotated image, a video, or any other multimedia you can think of.

Compare and contrast your life now with your real or imagined life in another place. How
will you be different as a result of living in a different location?

2. In For Whom the Bell Tolls Hemingway added information from his time living in Cuba.
Watch from 1:08:06 in the documentary and read more about Hemingway’s Cuba to
record observations about the home and Hemingway’s life in Cuba.

3. Consider the portrayal of war in fiction vs. the portrayal of war in journalism from actual
war correspondents like Hemingway and Gellhorn.

Read the following piece by Martha Gellhorn:

Reporting America at War . The Reporters . Martha Gellhorn
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 Compare Gellhorn’s writing to modern reporting we have from areas that are
experiencing war or civil unrest. What shared characteristics do you note? What
differences do you notice? What do you wonder? You may even choose to find reporting
from the current socio-political climate in the U.S. Cite your sources and remember to
consult the Interactive Media Bias Chart.

Create your own journalism piece covering a topic of interest to you, then write a short
fictionalized account of the same topic, event, or issue.

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Part III: “By the time you get the prize to the
shore, it’s in tatters, and so are you.”

As Hemingway’s own life comes to a close, his writing and reflections on life take on a
more meditative form and tone. We consider all that has been won and lost, as well as
what remains unattainable, what has permanence and what passes when life ends.

Themes:

Mental Health: Although the documentary points out that Hemingway struggled with mental
health throughout his life, the intensity and length of his periods of distress increased toward the
end of his life. His struggles were exacerbated perhaps by genetics (four of his family members
died by suicide) and by the limited understanding of the brain and mental health issues at the
time.

Loss: As Hemingway came to the end of his life, he described himself as feeling like “The old
elephant in the zoo”, and [an] “old horse...neither happy, excited, or interested.” (Part II -
1:39:40) He lost his hold on romantic relationships, family relationships, mental stability, and
finally, his public image, career, and his ability to create in those final years. His end was one
exactly like the father he so candidly described as “cowardly.” Many of his later works reflect an
unease and weariness with all of the things that previously fueled him, things that now he could
no longer enjoy.

Essential Questions:

1. What might critics mean with the statement, “All writers are liars”? (36:40) Is the ability to
lie in one’s personal life an essential characteristic of those who know how to create a
believable fictionalized account?

2. What forces—natural or artificially created—inspire people to come out of times of

depression or other mental illness?

3. For a writer, what are some of the psychological consequences of lionization or extreme
social elevation, like winning a Nobel Prize? (1:13:30)

4. What are some of the consequences of elevating creators like Hemingway (who lived
such an extraordinary and exceptional life compared to average working-class
individuals of his time) to iconic and canonical status? (1:39:05)

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Discussion Questions:

1. How is “Over & Back” a reflection on the rivalry between Gellhorn and Hemingway?
(8:09)

2. As Hemingway matured, what evidence of hard-living, addictions, and other influences

begin to show? (15:00)

3. How did Hemingway recreate the old feelings of festivity and admiration he once
experienced in France and Spain? Where did he go? (19:35)

4. What experiences did Hemingway have in WWII that may have exacerbated his mental
health issues? How was he changed when he came back from WWII? How did he cope?
(21:34)

5. Hemingway spent a lifetime exploring gendered identities in his writing. What do we

learn about his view of androgyny and switching gender roles? Do you see his interest in
sexual and gender play as a form of rebellion against his hyper-masculine public
persona and the socially prescribed roles for men and women of his time? Or is it
something altogether different? (24:22)

6. As Hemingway got older, how did his life change concerning his children and family?
Describe some of the secrets the family held. (29:18)

7. How was the image Hemingway portrayed of being a loving and tender family man both
consistent with and in contrast with what his family members reported experiencing?
(31:54)(26:35)(15:00)

8. Do you believe that the semi-autobiographical nature of his works are indicative of a type
of narcissism? (34:00)

9. How did Hemingway approach locals and his hunting experiences differently on his
second visit to Africa? (1:03:48)

10. What were Hemingway’s views on the Cuban Revolution? (1:25:14) Compare this with
his views about the Spanish Civil War. How did the end of his life in Cuba affect him?
(1:32:37)

11. What parallels exist between the end of his father’s life and his own? How is this
connected to the loss of everything, including his ability to create? (1:36:37)

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Activities:

1. Read an excerpt from The Old Man and the Sea, or read the entire work. Consider the
experience of chasing something one perceives to be unattainable and how that could
both give someone inspiration and altogether consume them.

What is something you’ve always wanted? This can be anything: a physical object, a
state of being, or a journey to an unknown place. Write a vignette about what it feels like
to pursue what you have not yet attained. End the vignette having achieved your goal.
As an optional extension, trade with a partner, have them read and then finish your
story.

2. Identify writing or Instagram posts written by travel writers. What patterns do you notice?
How is travel writing a form of persuasive writing? Create a post or piece of writing that
would persuade a person to visit somewhere you have been and loved. If you haven’t
traveled outside of your hometown, how would you convince someone to visit, and what
elements might you include? How might you convince them to visit more than once?

3. Read the text of Hemingway’s Nobel Prize acceptance speech and use a tone wheel to
analyze the difference between what the public may have expected him to feel and what
his speech suggests he felt. Which specific words or phrases reveal changes in his
mental state and general approach toward life?

4. Read any four of Hemingway’s letters from different time periods in his life accessible at:
The Letters of Ernest Hemingway at Cambridge Core. Take note of any patterns you see
relating to diction, salutations, syntax, or tone. What do you notice? What do you
wonder? Write a letter in Hemingway’s style capturing a specific time in your life, or that
of a fictional character you have read about and liked, e.g., Star from The Hate U Give.
How is letter-writing yet another genre in which Hemingway distinguished himself?

Young Adult Literature Connections to Hemingway Themes:

1. Activity (Duration: one to two weeks): Choose one or more of the following YA books
that could be paired thematically with a novel by Hemingway. Create a presentation for
peers detailing common themes, motifs, character archetypes, imagery, setting or
anything else of significance.

Addiction: There, There by Tommy Orange, Rani Patel in Full Effect by Sonia Patel

Toxic Masculinity: Tradition by Brendan Kiely, Grown by Tiffany D. Jackson, Not So

Pure and Simple by Lamar Giles

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 War: Patron Saints of Nothing by Randy Ribay, The Fountains of Silence by Ruta
Sepetys, Refugee by Alan Gratz

Nature: Zen and Gone by Emily France, Wildfire by Carrie Mac, Be Not Far from Me by
Wendy McGinnis

Family: Other Words for Home by Jasmine Warga, The Surprising Power of a Good
Dumpling by Wai Chim

Loss of Innocence: Punching the Air by Ibi Zoboi and Yusef Salaam, Shout by Laurie
Halse Anderson

Heroism: Darius the Great Is Not Okay by Adib Khorram, Stand up, Yumi Chung! by
Jessica Kim, We Are Not From Here by Jenny Torres-Sanchez

Death, Loss, Grief: The Boy in the Black Suit by Jason Reynolds, The Astonishing
Color of After Emily X. R. Pan

Mental Illness: Hey, Kiddo by Jarrett J. Krosoczka, The Place Between Breaths by An
Na

Romance: Permanent Record by Mary H. K. Choi, With the Fire on High by Elizabeth
Acevedo, The Stars and the Blackness Between Them by Junauda Petrus, The Lover’s
Dictionary by David Levithan

2. Activity (one 50-minute class period): Create a reading list for a young reader
modeled after this list by Hemingway.

Ernest Hemingway Creates a Reading List for a Young Writer, 1934

What books would you consider necessary and important reading for a young person
growing up today to be considered well-read and knowledgeable? Who are some of the
authors you most enjoy reading? What genres have evolved that expand reading
beyond what we have seen historically? (e.g., audiobooks, manga, or graphic novels)

Do some research on the books that Hemingway recommended. Based on summaries

or other information you can find online, which from the list do you agree with and which
would you replace?

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