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Overview
Ernest Hemingway is a cultural icon—an archetype of rugged masculinity, a romantic ideal of the intellectual in perpetual exile—but, to his countless readers, Hemingway remains a literary force much greater than his image. Of all of Hemingway’s canonical fictions, perhaps none demonstrate so forcefully the power of the author’s revolutionary style as his short stories. In classics like “Hills like White Elephants,” “The Butterfly in the Tank,” and “The Short Happy Life of Francis Macomber,” Hemingway shows us great literature compressed to its most potent essentials. We also see, in Hemingway’s short fiction, the tales that created the legend: these are stories of men and women in love and in war and on the hunt, stories of a lost generation born into a fractured time.
The Short Stories of Ernest Hemingway presents many of Hemingway’s most famous classics alongside rare and unpublished material: Hemingway’s early drafts and correspondence, his dazzling out-of-print essay on the art of the short story, and two marvelous examples of his earliest work—his first published story, “The Judgment of Manitou,” which Hemingway wrote when still a high school student, and a never-before-published story, written when the author was recovering from a war injury in Milan after WWI. This work offers vital insight into the artistic development of one of the twentieth century’s greatest writers. It is a perfect introduction for a new generation of Hemingway readers, and it belongs in the collection of any true Hemingway fan.
Product Details
ISBN-13: | 9780684837864 |
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Publisher: | Scribner |
Publication date: | 04/01/1997 |
Series: | Scribner Classics Series |
Edition description: | Classic Edition |
Pages: | 464 |
Sales rank: | 530,951 |
Product dimensions: | 6.12(w) x 9.25(h) x 1.50(d) |
About the Author
Date of Birth:
July 21, 1899Date of Death:
July 2, 1961Place of Birth:
Oak Park, IllinoisPlace of Death:
Ketchum, IdahoRead an Excerpt
Preface
The first four stories are the last ones I have written. The others follow in the order in which they were originally published.
The first one I wrote was Up in Michigan, written in Paris in 1921. The last was Old Man at the Bridge cabled from Barcelona in April of 1938.
Beside The Fifth Column, I wrote The Killers, Today Is Friday, Ten Indians, part of The Sun Also Rises and the first third of To Have and Have Not in Madrid. It was always a good place for working. So was Paris, and so were Key West, Florida, in the cool months; the ranch, near Cooke City, Montana; Kansas City; Chicago; Toronto, and Havana, Cuba.
Some other places were not so good but maybe we were not so good when we were in them.
There are many kinds of stories in this book. I hope that you will find some that you like. Reading them over, the ones I liked the best, outside of those that have achieved some notoriety so that school teachers include them in story collections that their pupils have to buy in story courses, and you are always faintly embarrassed to read them and wonder whether you really wrote them or did you maybe hear them somewhere, are The Short Happy Life of Francis Macomber, In Another Country, Hills Like White Elephants, A Way You'll Never Be, The Snows of Kilimanjaro, A Clean Well-Lighted Place, and a story called The Light of the World which nobody else ever liked. There are some others too. Because if you did not like them you would not publish them.
In going where you have to go, and doing what you have to do, and seeing what you have to see, you dull and blunt the instrument you write with. But I would rather have it bent and dull and know I had to put it on the grindstone again and hammer it into shape and put a whetstone to it, and know that I had something to write about, than to have it bright and shining and nothing to say, or smooth and well-oiled in the closet, but unused.
Now it is necessary to get to the grindstone again. I would like to live long enough to write three more novels and twenty-five more stories. I know some pretty good ones.
Ernest Hemingway
1938
"The Battler"; "Big Two-Hearted River: Part I"; "Big Two-Hearted River: Part II"; "Cat in the Rain"; "Cross-Country Snow"; "The Doctor and the Doctor's Wife"; "The End of Something"; "Indian Camp"; "Mr. and Mrs. Elliot"; "My Old Man"; "Out of Season"; "Banal Story"; "A Canary for One"; "Hills Like White Elephants"; "In Another Country"; "The Killers"; "Now I Lay Me"; "A Pursuit Race"; "A Simple Enquiry"; "Ten Indians"; "Today Is Friday"; "The Undefeated"; copyright © 1927 Charles Scribner's Sons; renewal copyright © 1955 Ernest Hemingway "The Alpine Idyll" copyright © 1927 The Macaulay Company; "Che Ti Dice Patria?" and "Fifty Grand' copyright © 1927 Ernest Hemingway; renewal copyright © 1955 "On the Quai at Smyrna" and "Wine of Wyoming" copyright © 1930 Charles Scribner's Sons; renewal copyright © 1958 Ernest Hemingway "A Natural History of the Dead" copyright © 1932, 1933 Charles Scribner's Sons; renewal copyright © 1960 Ernest Hemingway; © 1961 Mary Hemingway "After the Storm" copyright © 1932 Ernest Hemingway; renewal copyright © 1960 "A Clean, Well-Lighted Place"; "A Day's Wait"; "Fathers and Sons"; "The Gambler, the Nun, and the Radio"; "Homage to Switzerland"; "The Light of the World"; "The Mother of a Queen"; "One Reader Writes"; "The Sea Change"; "A Way You'll Never Be" copyright © 1933 Charles Scribner's Sons; "God Rest You Merry, Gentlemen" copyright © 1933 Ernest Hemingway; renewal copyright © 1961 Mary Hemingway "The Capital of the World"; "The Short Happy Life of Francis Macomber"; "The Snows of Kilimanjaro" copyright © 1936 Ernest Hemingway; "Old Man at the Bridge" and "Up in Michigan" copyright © 1938 Ernest Hemingway; renewal copyright © 1966 Mary Hemingway "Capital of the World" was first published under the title "The Horns of the Bull." "The Gambler, the Nun, and the Radio" was first published under the title "Give Us A Prescription, Doctor."
"The Revolutionist"; "Soldier's Home"; "The Three-Day Blow";
"A Very Short Story"; copyright © 1925 Charles Scribner's Sons;
renewal copyright © 1953 Ernest Hemingway
renewal copyright © 1955 Ernest Hemingway
renewal copyright © 1961 Mary Hemingway
renewal copyright © 1964 Mary Hemingway
Table of Contents
CONTENTSTHE SHORT HAPPY LIFE OF FRANCIS MACOMBER
THE CAPITAL OF THE WORLD
THE SNOWS OF KILIMANJARO
OLD MAN AT THE BRIDGE
UP IN MICHIGAN
ON THE QUAI AT SMYRNA
INDIAN CAMP
THE DOCTOR AND THE DOCTOR'S WIFE
THE END OF SOMETHING
THE THREE-DAY BLOW
THE BATTLER
A VERY SHORT STORY
SOLDIER'S HOME
THE REVOLUTIONIST
MR. AND MRS. ELLIOT
CAT IN THE RAIN
OUT OF SEASON
CROSS-COUNTRY SNOW
MY OLD MAN
BIG TWO-HEARTED RIVER: PART I
BIG TWO-HEARTED RIVER: PART II
THE UNDEFEATED
IN ANOTHER COUNTRY
HILLS LIKE WHITE ELEPHANTS
THE KILLERS
CHE TI DICE LA PATRIA?
FIFTY GRAND
A SIMPLE ENQUIRY
TEN INDIANS
A CANARY FOR ONE
AN ALPINE IDYLL
A PURSUIT RACE
TODAY IS FRIDAY
BANAL STORY
NOW I LAY ME
AFTER THE STORM
A CLEAN, WELL-LIGHTED PLACE
THE LIGHT OF THE WORLD
GOD REST YOU MERRY, GENTLEMEN
THE SEA CHANGE
A WAY YOU'LL NEVER BE
THE MOTHER OF A QUEEN
ONE READER WRITES
HOMAGE TO SWITZERLAND
A DAY'S WAIT
A NATURAL HISTORY OF THE DEAD
WINE OF WYOMING
THE GAMBLER, THE NUN, AND THE RADIO
FATHERS AND SONS
Reading Group Guide
Reading Group Guide for The Short Stories
Introduction
In 1923 Ernest Hemingway published his first three short stories, "Up in Michigan" (p. 81), "Out of Season" (p. 171), and "My Old Man" (p. 189), in a slim volume entitled Three Stories and Ten Poems. Fifteen years later he published a collection of forty-nine stories, and by then he was the undisputed master of the short story form. Of The Short Stories of Ernest Hemingway Clifton Fadiman said in The New Yorker, "I don't see how you can go through this book without being convinced that Hemingway is the best short story writer...using English."
"The Short Happy Life of Francis Macomber"
What are the causes of Francis Macomber's sudden conversion from fear to "the wild unreasonable happiness that he had never known before" (p. 32), what are the implications of his conversion for his and Margot's future, and what are the unanticipated consequences of Margot's killing Francis (p.36-37)?
"The Snows of Kilimanjaro"
How is neglect, the reason for Harry's gangrenous infection, also the cause of a second death for which Harry, the artist, expresses even greater regret (pp 59-60)? What does Harry mean when he says he has "traded" on his talent, and what were the specific temptations to which he admits succumbing at the cost of his artistic integrity?
"Big Two-Hearted River"
Is "Big Two-Hearted River" a story about Nick's testing and controlling his fragile emotions as well as about his setting up camp and catching trout? Why are the "known" and "unknown" so important to Nick, and why does he believe "the fishing would be tragic" in the swamp (p. 231)?
"A Clean Well-Lighted Place"
What does the old waiter reveal when he says he does not like to close up each night "because there may be someone who needs the café" or "a light for the night" (p. 382)? What is the "nothing" or "nada" that he, like the old man, "knew too well" (p. 383), and how could a clean, well-lighted café sometimes lessen "nada's" effect?
"The Killers"
Is "The Killers" "an initiation story"? If so, to what is Nick Adams introduced? After Nick asks killer Max, "What's it all about" (p. 286), "it" appears very often (pp. 286-289), developing meaning incrementally in Nick's growing awareness. What does "it" mean by the time we read George's final line, "Well...you better not think about it" (p. 289)? What is implied by the "wall" to which Ole turns after Nick's warning?
After Reading the Stories
Your group might wish to read other stories from the Hemingway collection which focus upon similar concerns or themes found in the stories listed above. Marital tension and incompatibility are highlighted in "Cat in the Rain," "Out of Season," and with subtle irony in "A Canary for One." Because Nick in "Big Two-Hearted River" is often assumed to be a returning war veteran, "Soldier's Home" serves as an excellent companion piece. "Indian Camp" (p. 89), "The Battler" (p. 127), and "Ten Indians" are Nick Adams "initiation" stories and will complement "The Killers." The importance of the artist's getting the work done, the subject of "The Snows of Kilimanjaro," is a dominant concern throughout Hemingway's fiction and more strongly emphasized in his posthumous novel The Garden of Eden than in any of the other short stories. The very brief story, "The Sea Change" however, (p. 397), should be read first as a stepping stone to that novel.
Introduction
Publisher's Preface
There has long been a need for a complete and up-to-date edition of the shortstories of Ernest Hemingway. Until now the only such volume was the omnibuscollection of the first forty-nine stories published in 1938 together withHemingway's play The Fifth Column. That was a fertile period ofHemingway's writing and a number of stories based on his experiences in Cubaand Spain were appearing in magazines, but too late to have been included in"The First Forty-nine."
In 1939 Hemingway was already considering a new collection of stories thatwould take its place beside the earlier books In Our Time, Men WithoutWomen, and Winner Take Nothing. On February 7 he wrote from his homein Key West to his editor Maxwell Perkins at Scribners suggesting such a book.At that time he had already completed five stories: "The Denunciation," "TheButterfly and the Tank," "Night Before Battle," "Nobody Ever Dies," and"Landscape with Figures," which is published here for the first time. A sixthstory, "Under the Ridge," would appear shortly in the March 1939 edition ofCosmopolitan.
As it turned out, Hemingway's plans for that new book did not pan out. He hadcommitted himself to writing three "very long" stories to round out thecollection (two dealing with battles in the Spanish Civil War and one about theCuban fisherman who fought a swordfish for four days and four nights only tolose it to sharks). But once Hemingway got underway on his novel -- later published as For Whom the Bell Tolls -- all other writing projects werelaid aside. We can only speculate on the two war stories he abandoned, but itis probable that much of what they mighthrs in the history of literature, and his stories taken as a whole present a world of experience. In 1918 he signed up for ambulance duty in Italy as a member of an American Field Service unit. It was his first transatlantic journey and he was eighteen at the time. On the day of his arrival in Milan a munitions factory blew up, and with the other volunteers in his contingent Hemingway was assigned to gather up the remains of the dead. Only three months later he was badly wounded in both legsand hospitalized in the American Red Cross hospital in Milan, with subsequentoutpatient treatment. These wartime experiences, including the people he met,provided many details for his novel of World War I, A Farewell to Arms.They also inspired five short story masterpieces.
In the 1920s he revisited Italy several times; sometimes as a professionaljournalist and sometimes for pleasure. His short story about a motor trip witha friend through Mussolini's Italy, "Che Ti Dice La Patria?," succeeds inconveying the harsh atmosphere of a totalitarian regime.
Between 1922 and 1924 Hemingway made several trips to Switzerland to gathermaterial for The Toronto Star. His subjects included economic conditionsand other practical subjects, but also accounts of Swiss winter sports:bobsledding, skiing, and the hazardous luge. As in other fields, Hemingway wasahead of his compatriots in discovering places and pleasures that would becometourist attractions. At the same time, he was storing up ideas for a number ofhis short stories, with themes ranging from the comic to the serious and themacabre.
Hemingway attended his first bullfight, in the company of American friends, in1923, when he made an excursion to Madrid from Paris, where he was living atthe time. From the moment the first bull burst into the ring he was overwhelmedby the experience and left the scene a lifelong fan. For him the spectacle of aman pitted against a wild bull was a tragedy rather than a sport. He wasfascinated by its techniques and conventions, the skill and courage required bythe toreros, and the sheer violence of the bulls. He soon became anacknowledged expert on bullfighting and wrote a famous treatise on the subject,Death in the Afternoon. A number of his stories also have bullfightingthemes.
In time, Hemingway came to love all of Spain -- its customs, its landscapes,its art treasures, and its people. When the Spanish Civil War broke out in thelast week of July 1936, he was a staunch supporter of the Loyalists, helping toprovide support for their cause and covering the war from Madrid as acorrespondent for the North American Newspaper Alliance. Out of the entirety ofhis experiences in Spain during the war he produced seven short stories inaddition to his novel, For Whom the Bell Tolls, and his play, TheFifth Column. It was one of the most prolific and inspired periods of hiswriting career.
In 1933, when his wife Pauline's wealthy uncle Gus Pfeiffer offered to stakethe Hemingways to an African safari, Ernest was totally captivated by theprospect and made endless preparations, including inviting a company of friendsto join them and selecting suitable weapons and other equipment for the trip.
The safari itself lasted about ten weeks, but everything he saw seems to havemade an indelible impression on his mind. Perhaps he regained, as the result ofhis enthusiasm and interest, a childlike capacity to re cord details almostphotographically. It was his first meeting with the famous white hunter PhillipPercival, whom he admired at once for his cool and sometimes cunningprofessionalism. At the end of the safari, Hemingway had filled his mind withimages, incidents, and character studies of unique value for his writings. Asthe harvest of the trip he wrote the nonfiction novel Green Hills ofAfrica, and some of his finest stories. These include "The Short Happy Lifeof Francis Macomber" and "The Snows of Kilimanjaro" as well as "An AfricanStory," which appeared as a story within a story in The Garden of Eden,a novel published posthumously in May 1986.
In spite of the obvious importance of the Paris years on Hemingway'sdevelopment as a writer, few of his short stories have French settings. He wasaware of that fact and in his preface to A Moveable Feast wistfullymentions subjects that he might have written about, some of which might havebecome short stories.
During World War II Hemingway served as a war correspondent covering theNormandy invasions and the liberation of Paris. It seems that he also assembled a group of extramilitary scouts keeping pace with the retreating Germans. The balance between fiction and nonfiction in his stories of the period, including the previously unpublished "Black Ass at the Cross Roads," may never be determined.
Toward the end of his life Hemingway wrote two fables for the child of afriend, "The Good Lion" and "The Faithful Bull," which were published byHoliday in 1951 and are reprinted here. He also published two shortstories in The Atlantic Monthly, "Get a Seeing-Eyed Dog," and "A Man of the World" (both December 20, 1957).
We have g rouped seven previously unpublished works of fiction at the back ofthe book. Four of these represent completed short stories; the other threecomprise extended scenes from unpublished, uncompleted novels.
All in all, this Finca Vigía edition contains twenty-one stories that were not included in "The First Forty-nine." The collection is named for Hemingway's home in San Francisco de Paula, Cuba. He lived at Finca Vigía ("Lookout Farm") on and off during the last two decades of his life. The finca was dear to his heart and it seems appropriate now that it should contain a major portion of his life work, which was even more dear.
-- Charles Scribner, Jr.
Copyright © 1987 by Simon & Schuster Inc.