Ammons, Elizabeth, 156 Anderson, Sherwood, 14, 15, 83–84, 104 Auden, W. H., 1 Austen, Jane, 170 Auster, Paul, 15 Authorial judgment: “chapter 2” iot, 31–33; “chapter 8” iot, 30; “Chekhov on, 24, 27; H on, 27; H’s characters reveal themselves , 27–28, 218; and normative centers , 154–57; and spatial form, 128; through structure in H, 30–33; through structure in Howells, Cahan, and Wharton , 31; through word choice in H, 29– 30; in “The Undefeated,” 29–30. See also Dispassionate presentation; Impressionism in H Babel, Isaac, 6, 15, 23, 206 Baker, Carlos, 71–72, 173–74, 202 Bal, Mieke, 243n1, 244n2 Balzac, Honoré de, 58 Banks, Russell, 6, 65, 227 Barth, John, 15 Barthes, Roland, 117, 243n1 Bates, H. E., 48 Bauer, Margaret D., 241n3 Baym, Nina, 7, 241n1 Beattie, Ann, 6 Beauvoir, Simone de, 6 Beegel, Susan F., 7, 44–45, 47, 186, 220–21, 241n2 Bellow, Saul, 6 Benson, Jackson J., xii, 242n2 Benstock, Shari, 118 Berenson, Bernard, 242n2 Berman, Ron, 74–75, 243n7 Bierce, Ambrose, 162 Bloom, Harold, 45 Bogart, Humphrey, 9 Böll, Heinrich, 6 Booth, Wayne, 243n1 Borges, Jorge Luis, 15, 208 Bowen, Elizabeth, 15, 23–24, 176, 178, 192, 198, 199 Braques, Georges, 114 Bridgman, Richard, 37 Broer, Lawrence R., 8 Brooks, Cleanth, 81 Brooks, Peter, 243n1 Brooks, Van Wyck, 4, 7 Buell, Lawrence, 1–2, 10 Bukowski, Charles, 6 Bunin, Ivan, 14, 24, 136 Burwell, Rose Marie, 8 Butler, Robert Olen, xiv–xv, 6, 242n3 Cabrera Infante, Guillermo, 6 Cahan, Abraham, 31 Camus, Albert, 6 Capmany, Maria Aurèlia, 6 Capote, Truman, 4 Carver, Raymond, 6 Castillo-Puche, José Luis, 6 Cather, Willa, 42, 58–59, 63, 67, 68, 70, 209, 243n4; My Ántonia, 59; My Mortal Enemy, 104; The Professor’s House, 18 Cela, Camilo José, 6 Cézanne, Paul, 72–73, 114, 118, 127, 134, 224, 225, 243n6, 243n7; aesthetics of, 1, 64– 66, 73–75, 114, 122, 124, 224–25, 243n8, 246n1 Chandler, Raymond, 6 Characterization: Hills on, 209; limitations on, 206–208; O’Faolain on, 208–209; and omission, 209; Wharton and Henry James on impossibility of in short story, 207–208. See also Characters; Dialogue —in Hemingway’s stories: Bill in “The End 261 Index 262 Index of Something,” 212–13; and focalization in “The Doctor and the Doctor’s Wife,” 214–18; H on relation to real-life people, 84–85, 204–205; H to Dos Passos on, 204; the Italian major of “In Another Country,” 210–12; Mr. Turner in “A Pursuit Race,” 209–10; Ole in “The Killers, 213–14. See also Characters; Dialogue in H Characters: Chekhov and Maupassant on not explaining, 207; elitist critiques of H’s characters, 177; Gardner, Forster, and Borges on, 208; Henry James on, 206; more revelatory than real people, 205–206; O’Faolain on characters in stories as illusions, 208–209; types of in H’s stories, 27–29, 176–77, 220–22; Welty on, 205, 206, 208. See also Characterization; Characterization in H’s stories; H: Nick Adams Chatman, Seymour, 243n1 Chaucer, Geoffrey, 38 Chekhov, Anton, xv, 1, 3, 14, 15, 17, 21, 22, 23, 24–25, 26, 27, 34–35, 41, 136, 144, 158, 160, 161, 162, 168, 205, 206, 207, 209, 224, 226, 245n2; “Gusev,” 149–50; “The Lady with the Little Dog,” 150; The Seagull, 35 Chesnutt, Charles W., 14, 170, 229 Chopin, Kate, 14, 170, 241n1; The Awakening , 143 Ciardi, John, 224, 245n2 Cohn, Dorrit, 243n1 Comley, Nancy R., 8 Concision: Cather and Ford Madox Ford on Crane’s concision, 58, 243n5; Chekhov and O’Faolain on, 34–35; Henry James on difficulty of, 36; Twain on, 37; Wilson on, 37. See also Omission —in Hemingway, 110, 226; Bates on, 48; Bridgman on evolution of fictional prose from Hawthorne to H, 37; compared to Dickinson, 127, 226; H on, 16, 34; influence of Kansas City Star style sheet, 37; origins in writing overseas dispatches, 34; Pound mentors H on, 38, 127, 242n2. See also Omission in H Connelly, Cyril, 2 Conrad, Joseph, 14, 68, 69, 194, 243n3, 243n5; Heart of Darkness, 57–58, 104 Conradian split: defined, 104, 106; examples in H’s stories, 104–105, 213; examples in novels and stories, 104, 106; Frank O’Connor’s Dublin anecdote as paradigm of, 105–106 Consciousness: fictional depiction of, 51; H’s and his contemporaries’ understanding of, 51–52; neuroscience’s understanding of, 50–51; in “Now I Lay Me,” 132–33; retrospective understanding defined, 51. See also Delayed...