Notes
Notes Preface 1. Art Matters, 21–22. 2. Barthes, “The Death of the Author,” 50, 53–54. 3. For an insightful historical study of how Hemingway achieved this preeminence in creative writing programs, see Eric Bennett, “Ernest Hemingway and the Discipline of Creative Writing.” Bennett observes that in “the union of his persona and his writing, Hemingway reconciled competing emphases in literary study [between the New Humanists and the New Critics], and the reconciliation contributed to the rise of a coherent, collegiate pedagogy for creative writing” (545). 4. Frank O’Connor, interview by Anthony Whittier, 165; Wallace Stevens to Henry Church, 2 July 1942, Letters of Wallace Stevens, 411–12; Ernest Hemingway quoted in Mary Welsh Hemingway, How It Was, 352. 5. Nick, of course, was first introduced in a sketch in 1924’s in our time, but “Indian Camp” is the first formal story in which he appears. 6. Flannery O’Connor, “The Teaching of Literature,” 128. 7. Frye, Anatomy of Criticism, 25. Chapter One 1. The stories were, in rough order of composition, “Indian Camp,” “Cat in the Rain,” “The End of Something,” “The Three-Day Blow,” “The Doctor and the Doctor’s Wife,” “Soldier ’s Home,” “Mr. and Mrs. Elliot,” and “Cross-Country Snow.” The following month, May 1924, he began writing “Big Two-Hearted River.” For the individual compositional histories of these stories, see Paul Smith, A Reader’s Guide. 2. The most comprehensive and insightful study of Nick Adams, and of Hemingway’s autobiographical connections to him, is Joseph M. Flora’s Hemingway’s Nick Adams. 3. All quotations of the final version of “Indian Camp” in this chapter are from Ernest Hemingway, The Short Stories of Ernest Hemingway, 91–95, and all quotations of the original and subsequently deleted opening, entitled “Three Shots” by Philip Young, are from the posthumous Hemingway collection edited by Young, The Nick Adams Stories, 13–15. 4. Ernest Hemingway, interview by George Plimpton, 233. 5. Carlos Baker, Hemingway, 109–14; Reynolds, Hemingway: The Paris Years, 125–44. 6. Fenton, The Apprenticeship, 242–57; Carlos Baker, Hemingway, 115–17; Reynolds, Hemingway: The Paris Years, 144–50; Ernest Hemingway to Ezra Pound, 13 October 1923, Ernest Hemingway: Selected Letters, 93. 198 Notes to Pages 6–27 7. Carlos Baker, Hemingway, 117; Ernest Hemingway to Ezra Pound, 13 October 1923, Ernest Hemingway: Selected Letters, 96; Ernest Hemingway to Gertrude Stein and Alice B. Toklas, 11 October 1923, Ernest Hemingway: Selected Letters, 93–95. 8. Ernest Hemingway to Edward J. O’Brien, 20 November 1923, Ernest Hemingway: Selected Letters, 104. 9. Lynn, Hemingway, 224–25; Reynolds, Hemingway: The Paris Years, 157; Ernest Hemingway to Dr. Clarence E. Hemingway, 7 November 1923, Ernest Hemingway: Selected Letters, 99–100; Sanford, At the Hemingways, 218–19. 10. Lynn, Hemingway, 226–27; Reynolds, Hemingway: The Paris Years, 162; Ernest Hemingway, A Moveable Feast, 82; Ernest Hemingway to Ezra Pound, 10 February 1924, Ernest Hemingway: Selected Letters, 110; Ernest Hemingway to Ezra Pound, 17 March 1924, Ernest Hemingway: Selected Letters, 112. 11. Quoted in Hotchner, Papa Hemingway, 57. 12. Carver, interview by Simpson and Buzbee, 313, 308; Welty, “Writing and Analyzing a Story,” 109; Ernest Hemingway, “[On Writing],” The Nick Adams Stories, 238. 13. Sanford, At the Hemingways, 28–30. 14. Helstern, “Indians, Woodcraft,” 62–64. 15. Carlos Baker, Hemingway, 125–26. 16. Lynn, Hemingway, 228. 17. Chekhov to E. M. Sh——, 17 November 1895, Letters on the Short Story, 82–83. 18. Quoted in Carlos Baker, Hemingway, 5. 19. Tillich, Systematic Theology 1: 191. My notion of ontological shock derives from Tillich , most especially from the third chapter of The Courage to Be and the three volumes of Systematic Theology. 20. Chekhov to A. S. Suvorin, 27 October 1888, Anton Chekhov’s Short Stories, 272. 21. Ernest Hemingway, Death in the Afternoon, 17. 22. “The Revolutionist,” which begins with the past progressive, was originally one of the vignettes from in our time. “The Short Happy Life of Francis Macomber” also begins with the past progressive. There it is not particularly effective, but the length of the story prevents it from causing any damage. 23. Welty, “Looking at Short Stories,” 88. 24. Wharton, The Writing of Fiction, 51–52. 25. Gardner, The Art of Fiction, 98. 26. Anton Chekhov to Alexander P. Chekhov, 10 May 1886, Letters on the Short Story, 71; Chekhov to Maxim Gorky, 3 September 1899, Anton Chekhov’s Short Stories, 275. 27. Frank O’Connor, interview by Anthony Whittier, 169; Flaubert to Mlle. Leroyer...
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