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Reveal a range of voices, narrative strategies, and fictional interests more wide-ranging and experimental than any other extant work of Hemingway’s

In 1924 Ernest Hemingway published a small book of eighteen vignettes, each little more than one page long, with a small press in Paris. Titled in our time, the volume was later absorbed into Hemingway’s story collection In Our Time. Those vignettes, as Milton Cohen demonstrates in Hemingway’s Laboratory, reveal a range of voices, narrative strategies, and fictional interests more wide-ranging and experimental than any other extant work of Hemingway’s. Further, they provide a vivid view of his earliest tendencies and influences, first manifestations of the style that would become his hallmark, and daring departures into narrative forms that he would forever leave behind.

Table of Contents

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  1. Cover
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  1. Title page, Copyright, Dedication
  2. pp. i-vi
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  1. Contents
  2. pp. vii-x
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  1. Editor's Note
  2. pp. xi-xii
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  1. Acknowledgments
  2. pp. xiii-xiv
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  1. Chronology
  2. pp. xv-xviii
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  1. Introduction
  2. Susan F. Beegel
  3. pp. 1-18
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  1. 1. “The Mercenaries”: A Harbinger of Vintage Hemingway
  2. Mimi Reisel Gladstein
  3. pp. 19-30
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  1. 2. Uncle Charles in Michigan
  2. Susan Swartzlander
  3. pp. 31-42
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  1. 3. Ethical Narration in “My Old Man”
  2. Phillip Sipiora
  3. pp. 43-60
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  1. 4. “Out of Season” and Hemingway’s Neglected Discovery: Ordinary Actuality
  2. James Steinke
  3. pp. 61-74
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  1. 5. Hemingway’s Italian Waste Land: The Complex Unity of “Out of Season”
  2. Bickford Sylvester
  3. pp. 75-98
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  1. 6. “A Very Short Story” as Therapy
  2. Scott Donaldson
  3. pp. 99-106
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  1. 7. The Bullfight Story and Critical Theory
  2. Bruce Henricksen
  3. pp. 107-122
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  1. 8. From the Waste Land to the Garden with the Elliots
  2. Paul Smith
  3. pp. 123-130
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  1. 9. Hemingway’s “On Writing”: A Portrait of the Artist as Nick Adams
  2. Lawrence Broer
  3. pp. 131-140
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  1. 10. The Writer on Vocation: Hemingway's "Banal Story"
  2. George Monteiro
  3. pp. 141-148
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  1. 11. Hemingway and Turgenev: 'The Torrents of Spring'
  2. Robert Coltrane
  3. pp. 149-162
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  1. 12. “An Alpine Idyll”: The Sun-Struck Mountain Vision and the Necessary Valley Journey
  2. Robert E. Gajdusek
  3. pp. 163-184
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  1. 13. Waiting for the End in Hemingway’s “A Pursuit Race”
  2. Ann Putnam
  3. pp. 185-194
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  1. 14. A Semiotic Inquiry into Hemingway’s “A Simple Enquiry”
  2. Gerry Brenner
  3. pp. 195-208
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  1. 15. “Mais Je Reste Catholique” : Communion, Betrayal, and Aridity in “Wine of Wyoming”
  2. H. R. Stoneback
  3. pp. 209-224
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  1. 16. “That’s Not Very Polite” : Sexual Identity in Hemingway’s “The Sea Change”
  2. Warren Bennett
  3. pp. 225-246
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  1. 17. “A Natural History of the Dead” as Metafiction
  2. Charles Stetler and Gerald Locklin
  3. pp. 247-254
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  1. 18. “Homage to Switzerland” : Einstein’s Train Stops at Hemingway’s Station
  2. Michael S. Reynolds
  3. pp. 255-262
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  1. 19. Repetition as Design and Intention: Hemingway’s “Homage to Switzerland”
  2. Erik Nakjavani
  3. pp. 263-282
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  1. 20. Myth or Reality: “The Light of the World” as Initiation Story
  2. Robert E. Fleming
  3. pp. 283-290
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  1. 21. Up and Down: Making Connections in “A Day's Wait”
  2. Linda Gajdusek
  3. pp. 291-302
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  1. 22. Illusion and Reality: “The Capital of the World”
  2. Stephen Cooper
  3. pp. 303-312
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  1. 23. Hemingway's Spanish Civil War Stories, or the Spanish Civil War as Reality
  2. Allen Josephs
  3. pp. 313-328
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  1. 24. The Hunting Story in 'The Garden of Eden'
  2. James Nagel
  3. pp. 329-338
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  1. 25. Hemingway's Tales of “The Real Dark”
  2. Howard L. Hannum
  3. pp. 339-350
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  1. List of Contributors
  2. pp. 351-356
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  1. Bibliography
  2. pp. 357-366
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  1. Index
  2. pp. 367-373
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