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In Our Time by Ernest Hemingway
Book Summary InformationAuthor: Ernest Hemingway Edition: Paperback Audio: English (Unknown); English (Original Language); English (Published) Published: 1996-01-31 ISBN: 0684822768 Number of pages: 160 Publisher: Scribner
Book Reviews of In Our TimeBook Review: Hemingway via D. H. Lawrence Summary: 5 Stars
This is not my review, it belongs to D. H. Lawrence (b1885-d1930) as I read it in the book 'Selected Literary Criticism', edited by Anthony Beal. I'm copying Lawrence's review of Hemingway's 'In Our Time' here because it is an outstanding review others who come to Amazon ought to read:
" In Our Time is the last of the four American books, and Mr. Hemingway has accepted the goal. He keeps on making flights, but he has no illusion about landing anywhere. He knows it will be nowhere every time.
In Our Time calls itself a book of stories, but it isn't that. It is a series of successive sketches from a man's life, and makes a fragmentary novel. The first scenes, by one of the big lakes in America--probably Superior--are the best; when Nick is a boy. Then come fragments of war--on the Italian front. Then a soldier back home, very late, in the little town way west in Oklahoma. Then a young American and wife in post-war Europe; a long sketch about an American jockey in Milan and Paris; then Nick is back again in the Lake Superior region, getting off the train at a burnt-out town, and tramping across the empty country to camp by a trout-stream. Trout is the one passion life has him--and this won't last long.
It is a short book: and it does not pretend to be about one man. But it is. It is as much as we need know of the man's life. The sketches are short, sharp, vivid, and most of them excellent. (The 'mottoes' in front seem a little affected.) And these few sketches are enough to create the man and all his history: we need know no more.
Nick is a type one meets in the more wild and woolly regions of the United States. He is the remains of the lone trapper and cowboy. Nowadays he is educated, and through with everything. It is a state of conscious, accepted indifference to everything except freedom from work and the moment's interest. Mr. Hemingway does it extremely well. Nothing matters. Everything happens. Pne wants to keep oneself loose. Avoid one thing only: getting connected up. Don't get connected up. If oyu get held by anything, break it. Don't be held. Break it, and get away. Don't get away with the idea of getting somewhere else. Just get away, for the sake of getting away. Beat it! `Well, boy, I guess I'll beat it." Ah, the pleasure in saying that!
Mr. Hemingway's sketches, for this reason, are excellent: so short, like striking a match, lighting a brief sensational cigarette, and it's over. His young love-affair ends as one throws a cigarette-end away. `It isn't fun any more.'--`Everything's gone to hell inside me.'
It is really honest. And it explains a great deal of sentimentality. When a thing has gone to hell inside you, your sentimentalism tries to pretend it hasn't. But Mr. Hemingway is through with the sentimentalism. `It isn't fun any more. I guess I'll beat it.'
And he beats it, to somewhere else. In the end he'll be a sort of tramp, endlessly moving on for the sake of moving away from where he is. This is a negative goal, and Mr. Hemingway is really good, because he's perfectly straight about it. He is like Krebs, in that devastating Oklahoma sketch: he doesn't love anybody, and it nauseates him to have to pretend he does. He doesn't even want to love anybody; he doesn't want to go anywhere, he doesn't want to do anything. He wants just to lounge around and maintain a healthy state of nothingness inside himself. And why shouldn't he, since that is exactly and sincerely what he feels? If he really doesn't care, then why should he care? Anyhow, he doesn't."
Summary of In Our TimeTHIS COLLECTION OF SHORT STORIES AND VIGNETTES MARKED ERNEST HEMINGWAY'S AMERICAN DEBUT AND MADE HIM FAMOUS When In Our Time was published in 1925, it was praised by Ford Madox Ford, John Dos Passos, and F. Scott Fitzgerald for its simple and precise use of language to convey a wide range of complex emotions, and it earned Hemingway a place beside Sherwood Anderson and Gertrude Stein among the most promising American writers of that period. In Our Time contains several early Hemingway classics, including the famous Nick Adams stories "Indian Camp," "The Doctor and the Doctor's Wife," "The Three Day Blow," and "The Battler," and introduces readers to the hallmarks of the Hemingway style: a lean, tough prose -- enlivened by an car for the colloquial and an eye for the realistic that suggests, through the simplest of statements, a sense of moral value and a clarity of heart. Now recognized as one of the most original short story collections in twentieth-century literature, In Our Time provides a key to Hemingway's later works. No writer has been more efficiently overshadowed by his imitators than Ernest Hemingway. From the moment he unleashed his stripped-down, declarative sentences on the world, he began breeding entire generations of miniature Hemingways, who latched on to his subtractive style without ever wondering what he'd removed, or why. And his tendency to lapse into self-parody during the latter half of his career didn't help matters. But In Our Time, which Hemingway published in 1925, reminds us of just how fresh and accomplished his writing could be--and gives at least an inkling of why Ezra Pound could call him the finest prose stylist in the world. In his first commercially published book (following the small-press appearance of Three Stories and Ten Poems in 1924), Hemingway was still wearing his influences on his sleeve. The vignettes between each story smack of Gertrude Stein, whose minimalist punctuation and clodhopping rhythms he was happy to borrow. "My Old Man" sounds like Huck Finn on the Grand Tour: "Well, we went to live at Maisons-Lafitte, where just about everybody lives except the gang at Chantilly, with a Mrs. Meyers that runs a boarding house. Maisons is about the swellest place to live I've ever seen in all my life." But in the "The Battler" or "Indian Camp" or "Big Two-Hearted River," Hemingway finds his own voice, shunning the least hint of rhetorical inflation and sticking to just the facts, ma'am. His reluctance to traffic in high-flown abstraction has often been chalked up to postwar disillusion--as though he were too much of a simpleton to make deliberate stylistic decisions. Still, nobody can read "Soldier's Home" without drawing a certain connection between the two. Returning home to Oklahoma, the hero finds that his tales of combat are now a bankrupt genre: Even his lies were not sensational at the pool room. His acquaintances, who had heard detailed accounts of German women found chained to machine guns in the Argonne forest and who could not comprehend, or were barred by their patriotism from interest in, any German machine gunners who were not chained, were not thrilled by his stories. If we are to believe Michael Reynolds and Ann Douglas, this passage reflects the author's own dreary homecoming as a member of the lost generation. It's also a fine example of a surprisingly rare phenomenon, at least at this point in his career: Hemingway being funny. --James Marcus
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