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In Our Time Kindle Edition
In Our Timewas Ernest Hemingway’s first book published in the United States and announced the beginning of a career that would make him one of the greatest writers of the twentieth century.
Published in 1925 when Hemingway was 26 years old, the collection contains several stories that are now considered classics including “Indian Camp,” “Soldier’s Home,” and “Big Two-Hearted River.”
This edition includes an essay by Erik Bledsoe explaining the complex publication history of In Our Time that has resulted in there being four distinct versions of the collection. The text of this edition is based upon the original 1925 publication of In Our Time.
“Mr. Hemingway packs a whole character into a phrase, an entire situation into a sentence or two. He makes each word count three or four ways. “
--The New York Times, Oct. 18, 1925
This edition of In Our Time published by Scruffy City Press, LLC, meets WCAG 2.1 AA standards for accessibility and has been professionally edited and compared to the original 1925 publication to ensure accuracy.
- LanguageEnglish
- Publication dateJune 19, 2021
- File size1462 KB
Editorial Reviews
Amazon.com Review
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
--This text refers to an alternate kindle_edition edition.About the Author
From the Back Cover
Succinct and lucid in his prose style, American novelist and short story writer Ernest Hemingway (1899–1961) had an enormous influence over authors in the twentieth century. A member of the expatriate circle called the Lost Generation, Hemingway cultivated a larger-than-life image of vigorous masculinity complemented by an intense sensitivity.
Hemingway made his North American literary debut in 1925 with In Our Time, his first collection of short stories and vignettes. The stories were widely praised for what later would be considered the author’s hallmark style: uncomplicated, precise language with an eye for realism. Their themes of alienation, loss, and grief continue the work Hemingway began earlier in his career. The collection includes two of his best-known Nick Adams stories: “Indian Camp” and “Big Two-Hearted River.”
--This text refers to an alternate kindle_edition edition.
Review
—The New York Times
“There’s something immortal about these short pieces. They are absolute miracles of prose, of description, of evocation. They take you there.”
—Edna O'Brien
“Ernest Hemingway is a new, honest, un-literary transcriber of life – a Writer.”
—Time --This text refers to an alternate kindle_edition edition.
Product details
- ASIN : B097LM45CW
- Publisher : Scruffy City Press (June 19, 2021)
- Publication date : June 19, 2021
- Language : English
- File size : 1462 KB
- Text-to-Speech : Enabled
- Screen Reader : Supported
- Enhanced typesetting : Enabled
- X-Ray : Enabled
- Word Wise : Enabled
- Sticky notes : On Kindle Scribe
- Customer Reviews:
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" 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."
I looked up the book, In Our Time, and after recovering from the initial shock of seeing Simon and Schuster's shameful price of $10.99 for a slim volume of short stories, bought the volume.
I read the first story, On the River Quai at Smyrna, and was a bit perplexed as the story begins abruptly without a clear setting, plot, or defined characters. It ends as it began. Next I found under the heading of Chapter 1 a sort of military vignette in but a single paragraph. Then a story titled Indian Camp began. This was an interesting story of a doctor and his young son coming to the aid of a pregnant Indian woman. This is more along the lines of what I had expected. I was pleased until the heading Chapter 2 appeared, yet again with another military vignette in a single paragraph.
Okay, now I knew the author was toying with me and this collection was purposeful and complex. I would need some help to understand the author's plan and methodology. To this end I bought a dead tree book ( Hemingway's Short Stories (Cliffs Notes) ) to help me. I also found an online site called SparkNotes. These were indispensable to fully appreciate this collection of stories.
The main insights gained were that the stories present the chaos and terror of World War I and that the character Nick Adams is partially autobiographical.
There is much to commend this small collection and I encourage others to dig in and discover Hemingway.
Top reviews from other countries
beneath. The Nick Adams stories are a fine early example of this. My only caveat with this book is that it is rather thin (and can easily be read in a day), and if you’re really into Hemingway you’d get more for your money if you bought The First Forty-Nine Stories or the Collected Short Stories, i.e. editions that have everything that’s here but with a lot more besides.
Reviewed in Canada on October 15, 2016