Ernest Hemingway revolutionized the American short story, establishing himself as a master of realist fiction in the tradition of Guy de Mauppasant. Yet none of Hemingway's emulators has succeeded in duplicating his understated, minimalist style. In his Iceberg Theory of fiction, only the tip of the story is seen on the surface--the rest is submerged out of sight.
This study surveys the scope of Hemingway's mastery of the short story form, enabling a fuller understanding of such works as "Indian Camp," "Big Two-Hearted River," "The Killers," "The Mother of a Queen," "In Another Country," "Hills Like White Elephants," "The Snows of Kilimanjaro," and "The Mercenaries," among many others. All 13 stories from his underrated Winner Take Nothing collection are evaluated in detail.

Table of Contents


Acknowledgments deleteviii

Preface

Introduction

1.¿Home Delivery

2.¿This House Is Not a Home

3.¿The Jungle Out There

4.¿An Angler's Art

5.¿Italian Grammar

6.¿The Wages of Love

7.¿The Hit in Summit

8.¿Writer on Vocation

9.¿Winner Take All

10.¿The Mercenary's Call

11.¿Memory and Experience

12.¿Standing Alone

13.¿The Hemingway Ending

Chapter Notes

Bibliography

Index

George Monteiro is a professor emeritus of English and of Portuguese and Brazilian studies at Brown University and the author or editor of books on Henry James, Henry Adams, Robert Frost, Stephen Crane, Emily Dickinson, Fernando Pessoa, and Luis de Camoes, among others.