Printer Friendly
The Free Library
22,710,190 articles and books


Hemingway countered Perkins's proposal to arrange Hemingway's collected stories chronologically chron·o·log·i·cal   also chron·o·log·ic
1. Arranged in order of time of occurrence.

2. Relating to or in accordance with chronology.
 by date of composition with, first, a proposal to retain the story order of In Our Time, Men Without Women, and Winner Take Nothing (an idea Hemingway rejects immediately), and, second, to print the stories and volumes in their original order. Perkins's "chronological chron·o·log·i·cal   also chron·o·log·ic
1. Arranged in order of time of occurrence.

2. Relating to or in accordance with chronology.
" ordering and his proposal to reprint reprint An individually bound copy of an article in a journal or science communication  the 1924 in our time as a unit are rejected because Perkins's proposed "order" is inaccurate. Hemingway himself does not choose to remember compositional dates, and reprinting re·print  
1. Something that has been printed again, especially:
a. A new printing that is identical to an original; a reimpression.

b. A separately printed excerpt; an offprint.

 in our time would duplicate stories.

IN HIS ACCOUNT of the chronology chronology,
n the arrangement of events in a time sequence, usually from the beginning to the end of an event.
 of stories in The Fifth Column and the First Forty-nine Stories, Paul Smith refers to "a dummy Sham; make-believe; pretended; imitation. Person who serves in place of another, or who serves until the proper person is named or available to take his place (e.g., dummy corporate directors; dummy owners of real estate).  volume Scribner's had made up and advertised in early June as The First 48 collected stories" (3). Working largely from Hemingway's letters to his Scribner's editor, Maxwell Perkins William Maxwell Evarts Perkins, (September 20, 1884 – June 17, 1947), was born on September 20, 1884, in New York City; grew up in Plainfield, New Jersey; attended St. Paul's School in Concord, New Hampshire; and then graduated from Harvard College in 1907. , as presented in Carlos Baker's Selected Letters, Smith does a good job of laying out Hemingway's objections to the chronological scheme suggested by Perkins and illustrated in the dummy, even though Smith apparently had not seen either the dummy or Perkins' letter accompanying it. Smith's account is supported by the Perkins--Hemingway letters collected by Matthew J. Bruccoli and published in The Only Thing That Counts in 1996. But an important piece of the story is missing both in Smith's article and Bruccoli's book: Perkins's letter to Hemingway of 2 June 1938, accompanying Scribner's dummy for The First Forty-Eight, Hemingway's collected stories.

That letter, along with Hemingway's copy of the dummy, are in the Lee Samuels Collection of Hemingway materials at the Harry Ransom Humanities Research Center The Harry Ransom Humanities Research Center is a library and archive at the University of Texas at Austin, USA, specializing in the collection of literary and cultural artifacts from the United States and Europe.  at the University of Texas in Austin. Hemingway inscribed in·scribe  
tr.v. in·scribed, in·scrib·ing, in·scribes
a. To write, print, carve, or engrave (words or letters) on or in a surface.

b. To mark or engrave (a surface) with words or letters.
 the dummy to Samuels with the additional information that he thought (but might be wrong) that his copy of the dummy was the only one in existence.

Given the final selection and ordering of stories in the volume published as The Fifth Column and the First Forty-nine Stories, it may be useful to reproduce both the pertinent contents of Perkins's letter, and the table of contents as they appear on pages v-vii of the dummy. Perkins writes:
   I am sending herewith a dummy of "The First Forty-Eight", in a temporary
   jacket. I want you to see the type page and also to look carefully at the
   pages of contents so that you can consider the really very impressive
   qualities of this book in connection with your idea of putting the play and
   the new stories together in one volume.

      As to that, I think the play ought to stand alone, and can, and that it
   will do well alone even if it is published and not produced for it should
   be, and should make a great deal of money.--Even if it should not be
   successful for some reason on the stage, it would sell much better to the
   movies for having been there--and also it would do good to the Loyalists'
   cause. "The Fifth Column" published by itself would make a much stronger
   impression than if it were in any collection.

      As to the stories.--I think now is the time to show what has been done
   and is being done by putting the new and the old stories together. I think
   I have them in absolutely right chronological order--though I cannot feel
   sure that we ought not to put the hitherto unpublished ones first. Captain
   Cohn furnished me with "Up in Michigan" and also with the chronology of
   all. I put the original "in our time" as one unit.--I always hoped to see
   it published in that way because it seemed to me that it was a unit in its
   nature, and that something was lost when its chapters were scattered
   through a volume, and so separated. And I think that the fact of chronology
   in this volume is one of very considerable interest. Of course we can
   easily do any rearranging that seems desirable after the text is all in
   proof. We had begun to set up before I got your letter suggesting the new
   stories and the play as a book. Then I had the typesetting stopped. But I
   think we are going to have a very good looking book.--You can see what the
   page is like from the dummy.

The contents page in Hemingway's copy of Scribner's dummy for The First 48 lists the stories:
   1. Up in Michigan 2. Out of Season 3. My Old Man 4. In Our Time 5. Indian
   Camp 6. The Doctor and the Doctor's Wife 7. The End of Something 8. The
   Three-Day Blow 9. The Battler 10. A Very Short Story 11. Soldier's Home 12.
   The Revolutionist 13. Mr. and Mrs. Eliot 14. Cat in the Rain 15.
   Cross-Country Snow 16. Big Two-Hearted River 17. To-Day is Friday 18. The
   Undefeated 19. An Alpine Idyll 20. In Another Country 21. Hills Like White
   Elephants 22. The Killers 23. Che Ti Dice La Patria? 24. Fifty Grand 25. A
   Simple Enquiry 26. Ten Indians 27. A Canary for One 28. A Pursuit Race 29.
   Banal Story 30. Now I Lay Me 31. Introduction by the Author 32. A Natural
   History of the Dead 33. God Rest You Merry, Gentlemen 34. After the Storm
   35. A Clean, Well-Lighted Place 36. The Light of the World 37. The Sea
   Change 38. A Way You'll Never Be 39. The Mother of a Queen 40. One Reader
   Writes 41. Homage to Switzerland 42. A Day's Wait 43. Wine of Wyoming 44.
   The Gambler, the Nun, and the Radio 45. Fathers and Sons 46. The Short
   Happy Life of Francis Macomber 47. The Capitol [sic] of the World(1) 48.
   The Snows of Kilimanjaro

Several matters stand out. "Big Two-Hearted River Big Two-Hearted River by Ernest Hemingway is a two-part story that ends the collection In Our Time, published in 1924.

Though unmentioned in the text, the story is generally viewed as an account of a healing process for Nick Adams, a recurring character throughout
" is no longer to be divided into two parts as it is in In Our Time. The in our time vignettes, restored to their uninterrupted "chapter" form of the 1924 Paris edition printed at the "three mountains press," are now to be subsumed under the rubric RUBRIC, civil law. The title or inscription of any law or statute, because the copyists formerly drew and painted the title of laws and statutes rubro colore, in red letters. Ayl. Pand. B. 1, t. 8; Diet. do Juris. h.t.  "In Our Time" and placed fourth--after "Up in Michigan," "Out of Season" and "My Old Man," the earliest surviving stories from Hemingway's first years in Paris. "The End of Something" "The Three-Day Blow" and "The Battler," are all placed before the post-World War I stories, "A Very Short Story" "Soldier's Home Soldier's Home is a short story by Ernest Hemingway, first collected in In Our Time (1925). Plot
The story is a short portrait of a soldier's return from World War I and how he is mentally scarred by his experiences.
," and "The Revolutionist." The Spanish Civil War Spanish civil war, 1936–39, conflict in which the conservative and traditionalist forces in Spain rose against and finally overthrew the second Spanish republic.  story "Old Man at the Bridge" is not yet listed. (Hemingway added it in July, according to according to
1. As stated or indicated by; on the authority of: according to historians.

2. In keeping with: according to instructions.

 Bruccoli [262].) "On the Quai at Smyrna" is still listed (apparently) as "Introduction by the Author." "A Natural History of the Dead" (ostensibly os·ten·si·ble  
Represented or appearing as such; ostensive: His ostensible purpose was charity, but his real goal was popularity.
 because it appeared earlier, not as a short story but as part of Death in the Afternoon [1932]) is placed before all the other stories collected in Winner Take Nothing (1933). "God Rest You Merry, Gentlemen" appears immediately after "A Natural History of the Dead," presumably pre·sum·a·ble  
That can be presumed or taken for granted; reasonable as a supposition: presumable causes of the disaster.
 because it also achieved earlier, separate publication. "The Short Happy Life of Francis Macomber," "The Capital of the World" and "The Snows of Kilimanjaro"--all published after 1933 and the publication of Winner Take Nothing--are listed as the last three stories, numbers 46-48.(2)

As Smith notes, drawing upon Hemingway's reply to Perkins, there is no doubt that the author strongly opposed the overall plan presented in The First 48. Besides objecting to the chronology provided for his stories by Hemingway collector Louis Henry Cohn because it was inaccurate, Hemingway rightly complained that reprinting the whole of in our time as a block would bring about a duplication of vignettes ten and eleven in the two stories from In Our Time published as "A Very Short Story" and "The Revolutionist." Of course, had Hemingway found the principle of printing the stories chronologically by date of composition acceptable and desirable, he could have made the effort to arrange the stories in the volume to follow the principle. But he forestalled that possibility by telling Perkins "I cannot say just when any given story was written but I can check up on enough of them to know that the Cohn order is simply nonsense" (Bruccoli 263). "But if you put me on the witness stand I could not tell exactly when each story was written. Nor do I give a good god-damn. So if they are not to be chronological let's have them in the order they were in the books which was always carefully worked out" (Bruccoli 263). And there you have it. Hemingway simply did not want to give up the integrity, not even for a "new" book, that he had worked out originally for In Our Time, Men Without Women, and Winner Take Nothing. However, he did consider working out an order for the stories that reversed the chronology of book publication but maintained the original order of the stories within their discrete volumes. "The order," he now suggested, would be:
   The Fifth Column--
   The Short Happy Life of Francis MacCumber
   Old Man at the Bridge
   The Snows of Kilimanjaro
   The Capitol of The World

Followed by the stories in the order which they appear in

   Winner Take Nothing
   Men Without Women
   then Up In Michagan--
      Then the stories in the order in which they appear in In Our Time with
   the chapters set in italics between them exactly as in the Liveright

      The story called Introduction by the Author which is now called On The
   Quai at Smyrna

      Follows Up In Michigan and proceeds the story Indian Camp in The In Our
   Time group.

   (Bruccoli 266-67)

But having set out his plan, Hemingway immediately impugned it. It was "sort of goofy Goofy

bumbling, awkward dog; originally named Dippy Dawg. [Comics: “Mickey Mouse” in Horn, 492]

See : Awkwardness
 to work backwards all the way like that"; in fact, "it would probably be sounder" because they were not "following chronology completely either backwards or forward to simply state in the preface pref·ace  
a. A preliminary statement or essay introducing a book that explains its scope, intention, or background and is usually written by the author.

b. An introductory section, as of a speech.

 that the play and the first four stories were the last things written" even though they were "put first" and "then follow with the other stories in the order of Up In Michigan[,] In Our Time, Men Without Women, and Winner Take Nothing" (Bruccoli 267). "The going backwards is maybe logical" he concluded, "but it does not make so good a book because there is a line in all the Nick stories that is continuous and running it backwards is confusing con·fuse  
v. con·fused, con·fus·ing, con·fus·es
a. To cause to be unable to think with clarity or act with intelligence or understanding; throw off.

" (Bruccoli 267). To preserve the progress of the Nick Adams Nick Adams born Nicholas Aloysius Adamshock (July 10, 1931, Nanticoke, Pennsylvania -- February 7, 1968, Hollywood, California), was an American actor. Biography
Early life
The son of a Ukrainian[1]
 drama through the sequence provided in the 1925, 1927, and 1933 collections of stories was a just and sufficient reason, even though it appears to have come to Hemingway as something of an afterthought af·ter·thought  
An idea, response, or explanation that occurs to one after an event or decision.


 in his continuing argument with Perkins. On the arrangement of stories in The Fifth Column and the First Forty-nine Stories (1938), Hemingway appears to have had the last say.


(1.) Hemingway misspells it "Capitol Capitol, seat of the U.S. Congress
Capitol, seat of the U.S. government at Washington, D.C. It is the city's dominating monument, built on an elevated site that was chosen by George Washington in consultation with Major Pierre L'Enfant.
" in several letters to Perkins (Bruccoli 249, 263, 267).

(2.) Some of my observations are anticipated by Hanneman, who notes that "Prior to publication of the book Scribner's printed around 30 copies of a dummy for use by their salesmen" (47). Presumably Hemingway's copy is one of those.


Bruccoli, Matthew J. Ed. The Only Thing That Counts: The Ernest Hemingway-Maxwell Perkins Correspondence, 1925-1947. New York New York, state, United States
New York, Middle Atlantic state of the United States. It is bordered by Vermont, Massachusetts, Connecticut, and the Atlantic Ocean (E), New Jersey and Pennsylvania (S), Lakes Erie and Ontario and the Canadian province of
: Scribner's, 1996.

Hanneman, Audre. Ernest Hemingway Noun 1. Ernest Hemingway - an American writer of fiction who won the Nobel prize for literature in 1954 (1899-1961)
: A Comprehensive Bibliography. Princeton: Princeton UP, 1967.

Perkins, Maxwell Perkins, Maxwell (Evarts)

(born Sept. 20, 1884, New York, N.Y., U.S.—died June 17, 1947, Stamford, Conn.) U.S. editor. He worked as a reporter for The New York Times before joining the publishing firm of Charles Scribner's Sons, of which he later became editorial
. To Ernest Hemingway 2 June 1938. Lee Samuels Collection. Harry Ransom Humanities Research Center. University of Texas. Austin, Texas. Quoted by permission of Charles Scribner Charles Scribner is the name of several members of a New York publishing family associated with the company bearing their name. Charles Scribner
Charles Scribner
, III.

Smith, Paul. "The Chronology of The First Forty-nine Stories." The Hemingway Review 11.1 (Fall 1991), 2-7.

GEORGE MONTEIRO Brown University
COPYRIGHT 1998 Ernest Hemingway Foundation
No portion of this article can be reproduced without the express written permission from the copyright holder.
Copyright 1998 Gale, Cengage Learning. All rights reserved.

 Reader Opinion




Article Details
Printer friendly Cite/link Email Feedback
Title Annotation:collected stories of Hemingway
Publication:The Hemingway Review
Date:Sep 22, 1998

Related Articles
'Che Ti Dice La Patria?': shadows of meaning.
Hemingway and His Conspirators: Hollywood, Scribners, and the Making of American Celebrity Culture.
Ernest Hemingway and the New Yorker: the Harold Ross files. (Notes).
Money and marriage: Hemingway's self-censorship in For Whom the Bell Tolls.
Marketing Modernism Between the Two World Wars.
Hemingway's lost friend: Norton S. Baskin.
Singling out John Monk Saunders: Hemingway's thoughts on an imitator.

Terms of use | Copyright © 2014 Farlex, Inc. | Feedback | For webmasters