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The Complete Short Stories Of Ernest Hemingway : The Finca Vigia Edition

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Title: The Complete Short Stories Of Ernest Hemingway : The Finca Vigia Edition
by Ernest Hemingway
ISBN: 0-684-84332-3
Publisher: Scribner
Pub. Date: 03 August, 1998
Format: Paperback
Volumes: 1
List Price(USD): $20.00
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Average Customer Rating: 4.63 (30 reviews)

Customer Reviews

Rating: 5
Summary: The single finest edition of Hemingway's work.
Comment: Hemingway's short stories were always a bit more finely crafted than his novels. The Complete Short Stories of Ernest Hemingway allows the reader to examine and even partake in the development of Hemingway as a writer; from his early Nick Adams stories, a few of which went on to become The Sun Also Rises, A Farewell To Arms, To Have And Have Not; to the mature Hemingway who wrote about his experiences as a reporter during the Spanish Civil War and later in Europe between the wars. This work contains some of the finest shorts of American literature. (Read The Short Happy Life Of Francis Macomber; The Snows of Kilimanjaro; A Clean Well Lighted Place; Big Two-Hearted River (parts I & II); Hills Like White Elephants--too many good ones to mention them all.) There are some poor stories as well but even these are well constructed. In short, the definitive volume of Hemingway--better than any single novel or other collection. A must have.... (I'm holding mine in my hand as I type with the other--) Little known fact: The Finca Vigia Edition contains an editorial change in the story A Clean Well Lighted Place--a moved line of dialogue--which was made by a silly editor after Hemingway's death and which renders the text incorrect with respect to his orignal published manuscript. In fact there are no correct versions of this short story presently in print. The accurate version, though, may be found in the Library of Congress.

Rating: 5
Summary: Give us this day our daily papa
Comment: It was a large book, about eight by five and a half inches. It was a stack of pages. If there had been a few dozen more, they would have numbered seven hundred. But the number of pages did not matter. The important thing was that the book was the proper shape that if you were shooting an elephant you could prop your rifle up on it and you might not get gored that time. Or if you were capsized in the river it might float and then you could ride it to shore. But he did not know if it would float. Like the other books he had seen, it had front and back covers of stiff paper and on the front cover was a picture of two men in a boat. The stock was good and white and durable, and outside snow was falling. It was the first snow he had seen in San Diego.

Rating: 5
Summary: Hemingworld
Comment: Hemingway's writing is a grand example of stylistic dichotomy: His prose is as austere and utilitarian as a barn, yet his stories, unique and instantly recognizable as his own, pound with energy, drama, and almost excessive bravado. He wastes no time on literary pretension and gets right down to business; writing, drinking, and living life to the fullest are inextricably entwined, and nothing matters more than a well-worded and well-placed line of dialogue.

Hemingway's subject matter is easy to summarize: he writes about the things he actively enjoys. His short stories cover safaris, hunting, fishing, the outdoors ("Big Two-Hearted River"), boating, horse racing ("My Old Man"), bullfighting ("The Undefeated"), boxing ("Fifty Grand"), war, lowlife crime ("The Killers"), even a couple of fairy tales. Basically, Hemingway can turn anything adventurous and daring into reading material for the armchair weekend warrior. With a few exceptions, the stories take place either in the plains of Africa, throughout war-torn European countries, or in and around Michigan.

While some of the stories profess nothing more than pure narration, the recreational activities of the characters usually serve as a backdrop against which they face private conflicts or ethical dilemmas. Realism is emphasized, and only "Cat in the Rain" can be said to have a conventional happy ending, albeit one that glosses over the heroine's real problems. Hemingway is more interested in the seedy side of life, portraying people on the fringes of society: vagabonds, smugglers, expatriates. An important distinction about his war stories is that he tends to write not about soldiers, but about fighters -- individualistic rebels who are compelled by the strength of their political convictions and revel in the camaraderie on and off the battlefield, often with a bottle of fine wine.

The two stories that bookend this collection are indicative of the diversity of Hemingway's thematic repertoire. The title character of "The Short Happy Life of Francis Macomber" exposes his cowardice to his wife and loses the real trophy -- her love -- to their safari guide, even while regaining his dignity in a final effort that is too little, too late. Hemingway appears to reflect himself in "The Strange Country," in which an acclaimed cosmopolitan writer takes a cross-country road trip with a much younger girl in a series of vignettes that contrasts the comfort of American domesticity with the imminent dangers of pre-World War II Europe. This is the ultimate expression of Hemingway's restlessness: The world was too small to contain him; life was too slow to keep up with him.

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