In Another Country

Hemingway in the Milan hospital, 1918

In Another Country is a short story by the American writer Ernest Hemingway . This partially autobiographical story by Hemingway first appeared in Scribner's Magazine in April 1927 and was included in the anthology Men without Women in October of the same year . The story deals with the life of the soldiers in the hospital during the First World War .

Is currently the only authorized translation of the short story into German by Anne Marie Horschitz-Horst was the first time in 1929 under the title A Farewell in the short story collection Men in Rowohlt Verlag published.

The German title of Hemingway's second novel A Farewell to Arms is also In Another Land . These two works are not only published under the same German title and are close together in the time of their creation, but are also similar in setting , characters , atmosphere and subject matter. Both are based on Hemingway's personal experience during the First World War, when he served as a medic in the Italian army directly at the front and was seriously wounded on a mission.

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Hemingway in Milan, 1918

The short story is about a group of soldiers who are being treated in a Milan hospital for their war wounds and their relationships with one another. Even if the first-person narrator is not named, it can be assumed that it is Nick Adams , who is often viewed as Hemingway's literary alter ego . The story is presented from his point of view .

Another Country begins with the sentence: “There was still a war in autumn, but we didn't take part anymore.” The situation in the hospital is described. The narrator and other soldiers are treated physically on machines. Nick Adams received a serious knee injury at the front; the medical officer is confident that he will be fully regenerated and that he will be able to play football again . He also rates the situation of an Italian major - one of the best fencers in Italy before the war - whose one hand was badly wounded. The medical officer shows him a photograph of a similarly stunted hand and reports that it has been almost completely cured by physiotherapy , but in the end he does not succeed in convincing the major of the effectiveness of the apparatus.

Three younger soldiers, around the age of the protagonist, are also introduced . All of them have been wounded and are on the machine, with two of them receiving awards for bravery . The third boy was severely mutilated after just an hour at the front. Out of shame he wears a black silk handkerchief in front of his face, because it is disfigured and he has no nose. However, they promise to give him a new face, but this always fails because they cannot completely straighten their nose. This boy comes from a wealthy family; the other boy wanted to become a lawyer , the last of them a professional soldier , which is why he was the only one who came closer to his goal in life through the war.

The four of them often go to Café Cova after therapy and drink and chat with girls. To do this, they have to go through the communist quarter, where things are called after them because they are officers and are therefore hated by the Italian communists, but they feel safe from vigorous attacks since there are four of them. In the café itself, the first-person narrator is always welcomed benevolently, because he is an excellent officer, but when the certificate is read, it is clear to those involved, as well as Nick himself, that he was practically only honored because he is American. This fact finally leads to the break between the protagonist and the two soldiers honored for bravery. After the cocktail hour, Nick often asks himself whether he would have done all the things for which these two soldiers got their medals, and even if he often tells himself that he actually did them, he eventually comes back during a walk to the hospital to the conclusion that he was too afraid of dying and had done none of it.

He has a friendship and affection for the disfigured boy because this lad never had the opportunity to act as bravely as his compatriots, since his military service lasted just an hour before he was wounded. Meanwhile, the major says he doesn't think much of bravery, and instead of talking about the war, he prefers to improve Nick's grammar , the Italian for a simple language, but as the major pays increasing attention to its grammar, Nick finally realizes that he is practically afraid of making another mistake in front of the major, and thinks through each sentence several times in his mind before speaking to him.

The narrator knows about the major that he always appears on time for therapy, although he doesn't think much of them. One day, however, he insulted her as nonsense. Nick is also (apparently not only because of his often incorrect grammar) "stupid, impossible and an eyesore" . A conversation develops with the angry major. He asks Nick what he's up to after the war is over. Nick replies directly that he intends to return to America . Although he is not married, as he replies to a question from the major, he intends to do so. The major accuses Nick of being a fool and emphasizes sharply, again becoming aggressive, that a man should not marry. He shouldn't be tied to something he was about to lose. Nick asks why he is going to lose it, whereupon the major gets very angry and just insists that he will lose it. He discharges his anger and disappears, only to later approach Nick again and apologize for his behavior. He reveals to him that his wife has recently passed away and that he cannot come to terms with it yet. Nick feels miserable with compassion and, like the major, cannot properly process this information. The major leaves the hospital crying. The doctor reveals to Nick that the major's very young wife died of pneumonia after a few days of illness . She and the major married after he had been retired as permanently unfit for war.

The major does not appear in the hospital for three days, but then he appears at the punctual hour and wears a black mourning band . In the meantime, the doctor has hung up before and after pictures in the area of ​​the apparatus, which are supposed to encourage the soldiers that they can be healed again. But the major ignores those pictures of mutilated hands; he just keeps looking out the window.

Narrative design and meaning

The specific tonal pattern with the long vowel / o / , which is used as the dominant phonetic refrain carrier in the first sentence of the story, alternating with the following consonants / l / and / r / and the key words fall , is striking in Hemingway's narrative , war , always and (any) more binds. With this short story insert, which is reminiscent of work with Edgar Allan Poe , for example in the first sentences of The Masque of the Red Death , Hemingway suggests from the beginning the notion of the permanence of natural transience and of violent, artificial, man-made destruction. The assonances of the opening sentence are followed by alliterating series that create new connections or relationships of their own. The sequence fall - fall - fur - foxes - feathers - fall can be found as an alliteration series that extends over five of the first six sentences . The series ends with the repetition of the beginning; the notion of the end of the year and natural passing involves wildlife, both living and human-killed. Further alliteration chains are then assigned to the word fall with the associatively linked meanings "autumn", "fall" or "fall", "sink", "hang down", "decay", "downfall" or "defeat": cold - came - came on - cold - came down , which connect the cold and darkness or the end of the daily cycle with the deer hanging in front of the game shop, ie the symbol of natural life ending by violence ( dark - deer ). In the subsequent alliterative series of hanging - hung - heavy , the idea of ​​passivity, heaviness and death is suggestively triggered, which is interwoven with the activity of the wind and the passivity of the birds blew - birds - blew . In a further synopsis of elements that are syntactically and spatially further apart ( electric lights - empty ), the flat action space of Milan is connected with the mountainous horizon (" mountains ") and at the same time a correlation is established between artificial light and human gaze ( lights - looking ) .

The effect of the words connected by intro and initial sound is further intensified by the repetitions of the words; Through rhythmic subdivisions with the help of anapaestical patterns and purely paratactic , sometimes paired, individual sentences, a “magic circle” is built in which the fields of meaning of birds and wind as well as natural dark and artificial light represent the broader areas of meaning “autumn, wind, cold, mountains, war and big city “And also mark out an even darker field of meanings: casualties, venison, rigidity, heaviness and emptiness. People are associated with the creature they have killed. In this way, Hemingway develops the cornerstones of a network of meanings in a well-designed narrative consistency, in which the perspective is gradually narrowed from the initial “we all” to “three boys” to “He” with a counter-figure. This corresponds to the timing of the short story, which begins not as a narrative of the unique, but as a description of what is repeated.

With the exception of the scenic dialogue part in the first part, Hemingway's short story predominantly uses an iterative - durative narrative style, which begins with the time "always" in the first movement and with the emphasized "always" in the penultimate Sentence ends. That which often happened in the past, which is reported from the memory, loses its special or unique character and becomes a representation of a state. The iterative form of presentation with regularly used time indications such as "every afternoon" , "each day" , "sometimes" , "never" or often next to "always" creates a narrative background and framework in which the representation of the unique emerges particularly clearly. In addition to the dialogue scene in the hospital, in which the doctor first turns to the first-person narrator and then to the major, the major's story is particularly emphasized in this way by being embedded in the routine nature of the repetitive framework. In addition, the time structure of In Another Country contains various retrospectives that regularly deal with weapons, war or death. In four separate places the present situation of the narrative self is pointed out, for the first time connected with an anticipation of the future, which follows the further fate of the boy who was wounded on his nose. The first-person narrator also reveals his later insight into the future, which he describes with a temporal distance or from a later perspective from the outside in retrospect. The time interval is additionally emphasized by the time indication “this was a long time ago” .

The narrative narrowing in the perspective corresponds to the design and structure of the world of figures. In the opening section, the “we” dominates the community of fate of those who no longer go to war. In the third paragraph in Part I of the short story, this “community of those marked by the war” is dissolved into individuals by the machines; the anonymous multitude is reduced to three with the ego, the doctor, and the major, then to two with the doctor and the major.

Part II of the narrative also initially mentions a group, which is then also condensed into two people. The world of characters is more complex overall. The focus is on the highly distinguished young Milanese, the "hunting falcons". The narrator shares with them the daily hospital visit and the subsequent return to the café. In contrast to the Milanese, who are highly decorated for their bravery, the narrator has no special war decorations. Although the narrator would have liked to have been recognized for his bravery in the war, he is rejected by the Milanese group and not considered one of their own. In order not to become completely an outsider, the narrator is forced to seek friendship with the nasal injured boy. While at the end of the part the reduction of the world of characters serves to emphasize the hopelessness of the highly awarded major, at the end of the second part, with the condensation of the characters, attention is drawn to the disappointment of the narrator: the older major, who no longer makes sense in bravery sees the younger narrator, for whom bravery is still a self-affirmation.

In Part III of the short story, the observing ego and the major come to the fore as the objects of his observation; the doctor only plays a marginal role and no longer appears as a speaking figure. With the statement that the major, who was once the best fencer in Italy, no longer believes in bravery, the subject of the first part (hopelessness or lack of confidence) is connected with that of the second part (bravery). The first-person narrator increasingly takes on the role of observer and no longer appears as an acting figure. The story of a common fate thus becomes the pointed story of an individual fate, which Nick Adams, the name I of the narrative, experiences as a witness and learner and portrays from memory as a reporter.

The interior design of In Another Country corresponds to the structure and the world of figures. In the beginning the mountain horizon is marked out, which is just visible from the city of Milan in the plain. Similar to the way that Hemingway uses rain and snow as symbols that trigger negative or positive associations , the plain and the mountains come into their own in this short story. The plain and city of Milan as a symbol of the “anti-homeland” are assigned to the mountains as a place of refuge or place of “homeland”. The space is then drawn together to the hospital with its machines, whereby the streamlining of the world of figures corresponds to this narrowing of the action space. The room in the café or on the street to and from the hospital in the second part only plays a minor role; in the third part, the treatment room with its machines is the only setting that is presented to the reader. At the end of the narrative, the final contraction of the room follows through the juxtaposition of inside and outside: The major only looks out of the window: [...] he only looked out of the window. ; all that remains for him is final resignation after the loss of his ideals and the death of his wife.

The theme of marriage and the fatefully failed relationship between man and woman in the dialogue passages between the first-person narrator and the major, when he received the news of the tragic death of his wife, leads to the desperate exclamation of the major, which is also central to this short story : A man is not allowed to marry! The former Italian fencing master had only married his wife after losing his health and his previous ideals due to his war wound. The belief in his wife and thus in love as something worth living has no longer recognized any military values ​​for him, but has not been fulfilled. The major is finally isolated by the death of his wife; he only tries to maintain a stoic attitude, following the code of the Hemingway hero. This attitude is announced beforehand in the story by emphasizing the formal. The major insists almost obsessively that the first-person narrator uses Italian grammar correctly. In doing so, he tries to teach the narrator the formally correct command of Italian, even though he had no longer had any communication difficulties. The multiple references to the stiff or rigid posture of the major also point to the resigned end of the third part as an echo of the opening sequence. There the doctor had presented clinical photographs that should give the major hope. While the major had looked at these photos very carefully at the beginning, there are now (presumably different) photos framed on the wall that the major no longer takes any notice of. A conversation with the doctor is also no longer possible. The grotesque photo gallery on the wall, like the useless ritual of machine treatment, only underlines the resignation to the hopeless.

Themes and motifs

The text is typical of Hemingway's generation, the Lost Generation . The world as the first-person narrator knew it has been torn apart and negatively changed by far-reaching experiences. Furthermore, war is no longer a hall of fame and bravery is not something that helps or advances. According to the major, medals of bravery, such as those received by the protagonist, are not necessarily awarded for great deeds, and cowardice ultimately wins in battle. Given this view of the Major, Nick Adams openly admits in his mind to the reader that he was too cowardly to have performed all the acts of fame that he claims to have done in the hospital and in town. He admits to himself that he is too afraid of dying to be really brave. The major, on the other hand, finds genuine bravery only a hindrance. Nevertheless, she divides the treated soldiers into groups. Nick is not taken seriously by the two wounded soldiers who have accomplished real exploits, and they eventually renounce his company.

The inviolable dignity and inviolability of the individual is disturbed by a war wound and the soldier's world changes forever, partly through experiences of death at the front.

Central themes in the short story are hope, expectation and assessment of one's own situation. Physiotherapy on the machines plays an important role in this. Nick isn't sure yet if they're really helping; The Italian major, on the other hand, is firmly convinced that the machines are useless, but both appear on time for the next meeting because they are nevertheless accompanied by a silent, never-expressed hope. The major is a bipolar person in mood. First, he has a friendly conversation with Nick and nicely points out mistakes in Nick's grammar. After the news of his wife's death, the major is hit hard once again by fate. This second blow hits him harder than the injury. Because of this, he becomes very insufferable, but later manages to apologize for his behavior. He catches up, but is unable to express himself correctly. From then on he spent his meetings in silence and looked out the window. His outburst of mood has shown that he basically does not believe in the machines; but he returns because of the hope that still remains. The famous Hemingway interpreter Carlos interprets the end of the story as a kind of tragedy ( "basically a kind of tragedy" ).

In the scenic passages of dialogue between Nick and the major about the relationship between men and women, Hemingway also takes up the issues of closeness and distance or the inevitable loss or tragic failure of the relationship between the sexes, which was not included in the novel, which was published two years later A Farewell to Arms plays a significant role, but also characterizes Hemingway's further prose in several novels and numerous short stories.

According to Philip Young, the title of the story is taken from a scene from Marlowe's The Jew of Malta (IV, 1): “Fornication: but that was in another country; And besides the wench is dead " (German translation:" You have been hearing around: However, it was in another country, and besides: the wench is dead. "). Young sees in the cynicism, which lies in the literary origin of the title, a "brutal allusion to the loss of the major" ( "a brutal allusion to the major's bereavement" ), which corresponds to numerous other cynicisms in the short story, for example in the doctor's advice that the knee-injured narrator will be able to play football better than ever before or in the fact that the master fencer's hand has shrunk to the size of a small child.

According to Carlos Baker, however, the title may allude to a distant country, in which “a man can find something he cannot lose” ( “The country is Italy; but it is also another country still, a country ( it is just possible) where a man can find things he cannot lose. " ).

Autobiographical traits

In Another Country was inspired by Hemingway's own experiences, which also spawned the novel A Farewell to Arms . Like the first-person narrators in both works, the author served as an ambulance driver in the Italian army during the First World War. Hemingway was seriously injured during an operation and ended up in a Milan hospital for a long time , where he fell in love with the Polish-American nurse Agnes von Kurowsky.

The autobiographical features in the story become all the more apparent when one assumes that the unnamed first-person narrator is actually Nick Adams, who can be viewed as a kind of fictional alter ego that Hemingway used to portray particularly serious experiences in to process his literary activity.

Hemingway also deals with the immediate post-war period in other stories and in the first novel The Sun Also Rises , which, however, was published in 1926.

Impact history

The entrance passage to In Another Country is regarded in literary criticism and literary studies as a prime example of a narrative technique, the effect of which was described as "hypnotic" not only by the Irish author and critic Frank O'Connor . The entire first section of the story was so characteristic of O'Connor that he quoted it in full in his book on the short story "The Lonely Voice: A Study of the Short Story" (1965), using the repeated keywords such as "fall" , Put “wind” , “cold” , “blew” in italics. He wanted to emphasize the exemplary effect of this passage in Hemingway's short story, which he described as a particularly "elegant" way of repeating "sounds and sound sequences", "words and phrases" and "rhythmic and syntactic patterns". The English novelist Ford Madox Ford also regards the opening part of this short story as an exemplary example of Hemingway's impressive narrative style. The American writer F. Scott Fitzgerald , a friend of Hemingway, also considers the beginning of this short story to be one of the most beautiful he has ever read. For the recognized Hemingway researcher Philip Young, this text in Hemingway's short prose represents one of the best stories of Hemingway overall ( "one of the best of all Hemingway stories" ).

Like other short stories from Hemingway, for example The Killers from the Nick Adams Stories cycle, In Another Country belongs to the group of Hemingway initiation stories, in which the first-person narrator is enriched by a decisive life experience, in this case the experience of the " Power of the negative ”. While the American tenent in Now I Lay Me , which chronologically provides the opening credits to In Another Country , was still advised to marry as something worth striving for ( "A man ought to be married. You'll never regret it. Every man ought to be married . " ), The major warns urgently against a marriage, but for very special reasons. He no longer believes in the ideal of bravery as it is responsible for the loss of his health and crippled him; he has lost confidence in the machines because they cannot heal; he no longer believes in marriage, since with the fateful death of his young wife he has lost the most precious thing he has possessed. His desperate exclamation: “A man must not marry” (German: “A man must not marry”) contrasts both thematically and phraseologically with the prehistory and represents an astonishing experience for the first-person narrator.

In Another Country, with the painful story of the major, the subject of the Nick Adams stories extends to the “story of a war generation” in which “a whole lost generation [...] is wounded”, and thus also points to the following Novels The Sun Also Rises (1926) and A Farewell to Arms (1929).

The motif of staring into space as a gesture of resignation, which comes to bear at the end of In Another Country , is also found prominently in other stories by Hemingway, for example in Cat in the Rain .

Secondary literature

• Klaus Lubbers: 'No happy end to it': Studies on Ernest Hemingway's 'In Another Country', 'A Day's Wait' and 'A Clean, Well-Lighted Place' . In: Hans Galinsky and Klaus Lubbers (eds.). School and Research: Two Classics of American Short Story: Poe and Hemingway . Diesterweg Verlag, 2nd edition, Frankfurt a. M. 1978, ISBN 3-425-04213-0 , pp. 52-66.
• Reiner Poppe: "In Another Country". In: ders .: Ernest Hemingway · From the short story · Investigations and comments. Beyer Verlag, Hollfeld / Ofr. 1978, pp. 20-25.

Web links

• Original text in English
• Synopsis in English
• Analysis and table of contents on gradesaver.com

Individual evidence

1. ↑ Carlos Baker: Hemingway - The Writer as Artist , Princeton University Press, 4th ed. 1972, pp. 411 and 418. The story has since been anthologized and reissued several times, for example in 1938 in The Short Stories of Ernest Hemingway: The First Forty-nine Stories and the Play The Fifth Column , 1947 in The Essential Hemingway (reissued 1970 and 1974) or 1962 in The First Forty-Nine Stories (reissued 2004).
2. ↑ This German edition of the short story collection Hemingway by Horschitz-Horst has since appeared in numerous new editions under the later title Men without Women , including as a licensed edition in the (East) Berlin Aufbau-Verlag in the former GDR . The German transmission of the story of Horschitz-Horst has been republished in numerous other collections, for example by Rowohlt Verlag in 1950 in Ernest Hemingway: 49 stories (licensed edition by Aufbau Verlag in 1965) or as a new edition in 2009 by Rowohlt Verlag under the title Die Stories by Ernest Hemingway
3. ↑ Cf. Klaus Lubbers: 'No happy end to it': Studies on Ernest Hemingway's 'In Another Country', 'A Day's Wait' and 'A Clean, Well-Lighted Place' , p. 53 f. See also Reiner Poppe: "In Another Country". In: ders .: Ernest Hemingway · From the short story · Investigations and comments. Beyer Verlag, Hollfeld / Ofr. 1978, p. 22.
4. ↑ On the autobiographical background of Hemingway's experience in World War I, the description in Carlos Baker: Ernest Hemingway -: A Life Story , London 1969, pp. 61-102, especially pp. 67-80. See also George-Albert Astre: Ernest Hemingway - In self-testimonials and picture documents , Rowohlt Taschenbuchverlag, Reinbek b. Hamburg 1961, ISBN 3-499-50073-6 , p. 23 ff., And Reiner Poppe: "In Another Country". In: ders .: Ernest Hemingway · From the short story · Investigations and comments. Beyer Verlag, Hollfeld / Ofr. 1978, p. 21.
5. ↑ In the center of the cycle of Nick Adams stories from In Our Time , Nick's war experiences on the Italian front and the wounds he suffered there are also discussed elsewhere. See in more detail Philip Young: The Experiences of Nick Adams · Ernest Hemingway's “In Our Time”. In: Gerhard Hoffmann (Ed.): American Literature of the 20th Century Volume 1 . Fischer Verlag, Frankfurt a. M. 1972, ISBN 3 436 01444 3 , pp. 147-168, here in particular pp. 155 ff. Cf. also Phillip Young: Ernest Hemingway . Translated by Hans Dietrich Berendt, Diedrichs Verlag, Düsseldorf u. a. 1954, without ISBN, p. 35. Klaus Lubbers: 'No happy end to it': Studies on Ernest Hemingway's 'In Another Country', 'A Day's Wait' and 'A Clean, Well-Lighted Place' , p. 53.
6. ↑ So z. B. George-Albert Astre: Ernest Hemingway - In personal testimonies and picture documents , Rowohlt Taschenbuchverlag, Reinbek b. Hamburg 1961, ISBN 3-499-50073-6 , p. 13. The recognized Hemingway biographer and interpreter Carlos Baker points out in his interpretation of Hemingway's work, however, that the figure of Nicholas Adams should of course not be equated with Hemingway himself , regardless of the biographical similarities or parallels that exist in some cases. See Carlos Baker: Hemingway - The Writer as Artist , Princeton University Press, 4th ed. 1972, p. 128. See also Phillip Young: Ernest Hemingway . Translated by Hans Dietrich Berendt, Diedrichs Verlag, Düsseldorf u. a. 1954, without ISBN, p. 39 f.
7. ↑ Ernest Hemingway, Collected Works, Rowohlt Verlag, Hamburg 1977, Volume 6, page 319
8. ↑ Ernest Hemingway, Collected Works, Volume 6, page 324
9. ↑ See Klaus Lubbers: 'No happy end to it': Studies on Ernest Hemingway's 'In Another Country', 'A Day's Wait' and 'A Clean, Well-Lighted Place' , p. 55 f. The symbolically and atmospherically exaggerated contrast between the plain (as a place of emptiness and abandonment or of calamity and death) and the mountains (as a place of refuge or security) equally plays a central role in Hemingway's novel A Farewell to Arms and subsequent narratives. See Carlos Baker: Hemingway - The Writer as Artist , Princeton University Press, A. Ed. 1972, pp. 94-116.
10. ↑ See in detail Klaus Lubbers: 'No happy end to it': Studies on Ernest Hemingway's 'In Another Country', 'A Day's Wait' and 'A Clean, Well-Lighted Place' , pp. 56–60.
11. ↑ See in detail Klaus Lubbers: 'No happy end to it': Studies on Ernest Hemingway's 'In Another Country', 'A Day's Wait' and 'A Clean, Well-Lighted Place' , p. 61 f.
12. ↑ See more detailed Klaus Lubbers: 'No happy end to it': Studies on Ernest Hemingway's 'In Another Country', 'A Day's Wait' and 'A Clean, Well-Lighted Place' , p. 62 f.
13. ↑ See Klaus Lubbers: 'No happy end to it': Studies on Ernest Hemingway's 'In Another Country', 'A Day's Wait' and 'A Clean, Well-Lighted Place' , p. 63.
14. ↑ See Carlos Baker: Hemingway - The Writer as Artist , Princeton University Press, A. Ed. 1972, pp. 101-109. See also Klaus Lubbers: 'No happy end to it': Studies on Ernest Hemingway's 'In Another Country', 'A Day's Wait' and 'A Clean, Well-Lighted Place' , p. 63.
15. ↑ See Klaus Lubbers: 'No happy end to it': Studies on Ernest Hemingway's 'In Another Country', 'A Day's Wait' and 'A Clean, Well-Lighted Place' , p. 63 f.
16. ↑ See more detailed Reiner Poppe: Ernest Hemingway · From the short story · Investigations and comments . Beyer Verlag Hollfeld / Ofr. 1978, ISBN 3-921202-40-X , p. 23 f. On Hemingway's concept of the “code hero” cf. also the (English) remarks on: "Lost Generation" . Retrieved September 26, 2014.
17. ↑ See Klaus Lubbers: 'No happy end to it': Studies on Ernest Hemingway's 'In Another Country', 'A Day's Wait' and 'A Clean, Well-Lighted Place' , p. 64 f.
18. ↑ See Baker's interpretation: “The major's wife had just died of pneumonia. Death is the absolute distortion, the unequivocal conclusion ” . In: Carlos Baker: Hemingway - The Writer as Artist, Princeton University Press , A. ed. 1972, p. 137
19. ^ Carlos Baker: Hemingway - The Writer as Artist , Princeton University Press, A. Ed. 1972, p. 137.
20. ↑ Cf. Carlos Baker: Hemingway - The Writer as Artist , Princeton University Press, A. Aufl. 1972, p. 136 ff.
21. ↑ Phillip Young: Ernest Hemingway . Translated by Hans Dietrich Berendt, Diedrichs Verlag, Düsseldorf u. a. 1954, without ISBN, p. 35 f. Likewise Klaus Lubbers: 'No happy end to it': Studies on Ernest Hemingway's 'In Another Country', 'A Day's Wait' and 'A Clean, Well-Lighted Place' , p. 65 f.
22. ↑ Cf. Carlos Baker: Hemingway - The Writer as Artist , Princeton University Press, A. Aufl. 1972, p. 136 ff.
23. ↑ See in detail Carlos Baker: Ernest Hemingway -: A Life Story , London 1969, pp. 74–81. See also Reiner Poppe: "In Another Country". In: ders .: Ernest Hemingway · From the short story · Investigations and comments. Beyer Verlag, Hollfeld / Ofr. 1978, pp. 20-22, and Detlef Gohrbandt: Ernest Hemingway - The Short Happy Life of Francis Macomber and Other Stories - Model Interpretations . Klett Verlag, Stuttgart 1985, ISBN 3-12-577390-3 , p. 6.
24. ↑ Cf. Annemarie Horschitz-Horst: Afterword . In Ernest Hemingway: 49 stories . Translated by Annemarie Horschitz-Horst. Aufbau-Verlag, Berlin and Weimar 1965, without ISBN, p. 554 ff. See also Martin Schulze: History of American Literature. From the beginning until today . Ullstein Verlag, Berlin 1999, ISBN 3-549-05776-8 , p. 419 f., And Detlef Gohrbandt: Ernest Hemingway - The Short Happy Life of Francis Macomber and Other Stories - Model Interpretations . Klett Verlag, Stuttgart 1985, ISBN 3-12-577390-3 , p. 15.
25. ↑ See detailed Martin Schulze: History of American literature. From the beginning until today . Ullstein Verlag, Berlin 1999, ISBN 3-549-05776-8 , p. 419 ff.
26. ↑ See Frank O'Connor: The Lonely Voice: A Study of the Short Story . London 1965 (1st ed. 1962), pp. 161, 159 and 158. See also Klaus Lubbers: 'No happy end to it': Studies on Ernest Hemingway's' In Another Country ',' A Day's Wait 'and' A Clean 'Well-Lighted Place' , p. 54.
27. ↑ See the information in Reiner Poppe: "In Another Country". In: ders .: Ernest Hemingway · From the short story · Investigations and comments. Beyer Verlag, Hollfeld / Ofr. 1978, p. 24 f.
28. ↑ Philip Young: Big World Out There . In: Jackson Benson (ed.): The Short Stories of Ernest Hemingway - Critical Essays , Durham 1975, p. 38. See also Reiner Poppe: "In Another Country". In: ders .: Ernest Hemingway · From the short story · Investigations and comments. Beyer Verlag, Hollfeld / Ofr. 1978, p. 24 f.
29. ↑ Cf. Robert Kopetzki: Weltfreude und death proximity: the interpretation of Anglo-American short stories in theory and practice with special consideration of the importance of irony in the art of storytelling . In: Schule und Forschung, No. 10, Frankfurt! 967, p. 77 ff. See also Klaus Lubbers: 'No happy end to it': Studies on Ernest Hemingway's' In Another Country ',' A Day's Wait 'and' A Clean 'Well-Lighted Place' , p. 64 f.
30. ↑ See Phillip Young: Ernest Hemingway . Translated by Hans Dietrich Berendt, Diedrichs Verlag, Düsseldorf u. a. 1954, without ISBN, p. 35 f.
31. ↑ See Klaus Lubbers: 'No happy end to it': Studies on Ernest Hemingway's 'In Another Country', 'A Day's Wait' and 'A Clean, Well-Lighted Place' , p. 64.