When “On Writing” begins, Nick has ernest hemingway on writing pdf one trout already and observes the river, considering where more fish might lie. Nick credits his knowledge to his friend Bill Smith.
This reminds him of another friend, Bill Bird, and their adventures in Europe. His thoughts continue to his old group of friends, his wife Helen, and marriage both to a woman and to fishing, before moving on to memories of bullfighting. Nick then reflects on writing and how it can take reality as inspiration and motivation, but that the stories themselves must be invented. The real reason for writing, Nick realizes, is for the fun of it. Inspired, Nick releases his trout and heads back to camp. He stops to remove ticks from a rabbit along the way, but at the end of the story is walking again, “holding something in his head.
Gertrude Stein, who thought the story slowed when Nick began thinking. I have decided that all that mental conversation in the long fishing story is the shit and have cut it all out. I’ve finished it off the way it ought to have been all along. Nick’s thoughts about writing are often attributed to Hemingway himself.
Elizabeth Dewberry Vaughn explains how some critics completely substitute Hemingway for Nick. Many critics who discuss this rejected conclusion generally assume that Hemingway lost control of his art here, identified too closely with Nick, and began writing autobiography rather than fiction. However, she believes that this near-overlap is common in the Nick Adams stories. That was what the family couldn’t understand.
They thought it was all experience. This conflict between reality and fiction is addressed by many critics. The only writing that was any good was what you made up, what you imagined. That made everything come true. Daedalus in Ulysses was Joyce himself, so he was terrible. Joyce was so damn romantic and intellectual about him. Nick’s freeing the trout and helping the rabbit indicate his sensitivity as an artist.
She believes that this is indeed the correct way to view the book. Following Nick’s thoughts gives us a clearer sense of the connectedness of the stories, while separating us from Hemingway’s direct narration keeps us from applying too much of Hemingway’s biography to a work of fiction. Our readings of individual stories would also be affected. Nick, as a boy, resolving never to die, but as Paul Smith notes, viewing the young Nick through the author Nick’s eyes emphasizes that this view of death is false. Big Two-Hearted River,’ he is not quite ready to make.
Including the fragment would also change the chronology of The Nick Adams Stories by referencing Nick’s marriage, placing it later after the war. Nick’s story and makes it available to the reader. Cutting the fragment, as Hemingway did, also has many results. Nick’s war wound changes, for example, which is tolerable across short stories but not through a novel.
Nick greater flexibility as a character. Nick was free to appear in any of Hemingway’s future stories—but only if he chose. Saving Nick Adams for Another Day. The Unifying Consciousness of a Divided Conscience: Nick Adams as Author of In Our Time. In Our Time as Self-Begetting Fiction. Michigan State University Press, 1998, pages 135-147. On Writing’: A Portrait of the Artist as Nick Adams.
Bloom’s Major Literary Characters: Nick Adams. Chelsea House Publishers, 2004, pages 87-96. Who Wrote Hemingway’s In Our Time? Chelsea House Publishers, 2004, pages 105-112. The Importance of Being Ernest. Michigan State University Press, 1998, pages 213-238.