Benson, Jackson J., ed. New Critical Approaches to the Short Stories of Ernest Hemingway. Durham, N.C.: Duke University Press, 1990. Section 1 covers critical approaches to Hemingway’s most important long fiction; section 2 concentrates on story techniques and themes; section 3 focuses on critical interpretations of the most important stories; section 4 provides an overview of Hemingway criticism; section 5 contains a comprehensive checklist of Hemingway short fiction criticism from 1975 to 1989.
Berman, Ronald. Fitzgerald, Hemingway, and the Twenties. Tuscaloosa: University of Alabama Press, 2001. An explication of the cultural context of the era and how the works of these two American writers are imbued with the attitudes and icons of their day.
Berman, Ronald. “Vaudeville Philosophers: ‘The Killers.’” Twentieth Century Literature 45 (Spring, 1999): 79-93. Discusses the influence of the modernist reevaluation of vaudeville on Ernest Hemingway’s short story; notes that Hemingway’s interest in vaudeville resulted from its pervasive presence in society and its acceptance in the intellectual world; argues that vaudeville scripts inspired Hemingway’s interest in the juxtaposition of urban sophistication and rural idiocy.
Bloom, Harold, ed. Ernest Hemingway. Broomall, Pa.: Chelsea House, 2000. Includes articles by a variety of critics who treat topics such as Hemingway’s style, unifying devices, and visual techniques.
Burgess, Anthony. Ernest Hemingway. New York: Thames and Hudson, 1999. Originally published in 1978 as Ernest Hemingway and His World. Includes bibliographical references and an index.
Dubus, Andre. “A Hemingway Story.” The Kenyon Review, n.s. 19 (Spring, 1997): 141-147. Dubus, a respected short-story writer himself, discusses Hemingway’s “In Another Country.” States that, whereas he once thought the story was about the futility of cures, since becoming disabled he has come to understand that it is about healing.
Flora, Joseph M. Ernest Hemingway: A Study of the Short Fiction. Boston: Twayne, 1989. An introduction to Hemingway’s short fiction that focuses on the importance of reading the stories within the literary context Hemingway creates for them in the collections In Our Time, Winner Take Nothing, and Men Without Women. Argues that Hemingway devises an echo effect in which one story reflects another.
Hays, Peter L. Ernest Hemingway. New York: Continuum, 1990. A brief but instructive overview of Hemingway’s life and his achievement as a writer. Offers brief critical summaries of the novels and many short stories. Contains a useful chronology.
Hotchner, A. E. Papa Hemingway: A Personal Memoir. New ed. New York: Carroll & Graf, 1999. Written by one of Hemingway’s close friends, an editor, novelist, playwright, and biographer. Originally published in 1966, this Hemingway Centennial Edition features a new introduction.
Lamb, Robert Paul. “The Love Song of Harold Krebs: Form, Argument, and Meaning in Hemingway’s ‘Soldier’s Home.’” The Hemingway Review 14 (Spring, 1995): 18-36. Claims that the story concerns both war trauma and a conflict between mother and son. Discusses the structure of the story; argues that by ignoring the story’s form, one misses the manner of Hemingway’s narrative argument and the considerable art that underlies it.
Leonard, John. “‘A Man of the World’ and ‘A Clean, Well-Lighted Place’: Hemingway’s Unified View of Old Age.” The Hemingway Review 13 (Spring, 1994): 62-73. Compares the two Hemingway stories in terms of the theme of age. Notes also the themes of aloneness, consolation of light, loss of sexuality and physical prowess, depression, violence, and the need for dignity.
Mellow, James R. Hemingway: A Life Without Consequences. Boston: Houghton Mifflin, 1992. A well-informed, sensitive handling of the life and work by a seasoned biographer.
Nolan, Charles J., Jr. “Hemingway’s Complicated Enquiry in Men Without Women.” Studies in Short Fiction 32 (Spring, 1995): 217-222. Examines the theme of homosexuality in “A Simple Enquiry” from Hemingway’s Men Without Women. Argues that the characters in the story are enigmatic, revealing their complexity only after one has looked carefully at what they do and say.
Reynolds, Michael. The Young Hemingway. New York: Blackwell, 1986.
Reynolds, Michael. Hemingway: The Paris Years. New York: Blackwell, 1989. (See Magill’s Literary Annual review)
Reynolds, Michael. Hemingway: The American Homecoming. New York: W. W. Norton, 1992. (See Magill’s Literary Annual review)
Reynolds, Michael. Hemingway: The 1930’s. New York: W. W. Norton, 1997. (See Magill’s Literary Annual review)
Reynolds, Michael. Hemingway: The Final Years. New York: W. W. Norton, 1999. (See Magill’s Literary Annual review) Reynolds’s multivolume, painstaking biography is devoted to the evolution of Hemingway’s life and writing.
Tetlow, Wendolyn E. Hemingway’s “In Our Time”: Lyrical Dimensions. Lewisburg, Pa.: Bucknell University Press, 1992. Argues that the collection is a “coherent, integral work” unified by such elements as the character Nick Adams, image patterns, symbols, and recurrent themes. Claims the book is analogous to a poetic sequence, a group of works that tend to interact as an organic whole. Discusses the lyrical elements in Hemingway’s self-conscious juxtaposition of stories and interchapters.
Wagner-Martin, Linda, ed. Hemingway: Seven Decades of Criticism. East Lansing: Michigan State University Press, 1998. A collection of essays ranging from Gertrude Stein’s 1923 review of Hemingway’s stories to recent responses to The Garden of Eden. Includes essays on “Indian Camp,” “Hills Like White Elephants,” and In Our Time as self-begetting fiction.
Weber, Ronald. Hemingway’s Art of Non-Fiction. New York: St. Martin’s Press, 1990. For a review of this work see Magill’s Literary Annual review.