Ernest Hemingway's "Big Two-Hearted River" serves as a quintessential illustration of his renowned theory of omission. This narrative technique, eloquently articulated in his work Death in the Afternoon (1932), posits that a writer's deep understanding of their subject allows them to leave certain elements unsaid, trusting that their intimate knowledge will resonate implicitly with the reader. Hemingway likens this to the grandeur of an iceberg, where the majority of its mass remains beneath the surface, suggesting that its true power and beauty lie in what is unseen. Through this method, Hemingway crafts a story where absence speaks as powerfully as presence, inviting readers to delve beneath the surface and infer layers of meaning from the subtleties he presents.

Nick finds solace and healing in the natural world, harnessing its restorative powers through the simple acts of building a good camp and fishing well. This journey mirrors the escape Jake Barnes and his friend Bill experience in The Sun Also Rises, where they leave behind the chaotic whirlwind of Paris for the serene fishing landscapes of Spain. Similarly, Nick's return to the Michigan woods represents a retreat from the violent memories and traumatic experiences of war, offering him a chance to regain some semblance of control over his life.

Although Nick bears no visible scars, his internal wounds run deep. His condition parallels that of the trout he guts towards the story's conclusion: "When he held them back up in the water they looked like live fish." Like the trout, Nick appears unscathed externally, yet he has been hollowed out by the brutality and senselessness of warfare. This narrative arc echoes that of Frederic Henry in A Farewell to Arms, who similarly finds temporary respite in a personal sanctuary away from the ravages of war.

In Hemingway’s narrative, the protagonist Nick finds solace and rejuvenation in the natural world, reminiscent of Thoreau's retreat to Walden Pond. Immersed in the tranquil wilderness, Nick engages in fundamental activities such as eating, sleeping, and fishing, each serving as a balm to his weary soul. The woods offer him a sanctuary, a place where the simplicity of life allows for the gradual healing of unseen wounds.

Fishing, as depicted, holds a dual purpose in Nick's restoration. On one hand, it is a therapeutic activity, offering a meditative rhythm that aligns with the natural world. On the other, it acts as a symbolic ritual in Hemingway's universe, akin to boxing or bullfighting, where mastery over technique equates to mastery over chaos. By excelling in this craft, exemplified by his decision to avoid "places impossible to land" a fish, Nick reasserts a semblance of control over life’s inherent unpredictability.

However, the narrative only captures the initial phase of Nick's healing journey. The story unfolds over a mere twenty-four hours, providing a snapshot of his first steps towards recovery. As the tale concludes, Nick reflects, "There were plenty of days coming when he could fish the swamp." Here, the swamp symbolizes society, a complex and tumultuous environment akin to the battlefields Nick has left behind. This metaphor highlights the daunting task of re-engaging with human interactions once he has regained his psychological resilience.

“Big Two-Hearted River” is a profound exploration of a man’s return from war, seeking to reclaim his strength through nature's nurturing embrace and the disciplined practice of fishing. It underscores a preparatory phase before Nick can re-enter the broader, often harsh, social sphere. Hemingway crafts a poignant narrative about finding equilibrium amidst life's anarchic elements and hints at the formidable challenges awaiting when one steps beyond the protective veil of nature.