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Complete short stories of Ernest Hemingway : the Finca Vigia edition
Hemingway, Ernest, 1899-1961.
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In this definitive collection of Ernest Hemingway's short stories, readers will delight in the author's most beloved classics such as "The Snows of Kilimanjaro," "Hills Like White Elephants," and "A Clean, Well-Lighted Place," and will discover seven new tales published for the first time in this collection. For Hemingway fans The Complete Short Stories is an invaluable treasury.

Author Notes

Ernest Miller Hemingway was born in the family home in Oak Park, Ill., on July 21, 1899. In high school, Hemingway enjoyed working on The Trapeze, his school newspaper, where he wrote his first articles. Upon graduation in the spring of 1917, Hemingway took a job as a cub reporter for the Kansas City Star.

After a short stint in the U.S. Army as a volunteer Red Cross ambulance driver in Italy, Hemingway moved to Paris, and it was here that Hemingway began his well-documented career as a novelist. Hemingway's first collection of short stories and vignettes, entitled In Our Time, was published in 1925. His first major novel, The Sun Also Rises, the story of American and English expatriates in Paris and on excursion to Pamplona, immediately established him as one of the great prose stylists and preeminent writers of his time. In this book, Hemingway quotes Gertrude Stein, "You are all a lost generation," thereby labeling himself and other expatriate writers, including F. Scott Fitzgerald, T.S. Eliot, and Ford Madox Ford.

Other novels written by Hemingway include: A Farewell To Arms, the story, based in part on Hemingway's life, of an American ambulance driver on the Italian front and his passion for a beautiful English nurse; For Whom the Bell Tolls, the story of an American who fought, loved, and died with the guerrillas in the mountains of Spain; and To Have and Have Not, about an honest man forced into running contraband between Cuba and Key West. Non-fiction includes Green Hills of Africa, Hemingway's lyrical journal of a month on safari in East Africa; and A Moveable Feast, his recollections of Paris in the Roaring 20s. In 1954, Hemingway won the Nobel Prize in Literature for his novella, The Old Man and the Sea.

A year after being hospitalized for uncontrolled high blood pressure, liver disease, diabetes, and depression, Hemingway committed suicide on July 2, 1961, in Ketchum, Idaho.

(Bowker Author Biography) Ernest Hemingway (1899-1961) won the Nobel Prize for Literature in 1954. He is one of the towering authors of the twentieth century.

(Publisher Provided)

Reviews 3

Publisher's Weekly Review

The subtitle of this monumental collection refers to the home (Lookout Farm) that Hemingway owned in Cuba from 1939 to 1959. That time frame accounts for most of the short fiction, published and unpublished, that followed the major collection issued in 1938, The First Forty-Nine. There are 60 stories in all. Of the 21 not included in the 1938 collection, the seven heretofore unpublished pieces will interest readers most. Three are especially good. ``A Train Trip'' and ``The Porter'' are self-contained excerpts from an abandoned novel that match in tone and appeal the early Hemingway work in which he explored the adolescent sensibility exposed to an adult world that is exciting but at the same time threatening and morally complex. Drawing from the author's experiences in Europe during World War II, ``Black Ass at the Crossroads'' is excellent in its detailing of violent action, portraying an ambush of German soldiers from the point of view of an American infantry officer, depressed and angry over the suffering he has inflicted in the course of battle. The other previously unpublished pieces include a Spanish Civil War story reminiscent of Hemingway's play, The Fifth Column; two quite touching stories about a father's disappointments with a troubled son; and a long section comprising four chapters from an early version of the novel, Islands in the Stream. Intrinsically readable, the collection is also significant in drawing together much that was unavailable or difficult to access. (December 2) (c) Copyright PWxyz, LLC. All rights reserved

Choice Review

Two virtues make this collection a welcome addition to a Hemingway bookshelf: 70 stories and reset texts. But dubious editorial practices flaw the three-part volume. There is no quarrel with Part 1, the 49 stories first gathered in 1938. Quarrel begins with inclusions and omissions in Part 2, consisting of 14 ``Short Stories Published in Books or Magazines Subsequent to `The First Forty-nine.''' To include two sections from Hemingway's novel To Have and Have Not (1937) is questionable enough, but worsened by the pre-1938 date of those stories' publication in Cosmopolitan (1934, 1936). Other inclusions are fine: five Spanish Civil War stories (1938-39), two fables (1951), two Atlantic stories (1957), two from The Nick Adams Stories (CH, Sep '72), and ``An African Story,'' plucked from The Garden of Eden (CH, Sep '86). But another dozen stories-juvenilia and ``Chicago-period'' material-have appeared. And no statement of editorial principle explains their omission. Of the seven stories in Part 3, ``Previously Unpublished Fiction,'' the two best-from the unfinished, mid-1920s novel Jimmy Breen-need Hemingway's iceberg treatment. The others include two mediocre, slightly fictionalized war experiences, a pair of miniatures that scarcely veil Hemingway's vindictiveness against son Gregory, and a follow-up segment cut from the ``Bimini'' section of Islands in the Stream (CH, Apr '71). Despite frequent typos, an egregious error gets corrected: a nickname, ``Stut,'' replaces a slur, ``slut,'' in ``The Summer People.'' But Scribner's continues to print the foul copy of ``Macomber'' and the altered text of ``A Clean Well-Lighted Place.''-G. Brenner, University of Montana

Library Journal Review

A thoughtfully arranged, comprehensive edition of Hemingway's short fiction justifies publication. This is not it. At best, it offers convenience rather than creativity or even completeness: it omits five stories published two years ago. It reprints the ``the first 49'' stories (1938), adds 14 subsequently published, and appends seven hitherto unpublished. What is lacking is a fresh reordering of the storiesthematic, chronological, or stylistic. Further, three of the unpublished pieces are not stories but excerpts from novels. None of the new material is artistically significant. Yet each bears the hallmark of Hemingway's geniuswhich will survive even this. Arthur Waldhorn, City Coll., CUNY (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.



Publisher's Preface There has long been a need for a complete and up-to-date edition of the shortstories of Ernest Hemingway. Until now the only such volume was the omnibuscollection of the first forty-nine stories published in 1938 together withHemingway's play The Fifth Column. That was a fertile period ofHemingway's writing and a number of stories based on his experiences in Cubaand Spain were appearing in magazines, but too late to have been included in"The First Forty-nine." In 1939 Hemingway was already considering a new collection of stories thatwould take its place beside the earlier books In Our Time, Men WithoutWomen, and Winner Take Nothing. On February 7 he wrote from his homein Key West to his editor Maxwell Perkins at Scribners suggesting such a book.At that time he had already completed five stories: "The Denunciation," "TheButterfly and the Tank," "Night Before Battle," "Nobody Ever Dies," and"Landscape with Figures," which is published here for the first time. A sixthstory, "Under the Ridge," would appear shortly in the March 1939 edition of Cosmopolitan. As it turned out, Hemingway's plans for that new book did not pan out. He hadcommitted himself to writing three "very long" stories to round out thecollection (two dealing with battles in the Spanish Civil War and one about theCuban fisherman who fought a swordfish for four days and four nights only tolose it to sharks). But once Hemingway got underway on his novel -- later published as For Whom the Bell Tolls -- all other writing projects werelaid aside. We can only speculate on the two war stories he abandoned, but itis probable that much of what they might have included found its way into thenovel. As for the story of the Cuban fisherman, he did eventually return to itthirteen years later when he developed and transformed it into his famousnovella, The Old Man and the Sea. Many of Hemingway's early stories are set in northern Michigan, where hisfamily owned a cottage on Waloon Lake and where he spent his summers as a boyand youth. The group of friends he made there, including the Indians who livednearby, are doubtless represented in various stories, and some of the episodesare probably based at least partly on fact. Hemingway's aim was to conveyvividly and exactly moments of exquisite importance and poignancy, experiencesthat might appropriately be described as "epiphanies." The posthumouslypublished "Summer People" and the fragment called "The Last Good Country" stemfrom this period. Later stories, also set in America, relate to Hemingway's experiences as ahusband and father, and even as a hospital patient. The cast of characters andthe variety of themes became as diversified as the author's own life. Onespecial source of material was his life in Key West, where he lived in thetwenties and thirties. His encounters with the sea on his fishing boat Pilar, taken together with his circle of friends, were the inspirationof some of his best writing. The two Harry Morgan stories, "One Trip Across" (Cosmopolitan, 1934) and "The Tradesman's Return" (Esquire, February 1936), which draw from this period, were ultimately incorporated into the novel To Have and Have Not, but it is appropriate and enjoyable to read them as separate stories, as they first appeared. Hemingway must have been one of the most perceptive travelers in the history of literature, and his stories taken as a whole present a world of experience. In 1918 he signed up for ambulance duty in Italy as a member of an American Field Service unit. It was his first transatlantic journey and he was eighteen at the time. On the day of his arrival in Milan a munitions factory blew up, and with the other volunteers in his contingent Hemingway was assigned to gather up the remains of the dead. Only three months later he was badly wounded in both legsand hospitalized in the American Red Cross hospital in Milan, with subsequentoutpatient treatment. These wartime experiences, including the people he met,provided many details for his novel of World War I, A Farewell to Arms. They also inspired five short story masterpieces. In the 1920s he revisited Italy several times; sometimes as a professionaljournalist and sometimes for pleasure. His short story about a motor trip witha friend through Mussolini's Italy, "Che Ti Dice La Patria?," succeeds inconveying the harsh atmosphere of a totalitarian regime. Between 1922 and 1924 Hemingway made several trips to Switzerland to gathermaterial for The Toronto Star. His subjects included economic conditionsand other practical subjects, but also accounts of Swiss winter sports:bobsledding, skiing, and the hazardous luge. As in other fields, Hemingway wasahead of his compatriots in discovering places and pleasures that would becometourist attractions. At the same time, he was storing up ideas for a number ofhis short stories, with themes ranging from the comic to the serious and themacabre. Hemingway attended his first bullfight, in the company of American friends, in1923, when he made an excursion to Madrid from Paris, where he was living atthe time. From the moment the first bull burst into the ring he was overwhelmedby the experience and left the scene a lifelong fan. For him the spectacle of aman pitted against a wild bull was a tragedy rather than a sport. He wasfascinated by its techniques and conventions, the skill and courage required bythe toreros, and the sheer violence of the bulls. He soon became anacknowledged expert on bullfighting and wrote a famous treatise on the subject, Death in the Afternoon. A number of his stories also have bullfightingthemes. In time, Hemingway came to love all of Spain -- its customs, its landscapes,its art treasures, and its people. When the Spanish Civil War broke out in thelast week of July 1936, he was a staunch supporter of the Loyalists, helping toprovide support for their cause and covering the war from Madrid as acorrespondent for the North American Newspaper Alliance. Out of the entirety ofhis experiences in Spain during the war he produced seven short stories inaddition to his novel, For Whom the Bell Tolls, and his play, TheFifth Column. It was one of the most prolific and inspired periods of hiswriting career. In 1933, when his wife Pauline's wealthy uncle Gus Pfeiffer offered to stakethe Hemingways to an African safari, Ernest was totally captivated by theprospect and made endless preparations, including inviting a company of friendsto join them and selecting suitable weapons and other equipment for the trip. The safari itself lasted about ten weeks, but everything he saw seems to havemade an indelible impression on his mind. Perhaps he regained, as the result ofhis enthusiasm and interest, a childlike capacity to record details almostphotographically. It was his first meeting with the famous white hunter PhillipPercival, whom he admired at once for his cool and sometimes cunningprofessionalism. At the end of the safari, Hemingway had filled his mind withimages, incidents, and character studies of unique value for his writings. Asthe harvest of the trip he wrote the nonfiction novel Green Hills ofAfrica, and some of his finest stories. These include "The Short Happy Lifeof Francis Macomber" and "The Snows of Kilimanjaro" as well as "An AfricanStory," which appeared as a story within a story in The Garden of Eden, a novel published posthumously in May 1986. In spite of the obvious importance of the Paris years on Hemingway'sdevelopment as a writer, few of his short stories have French settings. He wasaware of that fact and in his preface to A Moveable Feast wistfullymentions subjects that he might have written about, some of which might havebecome short stories. During World War II Hemingway served as a war correspondent covering theNormandy invasions and the liberation of Paris. It seems that he also assembled a group of extramilitary scouts keeping pace with the retreating Germans. The balance between fiction and nonfiction in his stories of the period, including the previously unpublished "Black Ass at the Cross Roads," may never be determined. Toward the end of his life Hemingway wrote two fables for the child of afriend, "The Good Lion" and "The Faithful Bull," which were published by Holiday in 1951 and are reprinted here. He also published two shortstories in The Atlantic Monthly, "Get a Seeing-Eyed Dog," and "A Man of the World" (both December 20, 1957). We have grouped seven previously unpublished works of fiction at the back ofthe book. Four of these represent completed short stories; the other threecomprise extended scenes from unpublished, uncompleted novels. All in all, this Finca Vigía edition contains twenty-one stories that were not included in "The First Forty-nine." The collection is named for Hemingway's home in San Francisco de Paula, Cuba. He lived at Finca Vigía ("Lookout Farm") on and off during the last two decades of his life. The finca was dear to his heart and it seems appropriate now that it should contain a major portion of his life work, which was even more dear. -- Charles Scribner, Jr. Copyright © 1987 by Simon & Schuster Inc. Foreword When Papa and Marty first rented in 1940 the Finca Vigía which was to be his home for the next twenty-two years until his death, there was still a real country on the south side. This country no longer exists. It was not done in by middle-class real estate developers like Chekhov's cherry orchard, which might have been its fate in Puerto Rico or Cuba without the Castro revolution, but by the startling growth of the population of poor people and their shack housing which is such a feature of all the Greater Antilles, no matter what their political persuasion. As children in the very early morning lying awake in bed in our own little house that Marty had fixed up for us, we used to listen for the whistling call of the bobwhites in that country to the south. It was a country covered in manigua thicket and in the tall flamboyante trees that grew along the watercourse that ran through it, wild guinea fowl used to come and roost in the evening. They would be calling to each other, keeping in touch with each other in the thicket, as they walked and scratched and with little bursts of running moved back toward their roosting trees at the end of their day's foraging in the thicket. Manigua thicket is a scrub acacia thornbush from Africa, the first seeds of which the Creoles say came to the island between the toes of the black slaves. The guinea fowl were from Africa too. They never really became as tame as the other barnyard fowl the Spanish settlers brought with them and some escaped and throve in the monsoon tropical climate, just as Papa told us some of the black slaves had escaped from the shipwreck of slave ships on the coast of South America, enough of them together with their culture and language intact so that they were able to live together in the wilderness down to the present day just as they had lived in Africa. Vigía in Spanish means a lookout or a prospect. The farmhouse is built on a hill that commands an unobstructed view of Havana and the coastal plain to the north. There is nothing African or even continental about this view to the north. It is a Creole island view of the sort made familiar by the tropical watercolors of Winslow Homer, with royal palms, blue sky, and the small, white cumulus clouds that continuously change in shape and size at the top of the shallow northeast trade wind, the brisa. In the late summer, when the doldrums, following the sun, move north, there are often, as the heat builds in the afternoons, spectacular thunderstorms that relieve for a while the humid heat, chubascos that form inland to the south and move northward out to the sea. In some summers, a hurricane or two would cut swaths through the shack houses of the poor on the island. Hurricane victims, damnificados del ciclón, would then add a new tension to local politics, already taut enough under the strain of insufficient municipal water supplies, perceived outrages to national honor like the luridly reported urination on the monument to José Martí by drunken American servicemen and, always, the price of sugar. Lightning must still strike the house many times each summer, and when we were children there no one would use the telephone during a thunderstorm after the time Papa was hurled to the floor in the middle of a call, himself and the whole room glowing in the blue light of Saint Elmo's fire. During the early years at the finca, Papa did not appear to write any fiction at all. He wrote many letters, of course, and in one of them he says that it is his turn to rest. Let the world get on with the mess it had gotten itself into. Marty was the one who seemed to write and to have kept her taste for the high excitement of their life together in Madrid during the last period of the Spanish Civil War. Papa and she played a lot of tennis with each other on the clay court down by the swimming pool and there were often tennis parties with their friends among the Basque professional jai alai players from the fronton in Havana. One of these was what the young girls today would call a hunk, and Marty flirted with him a little and Papa spoke of his rival, whom he would now and again beat at tennis by the lowest form of cunning expressed in spins and chops and lobs against the towering but uncontrolled honest strength of the rival. It was all great fun for us, the deep-sea fishing on the Pilar that Gregorio Fuentes, the mate, kept always ready for use in the little fishing harbor of Cojimar, the live pigeon shooting at the Club de Cazadores del Cerro, the trips into Havana for drinks at the Floridita and to buy The Illustrated London News with its detailed drawings of the war so far away in Europe. Papa, who was always very good at that sort of thing, suggested a quotation from Turgenev to Marty: "The heart of another is a dark forest," and she used part of it for the title of a work of fiction she had just completed at the time. Although the Finca Vigía collection contains all the stories that appearedin the first comprehensive collection of Papa's short stories published in 1938, those stories are now well known. Much of this collection's interest to the reader will no doubt be in the stories that were written or only came to light after he came to live at the Finca Vigía. -- JOHN, PATRICK, AND GREGORY HEMINGWAY 1987 Copyright © 1987 by Simon & Schuster Inc. Excerpted from The Complete Short Stories of Ernest Hemingway: The Finca Vigia Edition by Ernest Hemingway All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

Table of Contents

Forewordp. xi
Publisher's Prefacep. xv
Part I "The First Forty-nine"p. 1
Preface to "The First Forty-nine"p. 3
The Short Happy Life of Francis Macomberp. 5
The Capital of the Worldp. 29
The Snows of Kilimanjarop. 39
Old Man at the Bridgep. 57
Up in Michiganp. 59
On the Quai at Smyrnap. 63
Indian Campp. 65
The Doctor and the Doctor's Wifep. 71
The End of Somethingp. 77
The Three-Day Blowp. 83
The Battlerp. 95
A Very Short Storyp. 105
Soldier's Homep. 109
The Revolutionistp. 117
Mr. and Mrs. Elliotp. 121
Cat in the Rainp. 127
Out of Seasonp. 133
Cross-Country Snowp. 141
My Old Manp. 149
Big Two-Hearted River: Part Ip. 161
Big Two-Hearted River: Part IIp. 171
The Undefeatedp. 181
In Another Countryp. 206
Hills Like White Elephantsp. 211
The Killersp. 215
Che Ti Dice La Patria?p. 223
Fifty Grandp. 231
A Simple Enquiryp. 250
Ten Indiansp. 253
A Canary for Onep. 258
An Alpine Idyllp. 262
A Pursuit Racep. 267
Today Is Fridayp. 271
Banal Storyp. 274
Now I Lay Mep. 276
After the Stormp. 283
A Clean, Well-Lighted Placep. 288
The Light of the Worldp. 292
God Rest You Merry, Gentlemenp. 298
The Sea Changep. 302
A Way You'll Never Bep. 306
The Mother of a Queenp. 316
One Reader Writesp. 320
Homage to Switzerlandp. 322
A Day's Waitp. 332
A Natural History of the Deadp. 335
Wine of Wyomingp. 342
The Gambler, the Nun, and the Radiop. 355
Fathers and Sonsp. 369
Part II Short Stories Published in Books or Magazines Subsequent to "The First Forty-nine"p. 379
One Trip Acrossp. 381
The Tradesman's Returnp. 410
The Denunciationp. 420
The Butterfly and the Tankp. 429
Night Before Battlep. 437
Under the Ridgep. 460
Nobody Ever Diesp. 470
The Good Lionp. 482
The Faithful Bullp. 485
Get a Seeing-Eyed Dogp. 487
A Man of the Worldp. 492
Summer Peoplep. 496
The Last Good Countryp. 504
An African Storyp. 545
Part III Previously Unpublished Fictionp. 555
A Train Tripp. 557
The Porterp. 571
Black Ass at the Cross Roadsp. 579
Landscape with Figuresp. 590
I Guess Everything Reminds You of Somethingp. 597
Great News from the Mainlandp. 602
The Strange Countryp. 605

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