Ernest Hemingway’s In Our Time and the Objectification of Experience
On Hemingway’s modernist aesthetic and the unity of In Our Time. Corkin provides a philosophical decoding of Hemingway’s style, using industrialization as a cultural backdrop. Compares Hemingway’s work to that of filmmaker D. W. Griffith and authors such as Ezra Pound, William Dean Howells, and T. S. Eliot, arguing that Hemingway manipulates the reader into believing the stories are linked through a narrator. Rather, Corkin posits that the stories are connected through their treatment of experience as fact and emotions as product. Asserts that by promoting the importance of events, Hemingway demonstrates the interchangeability or interconnectivity of the characters through “pattern responses” to their intentionally similar situations.
Realism and the Birth of the Modern United States: Cinema, Literature, and Culture