By rewriting the news in In Our Time, Hemingway archives and editorializes history. The composition, drawing on themes of crime, sex, displacement, and violence, depicts a time of unrest and tragedy around the world.
Hemingway was ahead of his time by appropriating contemporary new to new platforms of information dissemination. Even as this juxtaposition of Hemingway’s work in two different forms is revealing, it also asks larger questions worth considering.
Hemingway pushes us to find distinctions within the similarities; How do we distinguish between non-fiction and fiction? How can we understand the distribution of information in Hemingway’s modern moment? How does geography inform a narrative in the present and in the future? How do we record memory and is it a credible source of information?
Within all these discussions, Hemingway himself is always present. Hemingway’s fiction is a record of the present, objectively and subjectively. Hemingway’s reflexive voice is often noticeable more in his journalism than fiction but the information in both is mediated by him.
If we could continue with this discussion, we might continue to travel with Hemingway to analyze the other relationships between place and content, memory and record, and autobiography and fiction in his work.