Hemingway's early education in the short story: a bibliographic essay on Brander Matthews and twenty volumes of stories at Windemere.

Anderson, David L.

This article presents an annotated listing of 117 previously uncatalogued short stories that Hemingway may have read at Windemere, the family cottage, during the summers of his formative years. It also presents speculation regarding a now obscure literary figure named Brander Matthews, who may have edited or otherwise exerted influence in the selection of works included in these twenty volumes, thus influencing Hemingway indirectly. Matthews's ideas about the principles and aesthetics of the short story genre, which square in some ways with Hemingway's own, may have exerted a more direct influence, as Hemingway owned Matthews's book on the subject.

"Success is attained almost as much by what the author leaves out as by what he puts in."

--Brander Matthews

I. Introduction and Rationale

During Hemingway's formative years, his family spent summers at Windemere, their cottage on Walloon Lake in Michigan. In 1975, Hemingway's sister Madelaine published Ernie, her memoir of their relationship, including those Michigan summers. In 1999, four years after her passing, a new edition was released. Her son, Ernest H. Mainland, took advantage of the reissue, as he states in his preface, to contribute new photographs and "a list of books in the libraries at Windemere and in Oak Park that might give clues to the early reading habits of Uncle Ernie" (n.p.).

My visit to Windemere (as an attendee of the 2012 Hemingway Society International Conference in Petoskey, Michigan) led to my serendipitous notice of two sets of short stories mentioned in that listing: Stories by English Authors (SEA), and its companion set of Stories by American Authors (SAA). Each set includes ten volumes, both dated 1896 in Ernie. I saw these volumes at Windemere and have obtained, examined, and read in their entirety my own copies of all twenty volumes.

New additions to the record of Hemingway's voluminous reading will probably always be minor; this note is intended as a footnote to the monumental compilations that dominate the field: Michael Reynolds's Hemingway's Reading, 1910-1940: An Inventory and James Brasch and Joseph Sigman's Hemingway's Library: A Composite Record. The likelihood that modernism's master innovator of the short story read from the Windemere short story collections at an impressionable age suggests that their contents should be made available to scholars, critics, and biographers.

II. General Description

No editor is listed for either series, there being no editorial content. SAA includes a total of 57 stories by 51 authors; SEA, 55 stories by 48 authors, plus 5 anonymous stories, for a grand total of 117 stories by 101+ authors. In 1898 Scribner's issued a ten-volume Stories by Foreign Authors (SFA), but I found no evidence that either Ernest or the family obtained or knew of that set. The SAA volumes are numbered 1 through 10. (1) The SEA volumes are labeled on their spines according to the settings of the stories: Africa, England, France, Germany etc., Ireland, Italy, London, The Orient, Scotland, and The Sea. (The SFA volumes are labeled French I, II, and III; German I and II; Italian; Polish/ Greek/Belgian/Hungarian; Russian; Scandinavian; and Spanish.)

The American volumes are red and the English brown. They are approximately 5 by 7 inches, and could have been easily slipped into a pocket, tackle box, or backpack.

Both sets list the story titles and authors on their title pages. Facing the title page of each volume is an image of one of the authors from that volume. SEA includes a table of contents (with page numbers) in each volume as well as a title page for each story. Some of the stories have subtitles, though these do not appear on the title pages, or in tables of contents or running heads.

SAA lists, on the first page of each story, that story's original source and date of publication. The title pages of all ten volumes of SAA list 1896 as the date of publication; however, nine of ten copyright pages list 1884 and one lists 1885. SAA is a reprint of an 1884 set; the contents of the 1884 and 1896 sets are identical. The earliest selections date from the 1850s, but most are from later decades. In Volume 8, the first page of De Forest's "The Brigade Commander" lists the New York Times for its original publication but does not give a date. In Volume 3, Brander Matthews's "Venetian Glass" is noted as "Hitherto unpublished."

Copies of the sets may be available for purchase. Many of the individual stories are currently in print; others may be found with some searching. Most, if not all, may be located online, often as pdf format versions of the original publications, at such sites as Project Gutenberg, en.wikisource.org, openlibrary.org, and archive.org.

III. The Stories and Authors

Many of the authors from these volumes are canonical: Henry James, Thomas Hardy, Robert Louis Stevenson, and Rudyard Kipling, for example. Others are marginally canonical: Anthony Hope, J. W. De Forest, and Harold Frederic. Others are authors whose names may be familiar, such as Ouida. Famous once but forgotten today are such authors as Harriett Prescott Spofford, N. P. Willis, or F. W. Robinson. Still others, such as Lena Redwood Fairfax or Angelo Louis, seem never to have been famous.

I checked the authors of these stories against Reynolds and Brasch/Sigman. Twelve of the authors are listed by Reynolds and 11 by Brasch/Sigman, Walter Scott appearing in the former but not the latter. Whether or not he had access to the short story collections, Hemingway would certainly have known of eight of the authors: Wilkie Collins, A. Conan Doyle, Thomas Hardy, Henry James, Rudyard Kipling, Walter Scott, Robert Louis Stevenson, and Anthony Trollope.

On the other hand, the less familiar names of Brander Matthews, Charles Reade, Stanley John Weyman, and Israel Zangwill--each appearing in all three lists--suggested the possibility that Hemingway might have encountered these writers first in the Windemere story collections. Reade, Weyman, and Zangwill were better known in their day than in ours; thus it was no surprise that their books were on Hemingway's shelves, although I could find no significant connections (which does not mean there are none). The name of Brander Matthews, however, refused to be pushed aside.

IV. Brander Matthews

Matthews was a dramatist, short story writer, literary critic, and, at Columbia University, Americas first Professor of Dramatic Literature. He authored one of the SAA stories and co-authored another. The frontispiece of Volume I is an image of Matthews. Hemingway owned an anthology of short stories edited by Matthews, The Short-Story: Specimens Illustrating Its Development. His possible influence must be considered.

Some evidence, such as the inclusion of his previously unpublished story "Venetian Glass," suggests that Matthews may well have had a hand in selecting the stories included in these twenty volumes (thirty counting SFA). As his autobiography, These Many Years, indicates, Matthews preferred to collaborate in writing fiction and drama. Among the authors included in SAA and SEA, he collaborated with F. Anstey, H. C. Bunner, and George H. Jessop (These Many 252). In addition, These Many Years establishes that from among the authors in these volumes Matthews was a personal friend of or had met William Black (233, 287-289), H. Rider Haggard (286-287), Hardy (287-288), Kipling (432-434), and Stevenson (315-317). The inclusion of so many of Matthews's friends, acquaintances, and collaborators also suggests his influence on the selection of stories.

Scribners, of course, was the publisher of SEA, SAA, SFA, as well as These Many Years and other Matthews volumes. Matthews wrote for Scribner's Monthly (These Many 262). He helped Andrew Lang, the English poet and scholar, to publish a Scribner's American edition of Lang's poem Helen of Troy (These Many 266). He also helped arrange for the Scribner's publication of some of Thackeray's letters (302-305). Finally, he speaks proudly of his fellow Columbia faculty members who "serve as literary advisors to ... publishing houses" (412), suggesting that he may have served a similar function, perhaps with Scribner's. It is thus feasible that Matthews's tastes, expressed in the capacity of a literary advisor to Scribner's, may have informed the selection of stories in the twenty volumes at Windemere.

Those tastes are clearly delineated in Matthews's The Philosophy of the Short-story, published several times as an essay in the 1880s and finally as a short book in 1901. In it Matthews distinguishes the "Short-story" from the novel, the novelette, the sketch, the Romance, the amplified anecdote, and the long story, insisting that it is a separate genre, differing from the novel and other forms not just in length, but "in kind" (15). He agrees with Poe on the difference: "Thus the Short-story has, what the Novel cannot have, the effect of 'totality,' as Poe called it, the unity of impression" (17). He notes the genre's best practitioners as well as the genre's major works of criticism.

Matthews notes a significant difference between the "Short-story" and the novel: "Another great difference between the Short-story and the Novel lies in the fact that the Novel, nowadays at least, must be a love-tale, while the Short-story need not deal with love at all" (Philosophy 18). Matthews, thus, may have been the inspiration for Hemingway's advice to the reader in the Foreword to Green Hills of Africa: "Any one not finding sufficient love interest is at liberty, while reading it, to insert whatever love interest he or she may have at the time."

He asserts the superiority of the American Short-story over the British, claiming that it is the result of the British taste for the "three-volume novel system." In the last paragraph of the Appendix to The Philosophy of the Short-story, Matthews recommends comparing the stories in SAA, SEA, and SFA, which again suggests that he might have had a hand in the selection of stories for those volumes.

Matthews's The Short-Story: Specimens Illustrating Its Development is even more important because Hemingway owned a copy (Reynolds 156, item 1435; Brasch/Sigman 244, item 4359). This 1907 anthology may have been conceived as a textbook. Each story is preceded by a paragraph or two of introduction and is followed by notes "intended to call the attention of the student to the merits and defects of that particular story, considered as an example of the form" (4).

Matthews's thirty-page introduction "traces the growth of the form through the history of literature" (Short-Story 4), from cave men through the fables of antiquity; through the fabliaux, the Gesta Romanorum, and the Decameron of the medieval period; through the Renaissance, through the essays and Gothic tales of the 18th Century, culminating in "the perfected form ... exemplified and proclaimed" by Poe (32). After quoting extensively from Poe's essay on Hawthorne, Matthews articulates his own aesthetic of the short story: "[T]he short-story must do one thing only, and it must do this completely and perfectly; it must not loiter or digress; it must have unity of action, unity of temper, unity of tone, unity of color, unity of effect; and it must vigilantly exclude everything that might interfere with its singleness of intention" (26-27). He later quotes a letter in which Stevenson makes much the same point.

In reviewing the history of short story criticism, Matthews (of Columbia) summarizes and quotes "Professor Perry (of Harvard)":

Then the critic [Perry] calls attention to the demands which the short-story makes on the writer if he really is to achieve a masterpiece in this form; and he asserts that the short-story at its best "calls for visual imagination of a high order: the power to see the object; to penetrate to the essential nature; to select the one characteristic trait by which it may be represented." (Short-Story 36, emphasis mine)

It is interesting to speculate whether Hemingway had in mind the statement of Professor Perry (of Harvard) when, in Death in the Afternoon, he discussed his own goals: "I found the greatest difficulty ... was to put down what really happened in action; what the actual things were which produced the emotion you experienced" (2, emphasis mine).

In this single-volume anthology, Matthews manages to include seven selections from the three Scribner series and represents with other selections three authors from those series, one of whom was his co-author and close friend H. C. Bunner, (2) all of which again suggests a connection with the SEA, SAA, and SFA collections.

Matthews's Appendix is also interesting. He begins by stating that the short story writer, unlike the novelist, must emphasize just one of the three elements of fiction--plot, characters, or setting--rather than developing all three. What he says next makes one question whether Hemingway read this volume at a critical, formative stage of his development:

In an admirable paper on the "Structure of the Short-story," by Clayton Hamilton (published in the Reader, February, 1906), we are told that "the aim of the short-story is to produce a single narrative effect with the greatest economy of means that is consistent with the utmost emphasis." (Short-Story 392)

Matthews follows this immediately with a sentence that is truly arresting for any Hemingway reader: "Success is attained almost as much by what the author leaves out as by what he puts in" (392). (3) After reviewing the failure of some of the authors of stories in his volume to grasp this economy-of-means principle, Matthews--in the same remarkable paragraph--moves on to those he sees as embodying it. One might also see in this catalog a glimmer of Hemingway's "one true sentence" method (MF 12): So Poe, intending the "Fall of the House of Usher" to be a study of a strange, weird place, begins with description, delaying until later the introduction of his shadowy characters. So Hawthorne, with admirable art, presents to us the family with whom the "Ambitious Guest" is to spend the night, before bringing forward that character. Maupassant, too, in the very first sentence of "The Necklace," centers our attention on the essential fact. Stimson begins and ends "Mrs. Knollys" with the glacier. Kipling, in the opening paragraph of the "Man who Was," states the thesis which the story is to illustrate. Bunner, in "A Sisterly Scheme," explains the summer hotel before he tells us about any of his characters, because it is only at an American summer hotel that this story is possible. (392-393)

Matthews concludes his Appendix with a listing of what he considers the best short stories, with emphasis on stories by writers included in his volume.

In order to "modernize" the accepted aesthetic of the short story, Hemingway had to be aware of its historic state. Matthews's selections, along with his commentary, and the selections in SEA and SAA may well have contributed to Hemingway's understanding of the principles and aesthetics of the genre. In addition, though the quality of the stories in SAA and SEA varies widely from hack work to masterpieces, the superior selections enable us to look for positive influences beyond the usual suspects of Sherwood Anderson, Anton Chekhov, Joseph Conrad, Stephen Crane, Henry James, James Joyce, Guy de Maupassant, and Ivan Turgenev.

My own research into a mythic plot line involving hospitality used in "The Snows of Kilimanjaro" has been bolstered by analogues found in stories from the SAA and SEA volumes. My usual critical approach is archetypal and mythic, so those were the connections I found while reading the selections. What critics, scholars, and biographers using other approaches or with other critical concerns or avenues of research might find in these volumes remains to be seen.

V. Stories from The Short-Story: Specimens Illustrating Its Development

Because Matthews presents his twenty-three "specimens" in chronological order, regarding the earlier examples as precursors, it seemed best to list them separately rather than as part of the bibliography of SAA and SEA.

From Gesta Romanorum. "The Husband of Aglaes."

Boccaccio. "The Story of Griselda."

Joseph Addison. "Constantia and Theodosius."

Washington Irving. "Rip van Winkle."

Charles Lamb. "Dream-Children. A Revery."

Walter Scott. "Wandering Willies Tale." Included in SEA: Scotland.

Prosper Merimee. "Mateo Falcone." Merimee's "The Venus of Ille" was included in SFA: French II.

Alexander Pushkin. "The Shot." Included in SFA: Russian.

Hans Christian Andersen. "The Steadfast Tin Soldier."

Edgar Allan Poe. "The Fall of the House of Usher."

Nathaniel Hawthorne. "The Ambitious Guest."

Charles Dickens. "A Child's Dream of a Star."

Fitz-James O'Brien. "What was It? A Mystery."

Bjornstjerne Bjornson. "The Father." Included in SFA: Scandinavian, as is Bjornson's "The Railroad and the Churchyard."

Bret Harte. "Tennessee's Partner."

Alphonse Daudet. "The Siege of Berlin." Included in SFA: French I.

Ludovic Halevy. "The Insurgent."

Francois Coppee. "The Substitute." Included in SFA: French II.

Frederic J. Stimson. "Mrs. Knollys." Included in Volume 2 of SAA under Stimson's pen name, "J. S. of Dale, Author of 'Guerndale.'"

Guy de Maupassant. "The Necklace." Included in SFA: French I.

Robert Louis Stevenson. "Markheim." Included in SEA: Germany, etc.

Rudyard Kipling. "The Man Who Was."

H. C. Bunner. "A Sisterly Scheme."

VI. Stories by English Authors and Stories by American Authors: An Annotated Bibliography

This bibliography lists the stories of SAA and SEA alphabetically by author, rather than by volume. When they could be found, authors' full names have been added in brackets.

Addleshaw, Percy. See Hemingway, Percy.

Adee, Alvey A. "The Life-Magnet." SAA 8. 139-169. A mad scientist transfers souls between bodies.

Allen, Grant. "Melissa's Tour." SEA: The Sea. 119-145. Comedy and romance result when an English family meets an American girl.

Anon. "The Banshee." SEA: Ireland. 159-180. A tale of the supernatural, in which the legendary creature makes an appearance.

Anon. "Mary Musgrave." SEA: Africa. 129-150. A woman appears at an all-male diamond-mining camp. If Jack London or Bret Harte had gone to the diamond fields of South Africa, this might have been one of their stories.

Anon. '"Petrel' and 'The Black Swan.'" SEA: The Sea. 105-118. An oddly light and pointless tale of a British patrol ship encountering a slaver at sea.

Anon. "The Rock Scorpions." SEA: The Sea. 63-82. A swashbuckler in which a ship's captain and a pirate crew (the scorpions) deal each other dirty over a load of stolen tobacco.

Anon. "Vanderdecken's Message Home; or, The Tenacity of Natural Affection." SEA: The Sea. 147-161. An encounter with the Flying Dutchman.

Anstey, F. [Thomas Anstey Guthrie], "The Black Poodle." SEA: London. 41-86. A comic courtship tale of coincidence, prevarication, and mistaken (canine) identity.

Arnold, George. "Why Thomas Was Discharged." SAA 5. 142-166. A satire of superficiality among the leisure class at a summer resort.

Aytoun, Professor [William Edmundstone]. "The Glenmutchkin Railway." SEA: Scotland. 121-164. Satirical tale of the shenanigans of small-time investors obsessed with making a killing by trading stock in Scotland's nascent railway industry.

Banim, John. "The Rival Dreamers." SEA: Ireland. 93-121. A supernatural comedy in which two rival members of an extended family simultaneously receive word from the beyond regarding the location of a treasure.

Barlow, Jane. "A Lost Recruit." SEA: Ireland. 65-92. Comic rustics populate this tale of local color, complete with thick brogue, about a young man's life decision.

Barrie, [Sir] J[ames] M[atthew]. "The Courting of T'Nowhead's Bell." SEA: Scotland. 9-38. A rustic courtship comedy by the creator of Peter Pan.

--. "The Inconsiderate Waiter." SEA: London. 9-39. A satire about the gulf between the social classes.

Beaumont, Mary. "The Revenge of Her Race." SEA: The Orient. 131-144. A tragic tale of inter-racial marriage, set in New Zealand.

Beers, Henry A. "Split Zephyr: An Attenuated Yarn Spun by the Fates." SAA 8. 45-101. A pompous philosophical tale of Yale students and the outcomes of their graduation ambitions.

Bellamy, Edward. "Lost." SAA 7. 47-66. A meditation on the irreconcilable changes separated lovers undergo.

Benjamin, Park. "The End of New York." SAA 5. 82-141. This fantasy of a war between the U.S. and Spain has the feel of fiction sponsored by defense contractors.

Besant, Sir Walter. "Quarantine Island." SEA: The Sea. 37-61. Lovers reunited in the aftermath of a cholera epidemic.

Bishop, William Henry. "One of the Thirty Pieces." SAA 1. 81-119. A tragic tale of one of the pieces of silver paid to Judas.

Black, William. "Queen Tita's Wager." SEA: Germany, Etc. 151-184. A light courtship comedy about an unofficial matchmaker and Englishmen touring Germany.

Boyesen, H[jalmar] H[jorth], "A Daring Fiction." SAA 10. 112-153. A courtship comedy, complete with a climactic masked ball.

Brooks, Noah. "Lost in the Fog." SAA 4. 162-186. Sailors near California, lost in a fog, find an island of Spaniards long unaware of the annexation of California.

Bunner, H[enry] C[uyler], "Love in Old Cloathes." SAA 4. 40-56. In the form of a journal in ye Olde English style, this light tale tells of a bumpkins romantic quest.

Burnett, Frances Hodgson. "A Story of the Latin Quarter." SAA 3. 30-61. A tragic tale, set in Paris, of an impoverished American artist and a beautiful model.

Carleton, William. "Neal Malone." SEA: Ireland. 123-158. A comedy rooted in two stereotypes: the henpecked husband and the Irish love of fisticuffs.

Champney, Lizzie W. "The Heartbreak Cameo." SAA 6. 94-116. A tale set in the Great Lakes during the 17th Century, about a precious stone and an ambitious priest.

Coffin, Captain Roland T. "How Old Wiggins Wore Ship: An Old Sailor's Yarn." SAA 9. 139-151. Heroic adventure on the high seas, awash in nautical terminology.

Collins, Wilkie. "Mr. Lismore and the Widow." SEA: England. 159-191. A romance employing some elements of the mystery genre.

--. "The Traveler's Story of a Terribly Strange Bed." SEA: France. 93-136. This is listed on the volume title page, the table of contents, and the running head simply as "A Terribly Strange Bed," and only on its title page by its full title. This is a crime/suspense story of a winning gambler facing attempts on his life.

Corelli, Marie. [Mary Mackay], "Tire Hired Baby." SEA: London. 155-186. A tragic tale of the lower depths, marked by sentimentality and religiosity.

Crockett, S. R. '"The Heather Lintie.'" SEA: Scotland. 39-53. A sentimental local-color tale of a fading old maid poet and a young, ambitious hack reviewer.

Davis, Rebecca Harding. "Balacchi Brothers." SAA 1. 120-145. A tale of love and the flying trapeze.

De Forest, J[ohn] W[illiam]. "An Inspired Lobbyist." SAA 4. 137-161. A political satire about Ananias Pullwool, whose body is large enough to hold both his own small soul and Satan's as well.

--. "The Brigade Commander." SAA 8. 5-47. Civil War combat story.

De Kay, Charles. "Manmat'ha." SAA 10. 88-111. A tale of the supernatural, an

encounter with a race of invisible beings? A pre-Jungian encounter with the anima? The ravings of a psychotic narrator?

Douglas, R. K. "A Chinese Girl Graduate." SEA: The Orient. 79-128. A courtship comedy with Shakespearean gender disguise.

Doyle, A[rthur] Conan. "The Mystery of Sasassa Valley." SEA:Africa. 9-29. Two adventurers in South Africa try to end a string of bad luck.

Eddy, John. "A Dinner-Party: Was It a Success?" SAA 2. 92-140. A lawyer-versus-con-artist caper.

Edwards, Amelia B. "The Four-Fifteen Express." SEA: England. 57-100. A murder mystery marred by an element of the supernatural.

Fairfax, Lena Redwood. "The Misfortunes of Bro' Thomas Wheatley." SAA 6. 68-93. A paternalistic character study of a black office messenger in Virginia in the 1870s.

Floyd, Margaret. "Passages from the Journal of a Social Wreck." SAA 7. 80-102. Love tale of an impoverished escort on the fringes of society.

Foote, Mary Hallock. "Friend Bartons Concern." SAA 4. 83-136. A Quaker father worries that his daughter might marry a man from outside "our ways."

Frederic, Harold. "Brother Sebastian's Friendship." SAA 6. 145-164. A fine story on the theme of hospitality.

French, Alice. See Octave Thanet.

Gage, Charles S. "Mr. Bixby's Christmas Visitor." SAA 9. 42-54. A man suffering the pain of lost love has his ills cured by a mysterious visitor.

Guthrie, Thomas Anstey. See F. Anstey.

Haggard, H[enry] Rider. "Long Odds." SEA: Afric. 31-55. A Quatermain adventure tale of an impromptu lion hunt.

Hale, Lucretia P[eabody]. "The Spider's Eye." SAA 3. 5-29. A tale of the folly of the one-sided intimacy of the eavesdropper.

Hardy, Thomas. "The Three Strangers." SEA: England. 121-157. A comedy, rare for Hardy, in which a condemned prisoner escapes, makes his way to a wayside inn, and shares a drink with the executioner on the way to town to execute him.

Harraden, Beatrice. "The Bird on its Journey." SEA: Germany, Etc. 9-33. A mysterious young lady appears at a Swiss resort, tunes and plays the piano, and causes a stir among the staid guests.

--. "An Idyl of London." SEA: London. 123-147. A melancholy, philosophical story of the friendship of two artists, one a lonely old man and

the other a plain young woman, both copying masterpieces in the National Gallery.

Hayes, A. A. "The Denver Express." SAA 6. 31-67. A wild-west story of railroaders versus train robbers.

Hemingway, Percy. [Percy Addleshaw]. "Gregorio." SEA: Africa. 151-224. Page 151 mistakenly lists the author's name as "Arthur Hemingway." The young Hemingway may have been drawn to this story for several reasons: it is set in Africa, is authored by a Hemingway, and it mentions absinthe in the first paragraph. A naturalistic stew about a Greek family trying to survive in Egypt, it luridly depicts poverty, hunger, alcoholism, sexual exploitation, child-stealing, ethnic hatred, murderous revenge, moral degeneration, and degrading death, all unrelieved except by dark irony.

Hope, Anthony. "The Philosopher in the Apple Orchard." SEA: England. 193-207. A philosopher fails to see the obvious in this lightweight courtship tale.

Jacobi, Mary Putnam, M. D. "A Martyr to Science." SAA 2. 24-69. This begins as a dull first-person meditation on the ethics of medical experimentation on human subjects, but the reader eventually recognizes a psycho-narrator.

James, Henry. "A Light Man." SAA I. Two men maneuver to position themselves in position to collect an inheritance.

Janvier, T[homas] A[llibone]. "Pancha: A Story of Monterey." SAA 10. 5-44. A tragic love tale of Spanish California.

Jessop, George H. "The Emergency Men." SEA: Ireland. 23-63. A political story on the "Irish Question."

Johnson, Virginia W. "The Image of San Donato." SAA 7. 145-179. A somber tale of a dysfunctional American family in which the wealthy but working-class husband operates a foundry while the aristocratic wife spends money in Europe educating the children and pursuing affairs.

J. S. of Dale, Author of "Guerndale." [Frederic Jesup Stimson], "Mrs. Knollys." SAA 2. 70-91. A morbid tale of a widow who waits decades for the body of her husband to emerge from a glacier. The same plot is used in A. E. W. Mason's "The Crystal Trench," mentioned favorably by Jake Barnes in chapter 12 of The Sun Also Rises (120).

Kip, Leonard. "--mas Has Come." SAA 9. 152-180. Set at picturesque coastal lighthouses, this is a contrived, though bittersweet, tale of miscommunication in courtship.

Kipling, Rudyard. "The Man Who Would Be King." SEA: The Orient. 9-66.

One of Kipling's finest. Two discharged British soldiers seek their fortune in the wilds of Kafiristan.

Landers, J. "King Bemba's Point: A West African Story." SEA: Africa. 57-94. Set at a coastal ivory trading post, this Conradian story features coincidences which facilitate opportunities for tragic revenge.

Lathrop, George Parsons. "Two Purse-Companions." SAA 3. 62-98. Complications arise when two friends who have pooled their funds fall in love with the same girl.

Lewis, Angelo. "The Wrong Black Bag." SEA: England. 101-119. A marriage comedy about a hen-pecked husband's plans to spend a week alone in Paris.

Lloyd, David R. "Poor Ogla-Moga." SAA 3. 99-134. A heavy-handed, fish-out-of-water farce in which a would-be philanthropist introduces a Kickapoo to an urban apartment building.

Lover, Samuel. "The Gridiron." SEA: Ireland. 9-22. Told in dialect, this is a comic tale of shipwrecked Irish sailors.

Mackay, Mary. See Marie Corelli.

Maclaren, Ian. "A Doctor of the Old School." SEA: Scotland. 55-85. A lightly plotted story, focusing on the heroism of a gruff country doctor.

McKay, James T. "Stella Grayland." SAA 7. 103-144. Lovers struggle to do the right thing when they must choose between love and pity.

Matthews, [James] Brander. "Venetian Glass." SAA 3. 172-198. A tale of the supernatural set in Venice and America during the American Civil War.

Matthews, [James] Brander, and H[enry] C[uyler] Bunner. "The Documents in the Case." SAA 1. 33-80. A comic epistolary/documentary old west tale, notable for its parodies of legalese, frontier journalism, and formal Victorian expression.

Millet, F[rancis] D[avis], "Yatil." SAA 5. 54-81. Millet died on the Titanic. His tale of a Hungarian circus performer and an American painter chronicles their unlikely meetings and friendship through peace and war.

Mitchell, E[dward] P[age], "The Ablest Man in the World." SAA 10. A science fiction fantasy about the ethics of artificial intelligence.

--. "The Tachypomp: A Mathematical Demonstration." SAA 5. 166-191. A bizarre comedy of mathematics and love.

Mitford, Miss. "Tajima." SEA: The Orient. 67-76. This brief morality tale, set in Japan, tells of crime, guilt, and forgiveness.

Morrison, Arthur. "That Brute Simmons." SEA: London. 87-99. A satirical tale of one domestic harpy and the escape of two husbands.

Norris, W[illiam] E[dward]. "Bianca." SEA: Italy. 31-70. An Englishman in Venice becomes reluctantly involved in a friend's elopement plans.

O'Halloran, G. B. "The Master of the 'Chrysolite.'" SEA: The Sea. 83-103. A rousing tale of the sea, complete with physical and moral suspense and plenty of nautical terminology.

Oliphant, Laurence. "The Brigand's Bride: A Tale of Southern Italy." SEA: Italy. 101-136. A swashbuckling romance.

Ouida. "A Dog of Flanders." SEA: Germany, Etc. 65-120.

--. "A Leaf in the Storm." SEA: France. 43-91. See Brasch/Sigman (13) on Hemingway's inability to read Ouida. Both Ouida stories are simply plotted, manipulatively sentimental tales of suffering and loss inflicted upon idealized peasants.

Page, TTiomas Nelson. "Marse Chan: A Tale of Old Virginia." SAA 9. 5-41. A sentimental Civil War tale of an idealized relationship between a romantic confederate war hero and his devoted "body-servant," lamentable for its emphasis on aristocratic honor and its lack of emphasis on the evils of slavery.

Payn, James. "A Faithful Retainer." SEA: Italy. 9-29. Comic gambling story.

Phelps, Elizabeth Stuart. "Zerviah Hope." SAA 8. 102-138. A somber tale of redemption, forgiveness, and death (tolled by bells).

Q [Arthur Quiller-Couch]. "The Omnibus." SEA: London. 147-154. A crusty London clerk has a sentimental moment.

Reade, Charles. "The Box Tunnel." SEA: England. 9-22. Lightweight courtship confection regarding wagers made over a kiss on a train traveling through a dark tunnel.

Roberts, Morley. "King Billy of Ballarat." SEA: The Orient. 145-156. A not really very comic tale of an African tribal king reduced in status by the coming of empire.

Robinson, A[gnes] Mary F[rances]. "Goneril." SEA: Italy. 71-99. In this subtly told story a young English girl visits the Italian countryside.

Robinson, Frederick] W[illiam]. "Minions of the Moon." SEA: England. 23-55. A swashbuckler about a lady and a highwayman.

Russell, W[illiam] Clark. "The Extraordinary Adventure of a Chief Mate." SEA: The Sea. 9-36. A preposterous fantasy about a sailor knocked overboard by a volcano blast and washed up on a new volcanic island complete with an ancient shipwreck.

Schayer, Julia. "The Story of Two Lives." SAA 10. 154-186. Somber studies of a wronged man consumed by revenge and the man who wronged him consumed by guilt, both told with genuine moral suspense.

Scott, Sir Walter. "Wandering Willies Tale." SEA: Scotland. 87-119. An excerpt from Redgauntlet, in which a tenant farmer receives supernatural aid in paying a debt.

Scully, W[illiam] C[harles], "Ghamba." SEA: Africa. 95-127. An unsavory (in more ways than one) tale of South African soldiers who make a horrific discovery.

Shinn, Milicent Washburn. "Young Strong of'The Clarion.'" SAA 9. 93-138. A journalist in a California mining town must learn to deal with both politicians and a broken heart.

Spofford, Harriett Prescott. "The Mount of Sorrow." SAA 2. 141-165. A story of romance, in which lovers must confront the dread secrets of The Mount of Sorrow before love can be fulfilled.

Stannard, Henrietta Eliza Vaughan. See John Strange Winter.

Stephens, C. A. "Young Moll's Peevy." SAA 10. 74-87. This brief action tale prominently features Indians among the loggers attempting to clear a log-jam.

Stevenson, Robert Louis. "A Lodging for the Night." SEA: France. 9-41. A tale of an unsavory exploit of Francois Villon.

--. "Markheim." SEA: Germany, Etc. 121-149. An exploration of the conscience of a murderer.

--. "Thrawn Janet." SEA: Scotland. 165-183. A tale of the supernatural, told in thick dialect.

Stimson, Frederic J[esup]. See J. S. of Dale.

Stockton, [Francis] Frank Rfichard], "The Transferred Ghost." SAA 2. 5-23. Lightweight romantic/supernatural fare by the author of "The Lady or the Tiger?"

Stockton, Louise. "Kirby's Coals of Fire." SAA 7. 67-79. Swindlers on the frontier.

Stoddard, Elizabeth D. B. "Osgood's Predicament." SAA 8. 170-206. Story of a love triangle.

Stretton, Hesba. "Michel Lorio's Cross." SEA: France. 137-165. The setting, Mont St. Michel, is not only vital to the plot of this suspenseful story but also symbolic of the protagonist's social isolation.

Syrett, Netta. "Thy Heart's Desire." SEA: The Orient. 157-192. Syrett (1865-1943) is associated with the modernist movement. The story of a love triangle, with subtle control of detail in the treatment of its female character. Tone and style are objective and free of Victorian mannerisms.

Taylor, Bayard. "Who Was She?" SAA 1. 5-32. A Gilded Age tale arguably Jamesean in style and subject.

Thanet, Octave [Alice French], "The Bishops Vagabond." SAA 7. 5-46. A character study, complete with local color, Carolina dialect, sentimentality, humor, and tragedy.

Thaxter, Celia. "A Memorable Murder." SAA 3. 135-171. A nonfiction account of the brutal murders of two women near Thaxter's own home and the emotional toll on the victims' family and even the perpetrator.

Tincker, Mary Agnes. "Sister Silvia." SAA 2. 166-198. This classic single-effect story about a wealthy rural Italian family of the Campagna moves mercilessly from its first sentence toward its inevitable conclusion.

Trollope, Anthony. "Mrs. General Talboys." SEA: Italy. 137-175. Study of a 19th century "limousine liberal."

Webster, Albert. "An Operation in Money." SAA 1. 146-177. An 1873 caper story. Fields, a teller, asks the bank directors for a raise.

--. "Miss Eunice's Glove." SAA 6. 117-144. A satirical story about a naive young lady who, looking for "philanthropic labor," tries her hand at reforming prison inmates.

Weyman, Stanley J[ohn], "A Perilous Amour: An Episode Adapted from the Memoirs of Maximilian de Bethune, Duke of Sully." SEA: France. 167-196. This tale of court intrigue revolves around an assassination attempt on Henry IV of France.

White, C. H. [Heman White Chaplin], "Eli." SAA 9. 55-92. A homespun jury-room drama.

--. "The Village Convict." SAA 6. 5-30. Set in a New England village, this is a quiet local-color tale about a convict finding a place in the community.

Willis, N[athaniel] P[arker]. "Two Buckets in a Well." SAA 4. 57-82. This story--Jamesean in its subject matter (an American returning from Europe) and in its heavily qualified sentences, if not in its subtlety--regards a young man who must choose between a career in art or in business.

Winter, John Strange. [Henrietta Eliza Vaughan Stannard], "Koosje: A Study of Dutch Life." SEA: Germany, Etc. 35-63. A tragic love triangle resolved with humanity and Dutch practicality.

Woolson, Constance Fenimore. "Miss Grief." SAA 4. 5-39. A talented but impoverished writer brings a manuscript to a less talented but more successful writer.

Zangwill, I[srael]. "A Rose of the Ghetto." SEA: London. 101-122. A comic crisis of marriage brokering.

WORKS CITED

Anderson, David L. "Analogues of the Deserter in the Gauertal Incident: Philoxenia in 'The Snows of Kilimanjaro.'" The Hemingway Review 33.1 (Fall 2013): 15.26.

Brasch, James D. and Joseph Sigman. Hemingway's Library: A Composite Record. New York: Garland, 1981. http://www.jfklibrary.Org/Research/The-Ernest-Hemingway-Collection/~/media/ C107EFE32F9C446A8A30B7C46C4B035F.pdf

Hemingway, Ernest. A Moveable Feast. New York: Scribner's, 1964.

--. Death in the Afternoon. New York: Scribner's, 1932.

--. Green Hills of Africa. New York: Scribner's, 1935.

--. The Sun Also Rises. 1926. New York: Scribner's, 1954.

Matthews, Brander. The Philosophy of the Short-story. New York: Longmans, Green, 1901.

--, ed. The Short Story: Specimens Illustrating Its Development. New York: American Book, 1907.

--. Tales of Fantasy and Fact. New York: Harper & Brothers, 1896. Project Gutenberg. Project Gutenberg, http://www.gutenberg.org/ebooks/23678

--. These Many Years: Recollections of a New Yorker. New York: Scribner's, 1917.

Miller, Madelaine Hemingway. Ernie: Hemingway's Sister "Sunny" Remembers. 1975. Holt, MI: Thunder Bay, 1999.

Reynolds, Michael S. Hemingway's Reading, 1910-1940: An Inventory. Princeton, NJ: Princeton U P, 1981.

Stories by American Authors. [No editor] New York: Scribner's, 1896. 10 vols.

Stories by English Authors. [No editor] New York: Scribner's, 1896. 10 vols.

Stories by Foreign Authors. [No editor] New York: Scribner's, 1898. 10 vols.

DAVID L. ANDERSON

Butler County Community College

NOTES

Thanks go to Ernest Hemingway Mainland, owner and resident of Windemere, for graciously and personally hosting tours of Windemere during the 2012 Hemingway Society International Conference in Petoskey and Bay View, Michigan. Without that tour this study would never have been conceived. Thanks go to Cecil and Charlotte Ponder, Conference Site Directors, for their role and efforts in arranging the tours.

(1.) My copy of Volume 1 has binding errors which resulted in an incomplete text of Bayard Taylors "Who Was She?". Project Gutenberg includes the entire text. I do not know whether these problems occur in the copy at Windemere. My thanks to reference librarian Jean Shumway at Butler County Community College for confirming that these problems do not occur in copies held at other libraries and for her invaluable assistance throughout my research.

(2.) Matthews's Tales of Fantasy and Fact (1896, the year of Bunner's death) is dedicated "To the memory of my friend H. C. Bunner."

(3.) See Death in the Afternoon 192.