31 pages 1 hour read

In Another Country

Fiction | Short Story | Adult | Published in 1925

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Character Analysis

The Narrator

The reader is inside the mind of this character, who tells the story as a first-person narrator. Hemingway does not give his name, but the author wrote many other stories in a similar voice, which elsewhere he labeled as belonging to a fictional person named “Nick Adams.” Nick is an alter-ego of Hemingway in that he comes from the American heartland, loves outdoor pursuits such as camping and fishing, expresses himself very well, and seems to be a generally sensitive and considerate young man. Many of Hemingway’s stories involve Nick’s coming of age, sharing his experiences, thoughts, and feelings as he goes along his way. The narrator of this story is usually taken to be Nick.

In this story, Nick has volunteered as a soldier in the Italian Army in World War I and has been wounded while fighting. He is indeed “in another country” and shares with the reader what he feels while interacting with the native Italian soldiers who have become his comrades. This gives the author a platform to describe an assortment of other characters who represent a kind of hierarchy of the heroes and victims of war.

As is typical of Hemingway’s writing style, the narrator says little about his or other people’s psychology. He describes their words and actions, leaving it to the reader to interpret their meaning and develop a sense of each character. The narrator’s primary actions are going to the café and his rehabilitation sessions, and his primary conversations concern courage. With the younger soldiers, he discusses courage on the battlefield, while with the major he discusses the courage required to be emotionally vulnerable in a marriage. The narrator knows he will never have the physical courage of his young comrades who jump into enemy trenches. But he seems to possess (or desire to possess) the emotional courage involved in love and loss.

The Major

Most of the way through the story, it seems that Nick is the main character. But with a twist at the end, Hemingway shows us that the older officer who has lost both his hand and his wife is the character whose life has been truly defined by the events of the story. Nick and the other soldiers have hope for the future, but the major is finished.

This character plays the traditional role of a mentor, an older and more experienced person teaching a younger one (Nick). He is first shown to be very friendly when he winks at Nick after hearing the doctor make overly optimistic promises of recovery. After Nick spends time with the other characters, who are all closer to his age, the second half of the story focuses on Nick with the major. The older man wants Nick to be serious about learning Italian, so they talk about grammar. He tells Nick sharply not to address him as “Signor Maggiore,” or “Mister Major” in English, which is an awkward combination of a civilian and military title. It should just be “Major.”

The real lesson he wants to teach Nick is about women and marriage. He chastises Nick bitterly for wanting to get married. As a master fencer before the war, the major has learned never to place himself “in a position to lose” (217). Marriage is like that, he says. His wife has just died unexpectedly. She might as well have stabbed him through the heart with a fencing sword. The major was seriously wounded in the war but survived; now it is the end of his marriage that kills him emotionally. He teaches a cold lesson indeed.

The Young Italian Soldiers

These supporting characters wear the same uniform as Nick, and some even have the same medals, but they are different. Three are from Milan and are almost the same age as Nick. They came into the army with plans to be a lawyer, a painter, and a career soldier, respectively. As Nick gets to know them chatting in the café, they ask him how he got his medals.

After Nick tells them, he realizes that he and they had very different experiences. Hemingway does not tell the reader any details, but he leaves clues. One of the soldiers won the same medal three times. He must have repeated his brave actions over and over. Hemingway also mentions this soldier was a lieutenant with the Arditi. This detail is like a key to a door for the reader. The Arditi (“daring ones”) were an elite branch of the Italian army. With a knife or pistol in one hand and a grenade in the other, they would run across enemy lines, jump in the trenches, toss the grenade, and then fight hand-to-hand to the death. This soldier had apparently done it at least three times.

Another soldier is slightly younger. Hemingway differentiates him further by saying he is not from Milan and belongs to an old Italian family. His war has been different because he came to the battlefield from a military academy and was shot within his first hour at the front. His wound is also more horrific since he is waiting to have his face rebuilt. He must wear a scarf over his face when in public or he will be frightening to other people. He studied to be a soldier but now has perhaps finished being one.

The Major’s Wife

The last important character in the story is almost not in it at all. She is introduced when the major returns to the rehabilitation room where he scolded Nick about marriage. The major apologizes for losing control. He explains he has just learned that his wife died, which he says is “very difficult,” and he leaves the hospital crying. Obviously, it is a severe blow.

In the following and last paragraph of the story, a doctor then gives Nick details about the major’s wife. She was young. They had been careful not to get married until it was clear that the major would be “invalided” and thus never sent back to the front. Yet even that caution did not spare them the pain of separation by death. The wife, representing marriage, becomes at once a romantic interest, a villain, and an anti-hero who destroys a leading character of the story. The main lesson for Nick is to avoid becoming too “connected,” because the pain of loss and grief is greater than the satisfaction of vulnerability and intimacy.

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