Electronic Journal of the

Appalachian Colleges Association –

University of North Carolina at Asheville
Undergraduate Research Partnership
Volume I

Shadowed Stories: How Ernest Hemingway’s Short Stories

Reveal His Obsession with Death
Cody Bellows
Department of English
Montreat College
Montreat, NC

Faculty Advisor: Dr. Horacio Hernandez

Abstract
Death is a primary theme throughout Ernest Hemingway’s writings. Many of his short stories, including Indian
Camp (1925), The Undefeated (1927), A Natural History of the Dead (1933) and Nobody Ever Dies (1939) involve
death and leave the reader with an ending that lacks hope. The reason is most likely related to the life that
Hemingway lived and the influences of other writers of his time. Deaths in his family, including the suicide of his
father who had dealt with depression throughout his life, undoubtedly affected Hemingway’s work. Hemingway
married and divorced several times. Experience as an ambulance driver in the war also exposed Hemingway to death
and tragic experiences. Because of the painful events in his life, Hemingway’s writing exhibits a shadowing tone
and a continuous theme of death – an obsession and struggle that is reflected the words of his stories. Lacan and
Freud, key proponents of a form of literary criticism that relies on psychoanalysis, offer ways to analyze literature
from a psychological perspective. Looking at Hemingway and his writing from such a perspective highlights his
obsession with death. The mind contains much information about a person, and the pen is one of the passages into
the mind. This is true of Ernest Hemingway.
Keywords: Ernest Hemingway, Death, Psychoanalysis

1. Introduction

Death is a primary theme throughout Ernest Hemingway’s writings. In many of his short stories, including Indian
Camp (1925), The Undefeated (1927), A Natural History of the Dead (1933) and Nobody Ever Dies (1939),
Hemingway’s plots involve death and leave the reader with an ending that lacks hope. His own obsession and
struggle with death throughout most of his life is reflected in the words of his stories. Lacan and Freud, both leading
figures in psychoanalytic literary criticism, provide ways to analyze literature from a psychological perspective.
Looking at Hemingway and his writing from such a perspective gives a different view of his obsession with death.
The mind contains much about a person, and the pen is one of the passages into the mind—a relation that is
especially true of Ernest Hemingway.

2. The Influence of Hemingway’s Personal History

Throughout Hemingway’s writing, death is a consistent theme. To understand Hemingway’s obsession with death, it
helps not only to consider them from a psychological perspective, but also to take into account facts about his own
life. Many of Hemingway’s experiences made him the writer he was. He did not have an easy life. Though hard
times are likely to be a part of every person’s life, Hemingway endured multiple tragedies. He was born in Illinois in
1899. His father dealt with depression and eventually committed suicide. However, his father’s love for fishing,
hunting, and other outdoor activities left Hemingway with a lifetime love for these as well. Hemingway’s mother
was the head of the church choir and a very talented singer. In 1917, he decided to join the army, but was not
accepted because of an eye problem. Despite this obstacle, he wanted to help the war effort, so he became an
ambulance driver. Hemingway’s experiences during his time as an ambulance driver seemed to influence him to a
very significant degree. He saw gruesome scenes and witnessed many deaths, and he wrote about the war in many of
his works. Despite the magnitude of the war’s influence on his future literary achievements, Hemingway only
worked as an ambulance driver for three weeks until he was badly injured. After recuperating he returned home and
dealt with depression, as did his own father. The depression amplified until the end of his life. Following a plane
accident, Hemingway was badly injured-- which affected him mentally, in addition to causing residual physical
problems. Still another area of unhappiness for Hemingway was his marital history. Hemingway married four times,
and each marriage ended in divorce (except the last one). Ultimately, in 1961 Hemingway gave up on life and
committed suicide. 1
The tone of death and hopelessness that overrides most of Hemingway’s stories came from Hemingway’s life, but
before coming out in his stories, the despair was kept inside his mind. Scholars have looked deeper into literature to
understand more about the minds of authors. Psychologists have created a type of analysis that is now called
psychoanalysis. Psychoanalysis was originally not used as a type of literary criticism but as a way to learn more
about the problems of the mind through speech. The simplest and most basic definition of psychoanalysis is “a
method of dealing with psychic disorders by having the patient talk freely about personal experiences and especially
about early childhood and dreams.” 2 This method of the spoken word revealing the mind has grown to more areas
and now includes the method of the written word telling what is transpiring inside the mind. When psychoanalysis
first came to the United States, it was considered seriously for its implications for literary criticism. 3 Bressler
explains this kind of psychoanalysis: “by using Freud’s psychoanalytic techniques as they are used in dream therapy,
psychoanalytic critics believe we can unlock the hidden meanings contained within the story and housed in symbols.
Only then can we arrive at an accurate interpretation of the text.” 4 Dream therapy came about after Freud realized
that dreams were like hallucinations revealing unconscious desires. 5 According to Freud, the “unconscious” is the
part of the mind that cannot be accessed. In psychoanalytic interpretation, desires are hidden deep within the
unconscious and can only be seen “in the disguises of dreams, symptoms, and other incoherent, seemingly
uncontrolled actions.” 6 After realizing what was concealed in dreams, Freud started writing his dreams down and
analyzing them. “He relied heavily on the feelings, memories, and stray thoughts that the dream provoked in the
waking subject, always on the lookout for the details that might reveal larger meaning.” 7 Analyzing stories in the
same way reveals the unconscious desires of the author. Freud was recording dreams instead of stories and could
remember all the memories, feelings, and thoughts that his dream brought up; the analysis of a story can be done in a
similar way. Hemingway did not write down his dreams, but he wrote many stories containing his unconscious
desires, revealing much about him.

3. Freud and Lacan

Freud is the psychologist that takes much credit for psychoanalysis, but there are others who contributed
significantly to it as well. One of these thinkers is Jacques Lacan. Like Freud, Lacan held that every person has
desires. He argued that behind these desires is the ultimate desire for each person to be reunited with his or her
mother. Lacan believed that “the human psyche consists of three parts, or what Lacan calls orders: the Imaginary,
the Symbolic, and the Real.” 8 The Imaginary Order is the part of the psyche that longs to be back with the mother,
or for a fulfilling of love and physical pleasure. 9 In the Symbolic Order, the person is castrated, not literally but
symbolically. This castration symbolizes “each person’s loss of wholeness and his or her acceptance of society’s
rules.” 10 Finally, the Real Order deals with the physical world and all that it contains. This order also represents all
that the person lacks, or “all that a person is not.” 11 Though the first aspect of the Real Order is concrete and the
second aspect is abstract, both parts come together to show a person’s the desires and fears. Lacan’s view was that
“literature’s particular ability is to capture jouissance, or a brief moment of joy or terror or desire that somehow
arises from deep within our unconscious psyche and reminds us of a time of perfect wholeness.” 12 Thus, through
literature one can see the desires and fears of the writer more clearly.
Freud and Lacan contributed to the same type of literary criticism, but they had very different views. Freud
believed that our main desire was not to be reunited with our mothers, but for sex. He held that our core desire was
to be sexually and emotionally satisfied, and that this desire came from our childhood. 13 But, whether the core
desire is sex or the reuniting with the mother, the main point is that every person has desires that are always present.
Freud saw that these desires can be revealed through dreams, and that literature should therefore be analyzed as a
dream as well. 14 In criticizing literature, the primary difference between Freud and Lacan’s view is as follows:
Freud views writing as the outpouring of a desire or dream of the writer, whereas Lacan views literature as the
outpouring of the broken nature of the writer – the fragments that are all disconnected, but that constitute each

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person’s self. In this sense, Lacan’s view and Freud’s view are essentially the same. Freud looks at what each person
wants, where Lacan looks at what each person lacks. In either case, literature reveals the brokenness of its author.
This brokenness in turn shows more detail about a person; it reveals what is at the core of the writer. Charles
Bressler, contends that “according to Freud, an author’s chief motivation for writing any story is to gratify some
secret desire, some forbidden wish that probably developed during the author’s infancy and was immediately
suppressed and dumped in the unconscious. The outward manifestation of this suppressed wish becomes the literary
work itself.” 15 Bressler also contends that Freud believed that “all artists, including authors, are neurotic. Unlike
most other neurotics, however, the artist escapes many of the outward manifestations and results of neurosis such as
madness or self-destruction by finding a pathway back to saneness and wholeness in the act of creating his or her
art.” 16 Perhaps it could be argued that not all artists are neurotic, but everyone lacks wholeness and has unfulfilled
desires that are sometimes best expressed and processed through writing. Because writing is the natural outflow of
what is in the mind, fears and desires held in our subconscious will come out into the words of a story. In
Hemingway’s stories, it is not hard to see the hopeless endings and the focus on death, whether expressed as victory
or failure. Hemingway’s stories can be seen as a way for him to get back to sanity from a mind full of a fear or an
obsession with death. A study of Hemingway’s stories could be construed as showing Hemingway’s fragmented self
and the things he lacked, or as his unfulfilled desires and dreams. Either way, Hemingway’s short stories reveal his
brokenness. They show an obsession. By using psychoanalysis and the three orders of the psyche, the stories that
reveal this obsession will also reveal what Hemingway was deeply lacking and how what he desired so intensely
became intertwined into each story.

4. Indian Camp (1925)

Indian Camp (1925) is one of Hemingway’s first stories. Nick and his father, a doctor, go across the water by boat to
the Indian camp to help a woman give birth to her child. Once they get into the shanty, they find that the woman is
having complications with her birth and her husband is in the bunk above her with an ax wound on his leg. Nick’s
father operates on the woman to get the baby delivered. She is fine, but when Nick’s father looks for the husband,
they find that he has slit his throat. Nick sees this and asks his father why the man had killed himself. His father
replies, “‘I don’t know, Nick. He couldn’t stand things, I guess’.” 17 Nick continues to question his father about
death, probably thinking about it in a real sense for the first time. At the end of the story, as Nick and his father are
rowing home in the boat, Hemingway writes that Nick “felt quite sure that he would never die.” 18 This story starts
with the hope of life, but death prevails in the end. Put in Freudian terms, there is a desire for life as well as a fear
and lack of understanding of death. “There is irony in Nick’s conviction that he would never die. The reader
suspects at the end that it is based on the boy’s wish for belief rather than a confident belief in the sheltering strength
of his father.” 19 Nick’s desire was for protection from death, yet in this situation, he realized that there is brokenness
in the world, and that his life will never be whole because of death’s shadow over life. Hemingway must have
experienced this fear after the death of his father. Samuel Shaw discusses how the suicide of Hemingway’s father
likely affected him: “The manner of his father’s death . . . was a painful subject for Hemingway . . . . the adult
Ernest, for whom death was an obsession and who often speculated on suicide, returned repeatedly in his fiction to
the suicide of fathers.” 20
The suicide of his father was not the only form of death with which Hemingway dealt. Hemingway was also
grappling with a general fear of death unconsciously in Indian Camp. Using Lacan’s three orders of the psyche, the
story can be analyzed to show the author’s desires and fears. Nick’s longing for protection from his father can be
connected to the Imaginary Order. He looks to his father for protection from death. In reality, nothing can protect a
person from the finality of death, but Nick’s longing for it shows Hemingway’s longing for such protection. The
Symbolic Order is seen through Nick’s first death experience. He realizes that death is powerful and real when the
Indian father dies. Nick asks questions, trying to understand death and how it affects him. Nick finally denies that
death will ever take his own life, showing Hemingway’s desire for life but underlying realization that death will
ultimately win. Hemingway realized the law of the world – that death is real – and struggled with accepting it. His
way of dealing with the struggle was writing about it. The Real Order, as it comes out in the story, is expressed in
the story’s physical aspects. These include the Cesarean Section performed by Nick’s father to fight the possible
death of the Indian woman and her baby, and the father cutting his own throat. Hemingway used physical, tangible
experiences to represent the omnipresence of death. The desire that is seen in Indian Camp is eternal earthly life, and
the fear is death. A lack of wholeness comes from Hemingway’s unconscious feeling of separation from the comfort
of eternal earthly life and protection from pain and death.

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5. A Natural History of the Dead (1933)

In A Natural History of the Dead (1933), Hemingway wrote with the style of a naturalist. He explained his
approach as an attempt to write interesting things about the dead. Herein Hemingway spoke of the dead lightly,
almost as if they were not people, but objects. His opening says, “Can we not hope to furnish the reader with a few
rational and interesting facts about the dead?” 21 The first group discussed is animals-- mules specifically. The
ancient Greeks, fighting in Smyrna, broke the legs of mules and let them drown in the water. Later Hemingway
discusses the explosion at a munitions factory in Milan, Italy. The dead found there were all women. Hemingway
was actually writing about the aftermath of an explosion he experienced during the war. In 1918, he was helping in
Milan, Italy when a munitions factory exploded. The consequences were gruesome and “fourteen years later his
memories of the scene would form the basis of the section in Death in the Afternoon called “A Natural History of
the Dead.” 22 He described how flesh changes color the longer a person is dead; that dead bodies grow to enormous
sizes; that these were all rolled over onto their stomachs so that those still alive could get the papers out of their back
pockets to know where to bury them. Hemingway continued, “the heat, the flies, the indicative positions of the
bodies in the grass, and the amount of paper scattered are the impressions one retains. The smell of a battlefield in
hot weather one cannot recall.” 23 Hemingway had never seen a natural death, except for that resulting from the
Spanish influenza. In his actual experience, Hemingway also mentioned the weather, which was not hot like in
Milan, but rather very cold—especially for generals who fought and died in the mountains. Hemingway also wrote
of doctors and injured who had to hide in caves in the mountains. From there, he continued into a dialogue between
a war doctor and some lieutenants, noticing the doctor’s lack of caring about whether one of the soldiers died or not.
Though Hemingway displayed a lack of emotion (or even sincerity) throughout the story, it is evident that not only
these deaths, but the entire experience of war affected him. “The effects of the war experience on Hemingway the
man were profound and lasted all his life. For years after Italy he left his bedroom light on at night. Insomnia
plagued him. Death was always with him in dreams and nightmares.” 24 These painful emotions were suppressed at
first; later they came out through the words of his stories. Even so, Hemingway’s style is devoid of emotion from the
beginning of the story to the end. At the end of the dialogue, the doctor lacks compassion towards the soldier’s pain.
Hemingway emotionless prose perhaps combated his deep pain. The doctor at the end of the story comes into the
Symbolic Order. He represents death and how it ultimately has control over every person. The third order, the Real
Order, appears through Hemingway’s inclusion of the bomb, the dead and disfigured bodies, the foul smell, the
warmth, and the scattered papers. The desire, here again, is for a lack of pain and death, and the fear is the presence
of it.

6. Nobody Ever Dies (1939)

Nobody Ever Dies (1939) is another story in which Hemingway wrote of death and war. The story opens with a
young man in a house with a mockingbird. The young man is Enrique, a war soldier. He is hiding in the house. As
he waits nervously, he sees a Negro outside. Finally, Maria, his girlfriend, comes to visit and bring food, and they
start talking about all the people who have died so far in battle—one of whom is her brother. Enrique tries to explain
to her that people do not die without reason, but that they die as part of the process of helping others. However,
Enrique speaks without emotion, which upsets Maria. She tells him that he talks “like a book,” showing no emotion
about those who have died. 25 This conversation causes Maria to view death as inevitable, but her view continues to
change. She learns despite the inevitability of death, the dead give confidence and strength to the living. The two
begin kissing when suddenly sirens go off, and they have to escape. Police surround the house, and Enrique is
eventually shot and killed. As they capture Maria, she cries out, “‘No one dies for nothing . . . Everyone is helping
me now.” 26 The story ends with the frightened Negro holding voodoo beads. The three orders appear in this story as
well. The Imaginary Order consists of Hemingway writing of physical pleasure and love as expressed in the
relationship between Maria and Enrique. They kiss and Maria touches Enrique; then, she touches him again when
Enrique shows her his scar. The physical pleasure and a sense of love is ultimately overridden by death and pain. In
the end, Enrique is killed and Maria is captured. Enrique depicts the Symbolic Order. He accepts the deaths of all the
people he knew fighting in the war. He is under the control of death and of his enemies in the war. Enrique’s
character thus represents death’s control over life. The Real Order is seen through Enrique’s longing for a love he
thought was being fulfilled, but in the end is taken away. In the scene I which Enrique and Maria are kissing,
Hemingway wrote, “the being alive returning and no pain, the comfort of being loved and still no pain; so there was
a hollowness of loving, now no longer hollow.” 27 The longing for love seems to be fulfilled in Enrique’s mind, but
then reality interrupts this, a siren goes off, and Enrique is captured and killed. Irony appears again in the title, which

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gives the impression of life, though the story ends in death. Here Hemingway seems to be struggling. Enrique dealt
with death by showing no emotion and explaining very matter-of-factly that the deaths of many are needed to help
others, and Hemingway was probably dealing with the same struggle himself by writing about it. In an essay on
Hemingway, entitled “The Sun Also Rises Sixty Years Later,” Aldridge writes, “the order of artistic and moral form
embodied in a language that will not, in spite of everything, give up its hold on the basic sanities, will not give up
and let out the shriek of panic, the cry of anguish, that the situation logically calls for.” 28 Hemingway could not
write that he was afraid of death or that he longed for eternal earthly life so badly, so he attempted to express an
acceptance of death or an apathetic attitude. In actuality, he did fear death and he did long for life, but he knew that
the object of his fear was inevitable and that he longed for something that was impossible.

7. The Undefeated (1927)

The short story entitled The Undefeated (1927) addresses death through bullfighting. Manuel, the main character,
goes to Retana, a man who is in charge of bullfighting, and asks to bullfight to make some money. Retana is
unfriendly, seemingly uncaring, and tells Manuel that the only thing he can let him do is fight at a night show as a
substitute for an injured bullfighter. Night shows pay the least amount of money and are less glorious than the day
shows. Bullfighting has brought death into Manuel’s family in the past, killing his brother, but this does not stop him
from participating in it. Manuel is reluctant, to fight, but gives in and asks Zurito, a picador he knows, to help him.
A signifier that a man is a bullfighter is the coleta, or pigtail, he wears in his hair. At the beginning, Manuel kept it
hidden, but later lets it hang down for others to see. Zurito does not want to help Manuel because he thinks he is too
old, and threatens to cut off his coleta. However, Zurito decides to help on the condition that Manuel stop fighting if
this fight does not go well. Manuel fights that night and indeed it does not go well. The story ends with Manuel
badly hurt by the bull, and Zurito by his side. Despite the seriousness of his injuries, Manuel is still trying to
convince himself and others that he is fine and that he fought a good fight. The fighting in this story can be seen as
the Imaginary Order. Physical pleasure does not always have to come from the fulfillment of sexual desires; it can
come from other pleasures as well. Bullfighting brings an adrenaline rush to the fighter and a sense of excitement.
Thus, the physical pleasure in this story comes with the bullfighting. But, with this comes the realization of the loss
of wholeness, seen in the Symbolic Order. This loss is seen when Manuel first goes to Retana and is rejected for the
day fight, and has to substitute for an injured night fighter. Manuel sees his lack of wholeness as his strength
diminishes and he realizes he is not the bullfighter he once was. He has to accept the rules that Retana has set for
him. There are two images that foreshadow the eventual end. The first is the bullhead above Retana’s head, mounted
on the wall of his office. This is the head of the bull that killed Manuel’s brother, and represents the authority that
Retana has over Manuel and the loss of wholeness that Manuel’s brother’s death has brought to him. It also
symbolizes the danger that looms over Manuel and that caused his brother’s death. Secondly, Zurito threatens
Manuel that he will cut off his coleta because he should not be fighting any more. This threat is like a threat to life
for Manuel, in the same way that death is a constant threat Hemingway. Later, Manuel goes to a bar and talks to
some waiters who realize that he is a bullfighter. After talking to him about his fighting for a short time, they finally
forget that he is there. “Manuel looked at them, standing talking in front of his table. He had drunk his second
brandy. They had forgotten about him. They were not interested in him.” 29 Manuel was not well known, and the
fact that he would be fighting at night made the waiters less interested in him. As the story proceeds, the reader is
left with disappointment and lost hope. At the end of the bullfight, Manuel grows tired, less focused, and angry. His
confidence has turned into loss. Finally at the end of the story, the reader sees the Real Order through Hemingway’s
writing. The last fight of Manuel’s life shows all that he is not. Though he has killed the bull, he cannot hold on to
his own life. The blood of the bull shows that he conquered some of the trials of life, but Manuel lies there almost
dead. The last lines show this tension. Manuel asks Zurito if he had fought well, and Zurito gives a positive answer,
though he betrays what he truly believes. Then, “the doctor’s assistant put the cone over Manuel’s face and he
inhaled deeply. Zurito stood awkwardly, watching.” 30 Manuel is dying, and though he tries to deny it, he lacks the
strength that he once had. Hemingway’s desire was to conquer defeat, and though his title goes along with this, the
message of his story shows that in the end, reality proves differently.

8. Conclusion

Hemingway’s writing reveals more than just stories, it reveals underlying reasons for his obsession of death. By
using psychoanalytic literary criticism created and advanced by Freud and Lacan to analyze Indian Camp (1925),
The Undefeated (1927), A Natural History of the Dead (1933) and Nobody Ever Dies (1939) the three orders

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theorized by Lacan are made evident and these reveal Hemingway’s desires and fears. The Imaginary Order reveals
Hemingway’s desire to fulfill love and physical pleasure and to attain the comfort of a painless and eternal earthly
life. In the Symbolic Order, finds expression in Hemingway’s choice to give in to death’s power and to lament life’s
inevitable end by writing stories ending with death or hopelessness. Hemingway shows the human weakness
through his engagement with Lacan’s Real Order. Objects in real life symbolize what is in the world and also what
Hemingway lacked ---the lack of strength to ultimately fight death. Finally, a close consideration of Hemingway’s
life shows clear reasons for the unconscious fear and desire that comes out in his stories. He feared death and desired
eternal earthly life, but in the end he received what he feared and was left without his attaining his desire. 31

9. Acknowledgements

The author wishes to express her appreciation to Dr. Horacio Hernandez, the faculty advisor, for all the time spent
and help given in the process of the writing of this paper from beginning to end, and to Dr. Rich Gray for overseeing
the process and helping with advice as well.

10. References

1. Nina Baym, et.al., The Norton Anthology: American Literature, Shorter 7th ed. (New York: Norton & Company,
2008), 2241-2242.
2. “Psychoanalysis,” Merriam-Webster Pocket Dictionary, (New York: Langenscheidt, 19990), 592.
3. Jonathan Scott Lee, Jacques Lacan, (Boston: Twayne Publishers, 1990), 100.
4. Charles E. Bressler, Literary Criticism: An Introduction to Theory and Practice, (New Jersey: Prentice Hall,
1999), 159-160.
5. George Makari, Revolution in Mind, (New York: Harper Collins Publishers, 2008), 75.
6. Michael S. Roth, ed., Freud: Conflict and Culture, (New York: Alfred A. Knopf, Inc., 1998), 8.
7. Ernest Hemingway, The Complete Short Stories of Ernest Hemingway: The Finca Vigia Edition, (New York:
Scribner, 1987), 69.
8. Samuel Shaw, Ernest Hemingway, Modern Literature Monographs Series, (New York: Frederick Ungar
Publishing Co., 1973), 31.
9. Katie de Koster, ed., Readings on Ernest Hemingway, (San Diego: Greenhaven Press, 1997), 17.

11. Notes

1 Nina Baym, et.al., The Norton Anthology: American Literature, Shorter 7th ed. (New York: Norton &
Company, 2008), 2241-2242.
2 “Psychoanalysis,” Merriam-Webster Pocket Dictionary, (New York: Langenscheidt, 19990), 592.
3 Jonathan Scott Lee, Jacques Lacan, (Boston: Twayne Publishers, 1990), 100.
4 Charles E. Bressler, Literary Criticism: An Introduction to Theory and Practice, (New Jersey: Prentice Hall,
1999), 159-160.
5 George Makari, Revolution in Mind, (New York: Harper Collins Publishers, 2008), 75.
6 Michael S. Roth, ed., Freud: Conflict and Culture, (New York: Alfred A. Knopf, Inc., 1998), 8.
7 Makari, 78.
8 Bressler, 156.
9 Bressler, 158.
10 Bressler, 158.
11 Bressler, 158-9.
12 Bressler, 159.
13 Bressler, 160.
14 Bressler, 159.
15 Bressler, 159.
16 Bressler, 159.
17 Ernest Hemingway, The Complete Short Stories of Ernest Hemingway: The Finca Vigia Edition, (New York:
Scribner, 1987), 69.
18 Hemingway, 70.

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 19 Samuel Shaw, Ernest Hemingway, Modern Literature Monographs Series, (New York: Frederick Ungar
Publishing Co., 1973), 31.
20 Shaw, 15.
21 Hemingway, 335.
22 Katie de Koster, ed., Readings on Ernest Hemingway, (San Diego: Greenhaven Press, 1997), 17.
23 Hemingway, 337.
24 Shaw, 20.
25 Hemingway, 475.
26 Hemingway, 480.
27 Hemingway, 477.
28 de Koster, 145.
29 Hemingway, 187.
30 Hemingway, 205.

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