ABSTRACT
A close examination of some of Hemingway’s earliest published fiction, the short vignettes that eventually became the interchapters of In Our Time, reveal that the relationship between fact and fiction was already complex at the beginning of Hemingway’s writing career. Appearing as the newsreel reached its peak in popularity and innovation, In Our Time depicts many of the subjects that were portrayed in the first silent newsreels and uses this interplay of short stories and vignettes to produce the images that demand a new way of seeing if readers are to find order in the text’s fragmented structure. While Hemingway reflects the form and subjects of the newsreel in In Our Time, he also challenges its journalistic limits. In other words, while the newsreel serves as the model for In Our Time, In Our Time serves as a model newsreel.
