Soldier`s Home He knew he could never get through it all again. “Soldier’s Home” “I don’t want to go through that hell again.” The Sun Also Rises In the works of Ernest Hemingway, that which is excluded is often as significant as that which is included; a hint is often as important and thought-provoking as an explicit statement. This is why we read and reread him. “Soldier’s Home”is a prime example of this art of echo and indirection. Harold Krebs, the protagonist of “Soldier’s Home,” is a young veteran portrayed as suffering from an inability to readjust to society–Paul Smith has summarized previous critics on the subject of how Krebs suffers from returning to the familial, social, and religious”home”(71).
Moreover, as Robert Paul Lamb notes, the story is also about “a conflicted mother-son relationship”(29). Krebs’ small-town mother cannot comprehend her son’s struggles and sufferings caused by the war. She devotes herself to her religion and never questions her own values; she manipulates her son. She is one of the Hemingway “bitch mothers” who also appear in “The Doctor and the Doctor’s Wife” and “Now I Lay Me.” Her sermons to her son lack any power to heal his spiritual wounds. She has determined that Krebs should live in God’s “Kingdom,” find a job, and get married like a normal local boy (SS 151). Although Hemingway locates the story in Oklahoma and excludes it from the Nick Adams group, the husband and wife relationship observed in”Soldier’s Home”is also similar to those in “The Doctor and the Doctor’s Wife” and “Now I Lay Me,” revealing the mother’s dominance of a troubled marriage.
Krebs’ noncommittal father is obviously dominated by his wife; she makes the decisions. Her advocacy of marriage for Krebs is ironic: not yet recovered from his various psychic wounds and trapped by the sick marriage of his parents, marriage is the very commitment he must avoid. Furthermore, a careful reading of “Soldier’s Home” reveals yet another story discernible beneath the main one. Krebs’ indifference towards the girls in the town seems to reflect his disillusionment not only with the war and his parents’ marriage, but also with another experience–Krebs’ breaking up with a lover: Now he would have liked a girl if she had come to him and not wanted to talk. But here at home it was all too complicated. He knew he could never get through it all again. (147-48) Here is a significant ambiguity: “it all” may well connote the whole process of being and ceasing to be a lover, and “again” suggests that Krebs has been through this process before.
Descriptions of Krebs’ lack of involvement with the local girls occupy one fourth of the story. These descriptions converge around the word “complicated,” repeated four times in this context. The girls live in “a complicated world” (148); “They were too complicated” (148); “it [to talk to a girl] is too complicated” (149); and “He had tried so to keep his life from being complicated”(152). The latter quotation suggests that the most difficult problem is not the complicated realm of the girls, but Krebs’ fear of the complexity that might result from any approach he might make. Once he talks to a girl, he must get through a complicated sexual encounter all over again.
Conversations, for Krebs, make the male/female sexual relationship complicated. His aversion to such relationships, we are to infer, derives from previous experiences with women that have perhaps reinforced his observations of his parents’ marriage. As many have noted (see Smith 71-72), one of the photographs discussed in the story’s opening paragraphs suggests an unsatisfactory experience with German girls. Krebs and another corporal, both in poorly fitting uniforms, stand with two German girls Who are “not beautiful”beside a Rhine that “does not show in the picture”(145). The picture suggests an irony: the American soldiers, once enemies, date German girls with whom they share no common language. Because the American soldiers do not have to talk, and because the German girls are probably prostitutes, relationships between them are uncomplicated. Without any need for conversation, the soldiers simply satisfy their lust on the prostitutes’ bodies.
Just as he emphasizes the German girls’ lack of beauty, Hemingway also erases the Rhine to show the lack of romance in such relationships. In “Soldier’s Home,” he juxtaposes two worlds: the simple one Krebs shared with the German girls, and the potentially complicated realm of the hometown girls. “A Very Short Story,” written between June and July 1923, helps shed light on this aspect of the later “Soldier’s Home,” composed in April 1924. An equally bleak story, also a mixture of Hemingway’s own experiences and fictitious material, “A Very, Short Story” appeared first as the untitled Chapter Ten in the 1924 three mountains press in our time, and was later titled and revised for inclusion in the 1925 Scribner’s In Our Time. The crucial difference between the two versions is that the name of the protagonist’s lover has been changed from Ag in the 1924 edition to Luz in the 1925 edition.
It is well known that the love affair between a wounded soldier and a nurse, as well as the miserable end of that affair, are based on Hemingway’s own experience of being jilted by Agnes von Kurowsky. However, the story’s conclusion, where the protagonist has a sexual encounter with a sales girl in a taxicab and contracts gonorrhea, is considered fictitious. As Robert Scholes and Scott Donaldson have observed, this conclusion reflects Hemingway’s undisguised anger towards “Ag” and his own self-pity. Taking some expressions and ideas directly from Agnes’ “Dear John” letter of 7 March 1919 (qtd. in Villard and Nagel 163-64), Hemingway drew the raw materials for “A Very Short Story” from his own experience. If “A Very Short Story” is one version of Hemingway’s unhappy love affair with Agnes, “Soldier’s Home” may be another–more sophisticated because its author’s bitterness is more sublimated.
The “it” in “never get through it all again” may fruitfully be interpreted as Hemingway’s suffering after he received the letter from Agnes. He describes Krebs’ self-protective attitude, his aversion to being trapped by another love affair that may bring him new pain: “It was not worth it. Not now when things were getting good again” (148). Krebs does not want to be disturbed; it is good enough for him simply to “look at” girls on the street (147,148). He is able to keep his mind peaceful by avoiding talking to the girls.
Although the first part of the story suggests that some of Krebs’ trauma has been caused by the war, a related and complementary inference is that he may also be recovering from the shocks of a failed love affair. In The Su …