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Hence, as one will see through the study of “Indian Camp,” the discordant events of life Hemingway seems to describe stand as the different metaphors constituting the writer’s organized poetical narrative, revealing the whole, or what Lacanian psychoanalysis defined as the real,1 from which man is born but has to exit if he wants to The first part of “Indian Camp” describes Nick Adams, his father, Uncle George, and two Indians crossing a lake to reach an Indian camp where Nick’s father, Dr.Adams, is to help an Indian woman to have her baby.The apparent simplicity of Hemingway’s prose and the anti-climactic stories he tells, veil symbolical and “fundamentally poetical narratives” (Abouddahab) in which the questions he asks are those which have been tormenting men ever since Eve took a bite of the tree of knowledge’s forbidden fruit.
As Dorothy Parker said: “The simple thing he does looks so easy to do.
But look at the boys who try to do it” (Parker 461).
They simply present life: most of the time anti-climactic.
However, if Hemingway were merely describing life’s meaningless events, he would not be the author he is known to be.
His prose is not built on a framework punctuated by an ever-changing wheel of fortune.
Hemingway’s short stories seem to describe life as it is, but they do not search to reconcile the discordant events of life.By depicting Nick Adams, his father, and Uncle George crossing a lake, then a beach, a meadow, a wood…to reach the Indian camp, the narrator underlines that those characters have been symbolically separated from the world they know, though, by describing this scene through Nick Adams’s eyes only, the narrator insists on the fact that it is mainly through the vision of a child that he is to depict this moment of rupture.To make their stories attractive to readers, authors usually map out their writings with climactic events, organized in such a way as to create a reality effect for the readers to believe that their metaphorical representations of the world and the men who live in it are plausible and that the actions they describe follow one another in a chronological course of time.If Hemingway’s simple prose gives the impression that his short stories can be easily understood, his plots do not follow a classical pattern of events.L'ambition de cet article est de lever le rideau sur la scène poétique d’ “Indian Camp”.On s’appliquera à mettre en lumière la façon dont, à travers l’apparente neutralité de son écriture, Ernest Hemingway manifeste la limite à laquelle l’homme se heurte quand, tel Œdipe, il doit répondre à l'énigme du Sphinx.To signify the rupture Nick is to experience, or the beginning of the poetical journey the latter is to accomplish, the narrator creates what one could call a mirror structure between the world of Nick, his father and uncle, and the Indian camp, a mirror structure the reflective aspect of the lake establishes.In the same way as Alice passes through the mirror in , Hemingway brings Nick to enter a world which resembles his, stripped of its disguise of modernity: the Indian camp’s aspect, as one may imagine, being devoid of the modern world’s attributes.Reading the first paragraphs of this short story, one could easily say that they are but a description helping to create a plausible context for the understanding of the story.However, more than a simple description, Hemingway invites the reader to see the opening part of “Indian Camp” as the dramatization of a rupture suggestive of the passage from the physical world to a symbolical one.