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structures prior to the World War periods often engage a linear and equational method for presenting the story. In the traditional linear narrative tradition of pre-World War I and II literature, fictions are presented and structured in a manner reminiscent of arithmetic and geometry. For instance, narratives like Stephen Crane’s ''The Red Badge of Courage'' utilize a structure that presents the experience of war chronologically. The focus in this war narrative is on the movement of the story through the traditional elements of time and space. The narratives following the Civil War, like Crane’s work, appear to be focused on presenting elements of the narrative—character, plot, and point of view—in a traditionally straightforward manner and point to the idea that the solution to the narrative’s content and structure can be understood vis-á-vis the computation of various elements of the story. In many ways, these post war narratives hold tenuously to the personal subjective and objective fictions surrounding war and trauma.
structures prior to the World War periods often engage a linear and equational method for presenting the story. In the traditional linear narrative tradition of pre-World War I and II literature, fictions are presented and structured in a manner reminiscent of arithmetic and geometry. For instance, narratives like Stephen Crane’s ''The Red Badge of Courage'' utilize a structure that presents the experience of war chronologically. The focus in this war narrative is on the movement of the story through the traditional elements of time and space. The narratives following the Civil War, like Crane’s work, appear to be focused on presenting elements of the narrative—character, plot, and point of view—in a traditionally straightforward manner and point to the idea that the solution to the narrative’s content and structure can be understood vis-á-vis the computation of various elements of the story. In many ways, these post war narratives hold tenuously to the personal subjective and objective fictions surrounding war and trauma.


The experience of the first two wars offers a necessary counterbalance to the narrative arithmetic and geometry—which upholds traditional narrative and cultural fictions of war trauma—presented in the content and the structures of the earlier war narratives. The elements deployed in the narrative arithmetic and geometry from the prior narrative structures still retain a place of prominence in the work occurring during and following the wars. Increasingly the narratives following the Great War and World War II effect a changed narrative action in relation to the experience of war trauma on the author’s narrative epistemology. Kali Tal suggests that “re-telling the war in a memoir or describing it in a novel does not merely involve the development of alternative national myths through the manipulation of lot and literary technique, but the necessary rebuilding of shattered personal myths” {{sfn|Tal|1996|p=117}}. As the structure of war and trauma evolves, the narrative structures reflect the changes experienced on the idea of the personal subjective point of view in the structures of narratives as a result of war and trauma. A necessary change in structure is needed to address the evolving impact of trauma on the population’s evolving understanding of subjectivity and objectivity and, concomitantly on the fiction’s presentation of point of view and self.
The experience of the first two wars offers a necessary counterbalance to the narrative arithmetic and geometry—which upholds traditional narrative and cultural fictions of war trauma—presented in the content and the structures of the earlier war narratives. The elements deployed in the narrative arithmetic and geometry from the prior narrative structures still retain a place of prominence in the work occurring during and following the wars. Increasingly the narratives following the Great War and World War II effect a changed narrative action in relation to the experience of war trauma on the author’s narrative epistemology. Kali Tal suggests that “retelling the war in a memoir or describing it in a novel does not merely involve the development of alternative national myths through the manipulation of lot and literary technique, but the necessary rebuilding of shattered personal myths” {{sfn|Tal|1996|p=117}}. As the structure of war and trauma evolves, the narrative structures reflect the changes experienced on the idea of the personal subjective point of view in the structures of narratives as a result of war and trauma. A necessary change in structure is needed to address the evolving impact of trauma on the population’s evolving understanding of subjectivity and objectivity and, concomitantly on the fiction’s presentation of point of view and self.


Hemingway’s fiction progresses from a reliance on a narrative arithmetic and geometry into a different and changed narrative structure relative to his engagement with war trauma in his fiction. Following Hemingway’s time spent as an embedded correspondent in the Spanish Civil War and in World  
Hemingway’s fiction progresses from a reliance on a narrative arithmetic and geometry into a different and changed narrative structure relative to his engagement with war trauma in his fiction. Following Hemingway’s time spent as an embedded correspondent in the Spanish Civil War and in World  
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