established in 1913 with poems such as "In a Station of the Metro". Thomas Strychacz compares Hemingway's prose to Pound's poetry, writing, "Hemingway's terse, tight-lipped, tightly wound fragments are equally extraordinary in their dramatic intensity." The taut style is apparent from the first vignette, in which a brigade of drunken soldiers march to Champagne. With supreme understatement he alludes to the Second Battle of Champagne, an offensive lasting from September to December 25, 1915, in which 120,000 French troops were killed in the first three weeks: The vignette opening with the words "We were in a garden at Mons" is equally understated; the narrator writes, "The first German I saw climbed up over the garden wall. We waited till he got one leg over then potted him. He ... looked awfully surprised". The description repeats images, is dispassionate and warps logic, according to Strychacz. These set the model for flash fiction – fiction that is condensed without unnecessary descriptive detail. In A Moveable Feast Hemingway wrote that "Out of Season", written in 1924, was the first story where he applied the theory of omission, known as his Iceberg Theory. He explained that the stories in which he left out the most important parts, such as not writing about the war in "Big Two-Hearted River", are the best of his early fiction. As Carlos Baker describes the technique, the hard facts float above water while the supporting structure, including the symbolism, operates out of sight. Hemingway wrote in the preface to Death in the Afternoon, a writer may choose what to include and what to omit from a story. Reception and legacy Hemingway's writing style attracted attention after the release of the Parisian edition of in our time in 1924. Edmund Wilson described the writing as "of the first distinction", writing that the bullfight scenes were like Francisco Goya paintings, that the author "had almost invented a form of his own", and it had "more artistic dignity than any written by an American about the period of the war." The 1925 edition of In Our Time is considered one of Hemingway's masterpieces. Reviewers and critics noticed, and the collection received positive reviews on its publication. The New York Times described the language as "fibrous and athletic, colloquial and fresh, hard and clean, his very prose seems to have an organic being of its own". A reviewer for Time wrote, "Ernest Hemingway