"Soldier's Home", set in Oklahoma, and "The Revolutionist", set in Italy. The next three are set in Europe and detail unhappy marriages: "Mr. and Mrs. Elliot", "Cat in the Rain" and "Out of Season". They are placed before Nick's reappearance in "Cross Country Snow", which takes place in Switzerland. The penultimate "My Old Man" concerns horse-racing in Italy and Paris, and the volume ends with the two-part Nick Adams story "Big Two-Hearted River", set in Michigan. The vignettes were re-ordered and placed between the short stories as interchapters. Structure Whether the collection has a unified structure has been a source of debate among Hemingway critics. According to Reynolds the collection should be "read as a predictable step in any young author's career" and the pieces considered as "discrete units". Yet he admits that Hemingway's remarks, and the complexity of the structure, suggests the stories and vignettes were meant to be an interconnected whole. In a letter to Pound in August 1923, Hemingway told him he had finished the full set of eighteen vignettes, saying of them, "When they are read together, they all hook up ... The bulls start, then reappear, then finish off. The war starts clear and noble just like it did ... gets close and blurred and finished with the feller who goes home and gets clap." He went on to say of "in our time" that "it has form all right". On October 18, 1924, he wrote to Edmund Wilson, "Finished the book of 14 stories with a chapter of 'In Our Time' between each story – that is the way they are meant to go – to give the picture of the whole before examining it in detail". Benson notes that all the fiction Hemingway had produced was included in the collection, that the connection between stories and vignettes is tenuous at best, and that Pound had an influence in editing the final product. Benson calls the work a "prose poem of terror", where looking for connections is meaningless. Conversely, Linda Wagner-Martin suggests the unrelenting tone of horror and somber mood unify the separate pieces. One of its early reviewers, D. H. Lawrence, referred to it as a "fragmentary novel". Hemingway scholar Wendolyn Tetlow says that from its inception the collection was written with a rhythmic and lyrical unity reminiscent of Pound's "Hugh Selwyn Mauberley" and T.S. Eliot's The Waste Land. The carefully crafted sequence