Little Review during their visit. Still upset at the loss of his work, Hemingway had not written since the previous December, but he slowly wrote six new paragraphs, submitting them for the March deadline. Hemingway scholar Milton Cohen says at that point Hemingway knew the pieces for The Little Review would "govern the remainder of the book that Pound had commissioned." The six prose pieces ranged from 75 to 187 words and were about war and bullfighting. The battle scenes came from the experiences of Hemingway's friend Chink Dorman-Smith who was at the Battle of Mons; the matador story originated from another friend, Mike Strater. Hemingway himself witnessed the events which inspired the story about the Greco-Turkish War. The last of the series was taken from news of the execution of six Greek cabinet ministers during the Trial of the Six. The Little Reviews "Exiles" edition, scheduled to be published in the spring, was finally released in October 1923, leading with Hemingway's work. It featured pieces from modernists such as Gertrude Stein, George Antheil, E. E. Cummings and Jean Cocteau. Hemingway's vignettes were titled "In Our Time", suggesting a cohesive set. in our time In June 1923, Hemingway took Hadley, with Robert McAlmon and Bird, to Spain where he found a new passion with his first visits to the bullfights. During the summer he wrote five new vignettes (chapters 12–16), all about bullfighting, finishing the last two on his return to Paris in August. That summer he also honed new narrative techniques in chapters 7–11. In August he reported to Pound that he was about to begin the last two pieces (chapters 17 and 18), implemented revisions that Pound suggested, and sent the manuscript to Bill Bird. Then he left Paris with Hadley (who was pregnant with their first child) for Toronto, where he was living when Bird finished producing the book. The pieces he submitted to Bird were at first untitled (Pound called the submission Blank); later the title in our time – from the Book of Common Prayer – was chosen. Bird printed the volume on a hand-press with handmade paper, telling Hemingway, "I'm going to pull something really fancy with your book". The book contained eighteen vignettes and only thirty-one pages; each one was laid out with plenty of white space, highlighting the brevity of the prose. According to Cohen, the "visual suddenness intensifies its narrative abruptness,