continues in the 1925 edition, beginning with the first five Nick Adams stories, which are about violence and doom, empty relationships and characters lacking self-awareness. The first two stories, "Indian Camp" and "The Doctor and the Doctor's Wife", can be read as an exercise in counterpoint, where feelings of loss, anger, and evil are ignored and repressed. "The End of Something" and "The Three-Day Blow" also form a pair; in the first Nick breaks up with his girlfriend, in the second he gets drunk and denies the relationship has ended, convincing himself that it will all work out. This state of denial continues in "The Battler", the fifth story; when faced with violence Nick will not recognize that he is in danger. "A Very Short Story", about betrayal, and wounding, ends the sequence according to Tetlow, who suggests these are stories in which Hemingway writes about the "most bitter feelings of loss and disillusionment". The characters face loss with inner strength, stoicism and a sense of acceptance; they build strength in the stories that come after, gaining self-awareness as they accept the futility and pain of life. The collection ends with "Big Two-Hearted River", in which Nick finds tranquility, perhaps even happiness, in solitude. Wagner-Martin notes that "it is this essential tranquility that in retrospect heightens the tension and sorrow of the preceding pieces." Another Hemingway scholar, Jim Berloon, disagrees with Tetlow, writing that its only unity consists of similarities in tone and style and the recurrence of the Nick Adams character. Although the first vignettes share a common thread about the war, each is distinctly framed, weakening any structural unity that might have existed. He blames the war, saying that it was too hard for Hemingway to write about it cohesively, that it was "too large, terrible, and mentally overwhelming to grasp in its entirety". Instead, he says, Hemingway wrote fragments, "discrete glimpses into hell ... like the wreckage of battle lit up from a shell burst at night." The structure apparent in the 1924 collection of vignettes is lost in the later edition because the short stories seem to bear little if any relationship to the interchapters, shattering the carefully constructed order. The sense of discordance is intensified because the action is about unnamed men and soldiers, only referred to with pronouns, and unspecified woundings. The characters are transformed through circumstances and settings, where danger exists overtly, on