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 the battlefield, or, in one case, by a chance sexual encounter in a Chicago taxi.