In the following essay, Hoffman explores Hemingway's thematic concern with “nada,” or nothingness, in his short fiction.

In the following essay, Kerner determines the possible sources for Hemingway's confusing and unconventional use of dialogue and urges a restoration of the author's original text.

In the following essay, Lodge contrasts the older and younger waiters in the story and concludes that Hemingway “deliberately encourages the reader to make an initially incorrect discrimination between the two waiters which, when discovered and corrected, amounts to a kind of peripetia.”

In the following essay, Kerner rejects Warren Bennett's position regarding the dialogue controversy and interprets the questionable passages in the story as Hemingway's deliberate use of anti-metronomic dialogue.

In the following essay, Thomson examines the controversy surrounding the waiters' dialogue regarding the soldier and the girl.

In the following essay, Kerner offers a “comprehensive demonstration of the accuracy of Hemingway's text.”

In the following essay, Leonard considers the common thematic concerns of Hemingway's “A Clean, Well-Lighted Place” and “A Man of the World.”

In the following essay, Ryan maintains that Scribner's 1965 emendation of “A Clean, Well-Lighted Place” is invalid and should be retracted.

In the following essay, Gabriel revisits the confusion regarding the dialogue in “A Clean, Well-Lighted Place,” and contends that “there is no error made in the dialogue … in short, the inconsistency in the dialogue is deliberate, an integral part of the pattern of meaning actualized in the story.”

In the following essay, Kerner finds several examples of Hemingway's use of anti-metronomic lines of dialogue in his fiction and concurs with other critics who want to restore the original text of “A Clean, Well-Lighted Place.”

In the following essay, Bennett reiterates the importance of Hemingway's original manuscript of “A Clean, Well-Lighted Place” and asserts that it shows “evidence of two mistakes, one by a typist or typesetter, and one by Hemingway himself; and it clarifies Hemingway's intention as to which waiter knows about the old man's suicide attempt.”

In the following essay, which was originally published in American Literature in 1970, Bennett proposes that Hemingway's use of verbal irony provides insight into the main characters as well as evidence as to the attribution of dialogue in “A Clean, Well-Lighted Place.”

In the following essay, MacDonald concurs with Charles Mays's interpretation of the dialogue in “A Clean, Well-Lighted Place,” contending that Hemingway ignored normal dialogue conventions in several other fictional works.

In the following essay, Benert explores Hemingway's use of imagery and characterization in “A Clean, Well-Lighted Place.”

In the following essay, Broer explores the bond between the old waiter and old customer in “A Clean, Well-Lighted Place.”

In the following essay, Hagopian rejects earlier attempts to attribute Hemingway's dialogue in the story—particularly Joseph Gabriel's above—and considers the flaw in the dialogue as an obvious typographical error.

In the following survey of the major characters of Hemingway's fiction, Allen asserts that anxiety is the defining feature of the characters in “A Clean, Well-Lighted Place.”

In the following essay, Hurley takes issue with Hagopian's attribution of the some of the dialogue in the story, maintaining that the dialogue should be “consistent with the characters as revealed elsewhere in the story.”

In the following essay, Hurley maintains that Warren Bennett's “misinterpretation of the waiters' speech in the problematic exchange concerning the soldier and the girl compound rather than resolve the existing debate.”

In the following essay, May rejects John V. Hagopian's reading of “A Clean, Well-Lighted Place” and offers his own interpretation of the dialogue of the story.

In the following essay, Bache contends that “A Clean, Well-Lighted Place” is “valuable both as a comment on and as a representation of Hemingway's craftsmanship and insight.”

In the following essay, Smith heralds a typescript version of Hemingway's story, known as the “Delaware typescript.”

In the following essay, Kann examines Hemingway's original manuscript and concludes that it was the author who inserted an uncharacteristic line of dialogue for the older waiter.

In the following essay, Reinert perceives the inconsistent and confusing dialogue in “A Clean, Well-Lighted Place” as a result of Hemingway's utilization of anti-metronomic dialogue.

In the following essay, Kroeger considers the confusing dialogue in Hemingway's story.

In the following essay, Fleming speculates on the possible influence of the poet Wallace Stevens and his concept of nothingness on Hemingway's short story.

In the following essay, Bennett compares Hemingway's “A Clean, Well-Lighted Place” and “The Gambler, the Nun, and the Radio.”