This paper will offer an in-depth interpretation and analysis of speech and thought representation in New Zealand born writer Katherine Mansfield’s short story, A Dill Pickle. Its overarching significance lies in Mansfield’s contributions to the growth of modernist, avant-garde writing of the early twentieth century. Published in 1917, A Dill Pickle offers a tale of two estranged lovers meeting again for the very first time in many years. A pioneer of the minimalist technique of writing, Mansfield’s short stories submit little in terms of plot; her true purpose is to set alight sensations in the reader. To a large extent, her works share the commonality of in media res and open-endings, which assist in gradually drawing the reader into creating their own imagery, thoughts and ideas from the bare bones of the story. Primarily, this paper will analyze Mansfield’s narrative method; typically in third person, as is most of her work. The narrator works towards relating the settings to the reader, but also enabling understanding of the inner workings of character’s minds and highlighting their thoughts and moments of illumination. A Dill Pickle unfolds after the character of Vera accidently runs into a former lover in a café. Over the course of their brief meeting, they discuss where life has taken them; in particular, Vera’s former lover initially enchants her with tales of the journeys he has taken during their time apart. While still together, they dreamed of visiting far-off