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Recommended: Hemingway the killer analysis
Therefore she told her parents not sorrow and worry about her arm because it doesn’t change who she is and how she acts.
Hemingway sets the story environment at a train station, with two very different sides of the tracks. This setting is interpreted as a metaphor for the choice at hand, an interpretation of life or death. One side reflecting a dry harsh area, with no trees, and devoid of life, on the other side of the
The narrator has no say in her health as she states “Personally, I disagree with their ideas. Personally, I believe that congenial work, with excitement and change, would do me good. But what is one to do?” , unable to confide in others about her state of well
The narrator is certain she is really sick, and not just nervously depressed as diagnosed by her husband, but she is confined by her role as a wife and woman, and cannot convince her relatives and friends that something is actually wrong with her. In the story the narrator says, “”If a physician of high standing, and one’s own husband, assures friends and relatives that there is really nothing the
The struggles presented between these two characters bring to light issues in human relationships that weigh into everyday life. Hemingway’s short story reveals to readers how relationships affect communication, decision
The conflict between the two characters is the issue of abortion and whether or not the girl will go through it. Hemingway does not tell us that the girl is pregnant but hints it throughout the story referring to “the operation” as having an abortion. From the start, you can take
The dialogue in Hemingway’s “Hills Like White Elephants” reveals a man’s and a woman’s incongruent conflict on abortion, and the author’s fundamentally feminist position is visible in the portrayal of the woman’s independent choice of whether or not to keep the baby she is carrying. The plot is very simple in the story which is less than 1500 words long. A woman and a man spend less than an hour on a hot summers day at a Spanish train station in the valley of Ebro as they are waiting for a train heading for Madrid. Their dialogue takes up most of the space and only few major actions take place.
Then, when I saw her lying in the hospital, I understand what Joe’s meant when he said “I could tell right away that things were better, that my mother was better, that whatever had happened with the surgery was better, and in spite of how bad things were, at least for now the picture wasn’t getting any worse.” (Louise Erdrich, 2012,
If taken literally, Hemingway’s story is one in which very little happens. The story takes place in a train station in Spain where a couple argue about a vague event over drinks. From the very start of the short story, there is an overbearing uneasiness felt in the text as the unnamed male and the girl, Jig, hold what seems to be—on the surface—an innocent conversation. By using a limiting third person point of view that consists mostly of dialogue, Hemingway creates an obstacle in the way of understanding as there is no clear insight to what is going on inside of either party’s head. The conflict that the pair seem to be discussing is never named and it becomes the metaphorical elephant in the room much like the white elephants that Jig sees in the mountains.
The story begins with a detailed description of the setting, taking place at a train station in Spain’s Ebro valley during the 1920’s. In these opening details the setting of being barren, hot, and shade less is highlighted. Hemingway right away underlines the harsh and oppresive climate of the setting and the couple decision to escape into the only shelter available for temporary relief through shade and drink. Hemingway presents the theme of choice often in the story and this is the first, they decide to avoid the heat and go inside for relief, which relates to the same way they treat the issue at hand. They would rather avoid the problem with temporary relief.
Ernest Hemingway’s characters are frequently tested in their faith, beliefs, and ideas. To Hemingway’s characters, things that appear to be grounded in reality and unmovable facts frequently are not, revealing themselves to be hollow, personal mythologies. Hemingway shakes his characters out of their comfortable ignorance through traumatic events that usually cause a certain sense of disillusionment with characters mythologies, moving them to change their way of life. His characters usually, after becoming disillusioned, respond with depression, suicide, and nihilism. However, this is not always the case.
The story focuses on the main character who is a woman suffering from mental illness. It is very clear that the woman is ill when she states, “You see, he does not believe I am sick!” (677) speaking of her husband who is a doctor. So first she admits she is sick then later she states, “I am glad my case is not serious!”
According to Smiley, “The dialogue contains the essence of the story's power; for to read Jig's and the American conversation is to recognize the powerless frustration of parallel interchanges” (2). The girl's character passes changes throughout the story. It appears that “Hemingway works out the story's conflict, which revolves around the development of his female character” (Renner 28). The girl gains power and frees herself from the following the American man. In the beginning of the story, the girl take the initiative to speak which leads to the discussion: “'what should we drink?'
Even with the biased opinion from the narrator in the novel they are still able to see that the woman is a difficult character. In The Sun also Rises Hemingway writes
They begin discussing the old man’s attempt at suicide. The story which seems to start off about the old man really becomes about the fear the old waiter has of becoming like the old man. The importance of the characters, setting, and symbolism of the story all help Hemingway to express the hopelessness and loneliness of the old man and the older waiter. The story’s characters consist of the young waiter who is confident but seems to be a bit naïve about what life is really about.