Hills Like White Elephants Literary Analysis

Nic Woodley
Professor Jeremy Bearden
English 102
June 10, 2013

Avoiding the Elephant In “Hills Like White Elephants,” Earnest Hemingway incorporates the style of writing he pioneered to help convey the central theme of the story. His unique approach to writing leaves the conclusion up for interpretation by the reader. Hemingway gives very little description of the American and Jig. Instead, the reader must infer through the characters’ actions and dialogue to gauge their feelings toward the issue. The internal conflict within Jig sets the foundation for the theme Hemingway portrays. Jig experiences a moral struggle when debating what she should do with the pregnancy. This internal strife is consistent with the everyday societal
controversy that surrounds abortion. The American is confident in his decision about what the couple should do with the pregnancy. However, Jig is so unsure and uncomfortable that she would rather avoid the conversation and subject all together. Hemingway uses her indecisiveness to reveal society’s reluctance to face everyday issues. Hemingway employs characterization, style, and symbolism to sufficiently reveal the central theme of humanity’s uninspired willingness to confront unfavorable circumstances. Earnest Hemingway utilizes strong symbols to help to propose a central theme in the story.
Jig observes the scenery outside of the station and compares the hills to “white elephants”(351). Later on in the story when the conflict is brought to light, the symbolism of the “white elephants” can be seen. The “white” symbolizes the purity of the unborn child Jig carries. Without any input in the decision, the life of this child lies in the hands of a couple in the midst of an unhealthy relationship. The American is undoubtedly more concerned with his own life and selfish desires as he attempts to convince Jig to have an abortion. Jig, on the other hand, is unsure as to what should be done about the pregnancy. She fills the conversation with her uncertain and pessimistic attitude about the matter. Eventually, she begs the American to “please please please please stop talking,” as her frustrations become too much for her to handle (353). Either way, the fate of the child is unknown to the reader, as Jig cannot seem to make a decision. The figurative representation of “elephant” can be likened to the common expression of “elephant in the room.” Jig and the American speak of the situation at hand without directly referring to it. They both “beat around the bush” as they contemplate the destiny of their unborn child. This approach to the conversation from both angles embodies the central theme of avoiding problems at one’s convenience. The purity of the child and the
“elephant in the room” are both symbols that arise from Jig’s observance of her surroundings and contribute to the work’s overall theme. Characterization is essential in both evolving this story and in the revelation of the theme. The American is perceived as shallow and immoral on his quest to get his “lover” to have an abortion. His mellow attempt at convincing Jig to proceed with the operation is transparent as his underlying concerns for himself are evident. His attempt becomes almost desperate, as Jig cannot seem to come to a conclusion. The American attempts to reassure Jig with empty comments such as “I love you” and “We can have everything,” in hope that she will surrender to his wishes (352). As for Jig, the reader can assume her dependency on the American as she struggles to express her own feelings. Instead, she draws from his confident and convincing attempt to get his way. She does not fully surrender, however, as she also reveals her hesitancy towards the subject. Instead, she forces the conversation into a hush when she becomes too frustrated with the stress of the situation. This reaction from Jig further employs the theme of society’s unwillingness to endure stressful situations such as contemplating abortion. Earnest Hemingway’s style, as observed in “Hills Like White Elephants,” is fashioned from the techniques already discussed as well as other literary devices.
Hemingway leaves much of this story up for interpretation. The work never states many of the inferences that Hemingway’s audience has discovered over the years. The dialogue between Jig and the American is where the characterizations of the two are revealed. They dance around the subject of abortion with meaningless banter. Repetitive comments such as “Do you want it with water,” and discussions of the various types of drinks reveal to the reader the loathsome attitude the couple has concerning the pregnancy (351). The tension becomes obvious, as they awkwardly struggle to avoid the abortion issue. Hemingway’s stripped down style of writing leaves the reader liberty to infer what he or she feels is being expressed. The iceberg theory (giving only the bare essentials) employed by Hemingway is developed from a combination of his writing techniques that are imperative in conveying the theme in this work. The style in which the story is written complies with the attitude that humankind approaches such instances with and moreover reinforces the central theme of this
work.
“Hills Like White Elephants” is written with subtle yet powerful devices to develop a central theme. Hemingway’s unique style is augmented by symbolism and characterization that he incorporates throughout the story. Symbols of purity and the “elephant in the room” represent the unborn child’s life that lies in limbo as its parents contemplate its fate. Characterization, developed by Hemingway’s style, further advances the central theme of avoidance. The collaboration of the discussed techniques are exceptionally exercised in “Hills Like White Elephants” to portray the unwillingness of mankind to embrace unfavorable situations and to instead avoid them altogether.

Works Cited
Hemingway, Earnest. “Hills Like White Elephants.” Literature: An Introduction to
Reading and Writing. Ed. Edgar V. Roberts and Robert Zweig. 10th ed. New York: Pearson Longman, 2012. 350-353. Print.