Literary aspects of tone and setting in Hills like White Elephants

Hemingway

A profound sense of melancholy envelops the couple at the center of Hemingway's "Hills Like White Elephants." The story takes place in one scene only, describing a difficult conversation between a couple referred to simply as the "man," and the "girl." Most of the dialogue invokes subtext, as neither character uses direct language except when referring to their drinks. The symbol-laden setting of the story complements the figurative dialogue. The couple is waiting for a train, at a crossroads in their individual lives. The title of the short story encapsulates the metaphoric discourse that unfolds. Hemingway's title can be interpreted in a myriad of ways, none of which are literal. Ironically, however, the couple does discuss white elephants in a literal way when the man says, "I've never seen one." Through symbolism and subtext, Ernest Hemingway creates a tense, moody atmosphere in which the reader can explore issues related to relationships, self-esteem, gender relations, and personal identity.

That "Hills Like White Elephants" is about an abortion is all but clear even though no one mentions even so much as a pregnancy. After making small talk related to the titular hills and to their drinks, the man suddenly blurts out, "It's really an awfully simple operation, Jig,' the man said. 'It's not really an operation at all." References to letting the "air in" also indicate that the procedure in question in an abortion. Moreover, the girl says, "once they take it away, you never get it back." Yet even before he mentions the operation, the reader senses great tension between the two. Their tempers are testy, as when the girl states, "That's all we do, isn't it - look at things and try new drinks?" They bicker like children: "Oh, cut it out," the man says. Jig replies, "You started it."

Neither the man nor the "girl" has a solid identity in the story. He is referred to simply as an "American." No reference to his physical appearance is offered, nor to his age. The fact that Jig is called a "girl" is significant but so is her actually being given a name. It is as if Hemingway wants her to be empowered and liberated from her insensitive boyfriend. The author is rooting for her, but her feelings prove too tumultuous for her to think clearly. Instead, she drowns her sorrows in escapism. Both Jig and her man seem to have been traveling for a long time, without a strong sense of direction or place in the world. Gazing at the hills "like white elephants" represents the girl's thoughtfulness. She, unlike the man, has hopes and dreams. Looking towards the horizon at the hills symbolizes looking towards and planning for the future.

The "white elephant" on the table is whether or not raising a family can be part of that future together. Jig is open to the possibility of carrying the child to term, which is why the man tries to convince her that the procedure is "simple." The man repeats the word "simple" over and over, oblivious to the fact that an abortion might be simple for him but not for her. Jig responds with sarcasm and she turns her anger inward. When the man states, "I've known lots of people that have done it," the girl responds, "So have I...afterwards they were all so happy." Her sarcasm might be misconstrued if the man did not immediately state, "Well...if you don't want to you don't have to." Just as the man emphasizes the word "simple," he also repeatedly claims, "I don't want you to do anything that you don't want to do -- " His words ring false once again, and the girl interrupts: "Nor that isn't good for me...I know. Could we have another beer?" The tone of her voice oozes sarcasm; Hemingway makes sure to insert a dash to indicate that the girl has cut him off when she begins her statement. Moreover, the girl changes the subject quickly to having another beer.

While the man in the story remains utterly insensitive to his girlfriend, her state of mind is less clear. On the one hand, her self-esteem seems dreadfully low. She repeats, "I don't care about me," and she asks the man if getting the operation will make him happy. When she states, "I don't care about me," she could also mean "I care about you more," but she never says that." She utters the finishing lines of the story: "I feel fine...There's nothing wrong with me. I feel fine." Her words most likely indicate her further suppression of her anger and true feelings. However, the girl might also have come to a decision about ending their relationship. It is entirely possible that her hill-gazing has inspired her to make major changes in her life. After all, the open-ended story does not indicate whether the girl goes through with the operation or not. She smiles, not just at the waitress but also at the man. Her smiles could be entirely fake but they might also be an indication of her having reached a powerful realization about herself, her goals, and her identity.

The title of the story presents phallic imagery that parallels the man's patriarchal attitudes. The opening line of the story, "The hills across the valley of the Ebro were long and white," is far more serpentine and phallic than it is representative of a pachyderm. References to the surrounding trees evokes pubic hair. Moreover, the girl mentions how the hills resemble skin: "the colouring of their skin through the trees." A phallus is what brought the couple into the uncomfortable spot of discussing -- albeit in a roundabout way -- abortion. The hills are depicted as being bare with "no shade and no trees," which would suggest the lack of prophylactics. Emphasis on the phallus corresponds with the sexism that permeates the man's attitude. He condescendingly repeats phrases to his girlfriend as if she did not understand him the first time; he patronizes her by claiming to love her and even says, "I don't want you to do it if you don't really want to" just to sound nice, just to make it seem like his motives are not self-serving. The man's self-centeredness is repeated in actions like grabbing his own glass of Anis at the bar without the girl knowing. The man also makes the final move by taking the bags to the tracks. Furthermore, the words, "You know I love you" ring entirely false, especially since the girl never deigns to echo his sentiments. As she gazes off at the hills, she becomes less and less enamored with her lover and his patriarchal manner.