This paper examines Ernest Hemingway's naturalistic writing style as demonstrated in four short works: "Hills Like White Elephants," "A Clean, Well-Lighted Place," "The Killers," and "The End of Something." The paper begins with a brief overview of Hemingway's life and semi-autobiographical influences before analyzing how his minimalist, iceberg-style prose forces readers to infer character motivations, emotional states, and social dynamics from spare dialogue and setting. Special attention is given to recurring themes of male dominance, female submission, and class-based attitudes toward despair, showing how Hemingway encodes social critique beneath deceptively simple surfaces.
The paper demonstrates close reading: rather than paraphrasing plot, the author selects key lines of dialogue and unpacks the social and psychological subtext beneath them. For example, the analysis of Jig's final words in "Hills Like White Elephants" — "I feel fine. There's nothing wrong with me. I'm fine" — treats surface-level reassurance as evidence of coerced resignation, modeling how literary argument is built from textual detail.
The paper opens with a thesis introducing naturalism as Hemingway's defining method, followed by a brief biography. The body then moves through four stories in separate sections, each applying the same analytical framework. The conclusion synthesizes the findings, restating the iceberg-style thesis and connecting it to recurring social themes. This pattern — introduce framework, apply consistently, synthesize — is a reliable model for comparative literary analysis.
Ernest Hemingway specialized in what is known as naturalistic writing. He tells the reader only the basic information about what is going on in a particular short story or novel. Much is said about the natural settings of the stories, but very little is given about the characters themselves. Instead, facts about the people — including their personalities and characteristics — must be inferred through close readings of the texts in question. In addition, Hemingway's novels and short stories use the interactions between characters to reveal the underlying relationships between genders and classes that were present in society during the time he was writing. This idea of naturalism — both in terms of landscape and in terms of character interaction — can be seen throughout Hemingway's various writings, including "Hills Like White Elephants," "A Clean, Well-Lighted Place," "The Killers," and "The End of Something."
Ernest Hemingway's life was filled with adventure. Most of the stories that appear in his short fiction or novels are semi-autobiographical, drawing on his own experiences, including his war stories. Hemingway began as a journalist and an ambulance driver during World War I. In 1918, at the age of 19, he was seriously injured and honorably discharged (Oliver 140). He would use his wartime experiences to write his first novel, A Farewell to Arms, establishing the pattern for the rest of his life.
He traveled internationally and wrote about everything from the "Lost Generation" of expatriates living in France and the bullfights of Madrid to the Spanish Civil War and the people he encountered who would inspire his fictional characters — such as the fisherman in The Old Man and the Sea. Hemingway was present at some of the most important moments of twentieth-century American history, including the landings at Normandy and the liberation of Paris during World War II (Oliver 192). Personally, he became consumed by his passions, continually hunting and even pursuing big-game shooting on safari in Africa. "Papa," as he was often called, struggled with alcoholism in his later years and, after dealing with years of crippling depression, ended his life by shooting himself in the summer of 1961, at age 62.
Hemingway's "Hills Like White Elephants" is about a despondent woman who cannot escape her oppressive relationship because the period in which she lives is dominated by men. A man and a woman are in a foreign land, stopping at a small café while they wait for a train to take them to their next destination. It is evident from their realistic dialogue that the two are not getting along and are in fact in disagreement over something serious. When the young woman says that the hills look like white elephants, the man responds that he wouldn't know. "I might have," the man said. "Just because you say I wouldn't have doesn't prove anything" (Hemingway). This is a strange response and indicates a feeling of anger wholly unrelated to the mountains in question. Immediately the girl changes the subject, unwilling or unable to disagree with him, because as a woman she does not feel entitled to challenge the man.
Additional information is provided about this couple's relationship through what is left unsaid. After reading between the lines of the direct dialogue, a whole additional level is added to the story. It becomes clear that the woman is pregnant and the young man is eager for her to abort the fetus, although this is never explicitly stated. Her boyfriend attempts to persuade her by saying, "It's really an awfully simple operation, Jig… It's not really an operation at all" (Hemingway). His desires carry more weight in their dynamic than her own, and he presses her on the topic. He later assures her that the procedure is natural and that they will "just let the air in and then it's all perfectly natural" (Hemingway).
From Jig's demeanor, it is obvious that she is very reluctant to abort the child and may in fact want to keep it. She stares at the hills, sips her drink, and does everything she can to distract the man from his pressure. Jig knows that having the abortion would ultimately drive them apart, but the man assures her that everything will be fine once it is done and seems incapable of truly hearing her. The way he frames his request is designed to induce guilt in Jig and reinforce his dominance and her socially imposed submission. He says, "If you don't want to you don't have to. I wouldn't have you do it if you didn't want to. But I know it's perfectly simple" (Hemingway).
It is obvious that the girl does not want an abortion. This pregnancy has changed her — travelling and drinking no longer hold the same wonder they once did. She feels conflicted: by having the abortion, she can keep the man in her life and he promises their relationship will return to what it was before. Although she knows this to be false, her last words reveal what she will do. She says, "I feel fine… There's nothing wrong with me. I'm fine" (Hemingway). As a woman of her era, she has no real voice, and so whatever her partner decides is what will ultimately happen. Jig will have the abortion because the decision has effectively been made for her. She is the submissive partner and he the dominant one; his will is the one that prevails.
Notably, all Hemingway has explicitly told the reader is that the man wants the woman to have an operation and she is reluctant. He never names the procedure. Everything the reader understands about the pregnancy must be inferred from the girl's demeanor and the couple's guarded dialogue — background information that is neither explicitly stated nor rendered unimportant by its omission.
In "A Clean, Well-Lighted Place," Hemingway writes about the conversations that take place over one evening among a group of strangers in a small café. The main characters are an old man who has gone mostly deaf and two waiters who are very familiar with his habits. The old man is an alcoholic, though not a violent one. The waiters must watch him carefully, or he will leave without paying his tab. As they observe the old man, they reflect on what matters in their own lives: for the young waiter, the only thing that counts is leaving work early to be with his wife and enjoy his youth; for the old man, life consists solely of his time in the café and his bed at night.
The waiters stand around discussing how the old man attempted suicide the week before. One waiter says the reason for the attempt was that the old man was in despair over nothing. When the second waiter asks how he knows this, the first responds, "He has plenty of money" (Hemingway). This indicates that, to this waiter, only those without money can be depressed for any real reason. Hemingway provides no concrete explanation for the suicide attempt. The waiters reveal their attitudes through their comments about the old man. The younger waiter is particularly disdainful, saying, "I wouldn't want to be that old. An old man is a nasty thing" (Hemingway). The author makes it clear that this waiter, not the drunken old man, should be the object of the reader's disapproval.
The young waiter rushes the old man out of the café because he is eager to go home, indifferent to the fact that the old man has nowhere else to go. As a young man, his life consists only of his own desires, and no one who stands in the way of those desires can be tolerated any longer than necessary. The older waiter chastises his younger counterpart and asks, "What is an hour?" The selfish young man replies, "More to me than to him" (Hemingway). A single extra hour would allow the old man to relax in his favorite place rather than being turned out onto the street.
Hemingway, Ernest. "The Killers." Sleuth Sayers. 2011. N.p. Web. 15 June 2013.
Oliver, Charles. Ernest Hemingway A to Z: The Essential Reference to the Life and Work. New York, NY: Checkmark Publishing, 1999. Print.
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