in-class literary analysis
"The difference between fiction and reality? Fiction has to make sense."1 Ernest Hemingway's "Hills Like White Elephants" dares to step across the borders of clearly-defined fiction and instead shows a picture of reality - a reality that does not always have a black-and-white moral or an easy interpretation. In fact, much of the story is carried by sometimes obscure symbolism.
The most obvious symbol is the white elephant - Jig's unwanted baby. The classic symbol of the white elephant, representing a burden that is not easily disposed of, can be traced back to the ancient King of Siam, who gave white elephants to servants he was displeased with. These rare beasts were too sacred to be eaten, worked, or given away. The cost of feeding and taking care of the elephant soon forced the unlucky servant into poverty. In this story, it soon becomes apparent that this is how the American - and maybe Jig as well - view their unborn child. No matter how magnificent children may be, they consume far more than they give, especially in their early years, and the couple is not ready to be tied down. Their life together is filled with drinking and travel, sightseeing and hotels. It offers no room for a child.
The story is carried almost exclusively by dialogue. Mere observation of the characters' interaction with each other reveals much about their personalities, their relationship, and their future together. For example, Jig consistently asks the American for validation - "Wasn't that bright? And you really want to? If I do it you won't ever worry?"2 It is apparent that she would do anything for him, even to the point of self-neglect ("I don't care about me"3). And he is careful of her feelings, approaching the subject cautiously and assuring her that he will not pressure her into anything she is uncomfortable with. Dialogue is especially important in this piece because it is told from an observer's perspective, leaving the thoughts and emotions of the characters ambiguous.
"Hills Like White Elephants" is not meant to teach. It is not a parable or a lesson. It is merely a glimpse into a Spanish train station, the vantage-point of a silent observer taking careful note of the people who interact there - a snapshot, not passing judgment or offering interpretation. It is an honest picture of two lives converging; their future is undetermined, just as it is in reality.