Ernest Hemingways opening paragraph in Hills Like White Elephants reform away pojects his readers into a landscape that is barren and uncomfortable. It is a movie so simple, yet so the vivid, that the reader physically senses the burn of the cheerfulness and the stillness of the day, interrupted only by the quizzical locomote and the woman from the bar. It is a scene symbolic of the lives, the future, and the dogged irresoluteness that confronts the American and the girl, Jig. The story takes place in Spain, at an plain small railway station above the vale of the Ebro River, somewhere mingled with Barcelona and Madrid. The time is probably the early or mid-1920s, when the post-war nonplus generation was in exile. It is fitting that Hemingway should choose, as a reach for his story a jointure--that place where lines, driveways, and railways come together or cross. The American and the girl are at a roast of their own, a point at which they must decide which road to take. And herein lies the conflict. Abortion is the issue. A decision rests somewhere amidst their dickens trains of thought, just as the station was between two lines of rails in the sun.
The American wants to leave this station, this stopover in their voyage, and continue their nomadic wanderings without an extra passenger. He vehemently declares, I dont want anybody but you. I dont want anyone else. He knows, at first, what he wants Jig to do, and gently attempts to persuade her: Ill go with you and Ill lodge with you all the time. They just let the air in and consequently its all perfectly natu re. The girl, however, is plagued with unce! rtainty as relentless as the scorching sun. There is no shade and no tress, no relief from the... If you want to get a full essay, armament it on our website:
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