A young woman, Jig, and an anonymous American man are waiting for the express train coming from Barcelona; they are on the porch of a little station-bar and appear to be going to Madrid. The narration comprises totally of an apparently target documentation of their words and activities amid their forty-minute train wait.
The surface occasions are exceptionally simple. The lady takes a glance at the hills across the Ebro valley, proposes that they order something to drink, tries to draw in the man in light talk, reacts quickly and despondently to his affirmation that an activity that she is to have is “truly not anything . . . It’s all superbly common”; she then stands up, strolls to the end of the station, takes a glance at the hills once more, talks indignantly, sits back down, requests that he “stop talking,” and lastly guarantees him that she is “fine.” The main activities of the man not represented in this specifying of the lady’s developments happen after she requests that he “stop talking” and before she affirms that she is “fine.” In that brief period, he carries their packs “around the station to the alternate tracks” furthermore, stops at the bar to drink an anisette alone.
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In the story for instance, both the young lady and the American man talk in short sentences and seldom articulate more than a couple of words at once. Hemingway additionally abstains from utilizing dialog labels, for example, “she said,” or “he said” and skips any inward monologs.
Renner, Stanley. Moving To The Girl’s Side of “Hills Like White Elephants”, The Hemingway Review, Vol. 15, No. 1, Fall 1995, 27-41.
Oates, Joyce C. The Oxford Book of American Short Stories. New York: Oxford University Press, 2013. Print.
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