The story01–03
01·Summary
What is Hills Like White Elephants about?
At a train station in the Ebro River valley of Spain, an American man and a young woman he calls "Jig" are waiting for a train to Madrid. They order beers and take in the scenery around them — one side is dry and desolate, while the other is lush and fertile, with the river in the distance. Jig points out that the far-off hills resemble white elephants, but the American brushes off her comment. Their conversation shifts subtly but clearly toward an "operation" that the American wants Jig to undergo — an abortion, though they never actually use the word. He insists it’s “perfectly simple” and that it will resolve everything between them, assuring her that he’ll support her choice while making his own desires clear. Jig initially resists, then verbally concedes, only to push back again, looking out at the fertile landscape and asking him to please stop talking. She moves their luggage to the other platform while the American drinks alone at the bar. When he returns, she tells him she feels fine. The story wraps up without a clear conclusion: the train is about to arrive, nothing has been decided or changed, and the weight of their silence is more intense than any argument.
02·Context
When was Hills Like White Elephants written, and why does it matter?
Ernest Hemingway penned "Hills Like White Elephants" in 1927 during his time in Paris, finishing it in one go at a café in Madrid. It first appeared in the little magazine transition in August 1927 and was later included in Men Without Women the same year. The story draws from Hemingway's own tumultuous romantic experiences—particularly his affair with Pauline Pfeiffer while still married to Hadley Richardson—and reflects his evolving style known as the "iceberg theory," where much of the meaning lies beneath the surface of simple, straightforward writing. It was released during a vibrant period of American expatriate literary activity in Europe and was quickly acknowledged as a remarkable technical achievement. Critics and fellow writers, including F. Scott Fitzgerald, lauded its striking brevity. Today, it stands as one of the most frequently taught short stories in English, celebrated for its skillful use of subtext, dialogue-driven storytelling, and its ability to convey a moral and emotional crisis largely through what remains unspoken.
03·Chapter-by-chapter
What happens in Hills Like White Elephants?
- 01Chapter 1: Hills Like White Elephants
At a train station in Spain's Ebro valley, an American man and a young woman named Jig sit outside a bar in the dry heat, waiting for a train to Madrid. They order beers—Anis del Toro—and Jig gazes at the…
Summary, analysis & quotes →
The people04–05
04·Characters
Who are the characters in Hills Like White Elephants?
Jig (the Girl)
Full commentary
Jig is the female protagonist in Ernest Hemingway's minimalist short story, a young woman traveling through Spain with her American companion. She is at the heart of the story's main conflict: an unplanned pregnancy and the man's insistence that she undergoes an abortion, which he refers to indirectly as "the operation." Although she never clearly articulates her emotions, Jig's journey shifts from uneasy compliance to a quiet, determined resistance.
At the story's beginning, Jig looks at the distant hills and comments that they "look like white elephants"—a remark the man brushes off, highlighting the emotional distance between them. This observation portrays her as insightful and imaginative, someone who finds significance in the landscape while her partner is preoccupied with practicalities. As the man reiterates his rehearsed reassurances ("It's perfectly simple… I know lots of people who have done it"), Jig becomes increasingly weary. Her pivotal line—"Would you please please please please please please please stop talking?"—signals her breaking point and exposes her frustration with his manipulation.
By the end of the story, Jig smiles at the waitress, carries her own bags, and tells the man she feels "fine," a response rich with irony and finality. Instead of succumbing to pressure, she reaches a private resolution—perhaps defiance—that she keeps to herself. Jig's defining traits are her perceptiveness, hidden emotional depth, and an emerging autonomy that the story's iceberg structure keeps just beneath the surface.
Connected to · The American (the Man) · The Waitress (the Barmaid)
The American (the Man)
Full commentary
The American is the male lead in Ernest Hemingway's minimalist short story "Hills Like White Elephants," which takes place at a train station in Spain. His main role is to persuade Jig, his companion, to agree to "the operation," a subtle reference to abortion, all while maintaining an appearance of reasonableness and neutrality.
His primary characteristic is manipulative rationalism. He insists that the procedure is "perfectly simple" and "perfectly natural," using calm, logical language to counter Jig's emotional hesitations ("It's really an awfully simple operation…it's not really an operation at all"). However, his reassurances are circular and self-serving; whenever Jig shows doubt or tries to change the topic, he skillfully redirects the conversation back to his desired outcome.
Another defining trait is his emotional avoidance. When Jig makes poetic remarks—like comparing the hills to white elephants or pondering their future—he either deflects or dismisses her thoughts, demonstrating his unwillingness to connect with her inner feelings.
His character arc remains largely unchanged: he ends the story by carrying the bags to the other side of the station and then returns to find Jig appearing composed, but no real resolution has occurred. His last question—"Do you feel better?"—highlights his ongoing need for her agreement rather than any genuine concern for her wellbeing. He exemplifies Hemingway's "iceberg theory," with his controlling tendencies and fear of commitment concealed beneath a facade of calm rationality.
Connected to · Jig (the Girl) · The Waitress (the Barmaid)
The Waitress (the Barmaid)
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The Waitress, also known as the Barmaid, is a minor yet important character in Ernest Hemingway's "Hills Like White Elephants." She works at a small bar and railway station in Spain's Ebro valley, serving the two main characters during their layover. Although her appearance is brief, she helps shape the story’s setting and pacing, anchoring the tense, elliptical conversation between the American and Jig in a tangible world.
The Waitress communicates through a curtain of beaded strings, primarily speaking Spanish—a language the American translates for Jig, subtly reinforcing his sense of control and cultural authority. She brings drinks when requested, informs them that the train is about to arrive ("The train comes in five minutes"), and otherwise maintains a professional distance from their emotional exchange. Her announcement of the train acts as the story's quiet yet crucial timer, indicating that the couple's opportunity for resolution is dwindling.
The Waitress doesn't have her own discernible arc; she functions primarily as a narrative device. However, her ordinariness and calm efficiency stand in stark contrast to the emotional tension brewing between the American and Jig. She represents the indifferent, functioning world outside their private crisis—life continues on schedule despite the couple's unspoken conflict. Her role highlights Hemingway's iceberg theory: the visible surface is mundane and transactional, while significant tension simmers beneath. She is entirely defined by her function, illustrating the story's theme that the most significant struggles often remain unseen by outsiders.
Connected to · The American (the Man) · Jig (the Girl)
05·Character map
How are the characters in Hills Like White Elephants connected?
The meaning06–08
06·Themes
What are the themes in Hills Like White Elephants?
Desire
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In Hemingway's "Hills Like White Elephants," the theme of desire simmers just below the surface of the dialogue, revealed through the characters' gestures, what they avoid discussing, and how they interact with the landscape, rather than through their spoken words. The couple's conflicting desires aren't directly named — "abortion" is never mentioned — yet the story revolves around the clash between the man's wish for a carefree, nomadic life and Jig's yearning for stability, connection, and the child she seems to want to keep.
Jig's initial remark that the distant hills resemble white elephants — both valuable and burdensome — hints at her mixed feelings about something she struggles to articulate. When the man brushes off her comparison and she quickly retracts it, the moment underscores how his need for approval is already overshadowing her unvoiced desires.
The beaded curtain emerges as a recurring symbol of crossing thresholds and hesitation. Each time a character approaches or moves away from it, they are navigating the complexities of desire and postponement. Jig's repeated pleas to "please please please please please stop talking" signify the moment her repressed wish for independence finally breaks through the polite facade of their conversation.
The two sets of tracks — one leading to Madrid, the other away — seen from the station platform subtly reflect the story's central conflict: two incompatible desires converging at a single point of waiting. Jig's final smile, described as perfectly fine yet hollow, implies not resolution but a performance of surrender — her desire folding inward, hidden away, much like the hills themselves fading into the flat landscape.
Escape
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In Hemingway's "Hills Like White Elephants," the theme of escape unfolds on several levels—geographic, emotional, and existential—but the story’s key irony is that neither character can truly escape.
The hills introduce this motif right away. When the American girl remarks that the distant hills resemble white elephants, she’s not just making casual observations; she’s trying to escape into metaphor, seeking to beautify a landscape that frames a painful conversation. The man's flat rejection of her imagery—saying he has never seen a white elephant—indicates his refusal to entertain the imaginative escape she keeps longing for.
The train station setting further emphasizes this feeling of being trapped while pretending to be in transit. The couple is positioned between two rail lines heading in opposite directions, surrounded by curtain beads and warm beer. Although they could technically go anywhere, they remain stuck. In Hemingway's depiction, the station—a place meant for departures—turns into a stage for their inaction.
The operation the man continually skirts around—described as "perfectly simple" and "not really an operation at all"—symbolizes his desired escape route: to erase the pregnancy and return to a life filled with drinking and traveling. His insistence that they can have "everything" afterward reveals his deep confusion between escaping consequences and experiencing true freedom.
Jig’s brief walk to the far side of the station, where she gazes at the fertile valley and the river, marks the story’s most intense attempt at escape. She comes back without finding resolution, asking the man to please stop talking—retreating into silence rather than physical space. Her final terse assurance that she feels "fine" sounds less like acceptance and more like the closing of a door, an inward withdrawal when the possibility of external escape has turned out to be impossible.
Gender and Power
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In Hemingway's "Hills Like White Elephants," the power imbalance between the man and Jig, the woman, is embedded in the very structure of their conversation rather than in any direct conflict. The man dominates the discussion: he brings up the operation, repeatedly labels it as "simple" and "perfectly natural," and redirects every sidetrack back to his desired outcome. Jig, on the other hand, lacks the words to refuse — she can't even articulate what is being asked of her without relying on the man's euphemisms.
The landscape motif emphasizes this dynamic. Jig is the one who observes the hills and compares them to white elephants — a term that suggests something unwanted, something nobody wants to claim. The man quickly brushes off her observation, which mirrors the larger dismissal that permeates the story: her insights, her imagery, her mixed feelings are seen as hurdles rather than valuable contributions.
The beaded curtain at the bar's entrance serves as a recurring spatial marker. Jig approaches it, touches it, then pulls back — a dance of uncertainty that the man does not participate in. He remains stationary, orders drinks, and handles the logistics. Their differing movements reflect a division of agency: he navigates the world while she navigates his expectations of her.
When Jig ultimately agrees to go through with it and asks him to stop talking, her capitulation is not a peaceful resolution but rather a sign of fatigue. Her silence at the end of the story — when she claims to feel fine — seems less like satisfaction and more like the only choice left after her ability to express herself has been overtaken by his framing.
Identity
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In Hemingway's "Hills Like White Elephants," identity isn't explicitly defined — it's negotiated, suppressed, and gradually worn away through the weight of a single conversation at a train station in Spain. The most significant marker of identity in the story is the woman’s name: she’s referred to as "the girl," while the man is simply "the American," a title that carries cultural power and a sense of identity he can carry with him. Her lack of a name isn't neutral; it highlights how completely her sense of self is being influenced by someone else's desires.
The hills mirror her struggle with identity. When she says they resemble white elephants — a comment made tentatively and almost playfully — the man brushes it off, prompting her to quickly backtrack, claiming she only mentioned it because she thought it looked that way. This small retreat encapsulates the broader dynamic: she shares her perspective but quickly discards it at the slightest pushback. Her identity as someone who observes and names her surroundings is being repressed.
The unspoken operation the couple dances around symbolizes the ultimate question of identity — whether she will embrace who she is becoming (a mother, a person with a different future) or revert to the traveling, drinking, and observing life that the man prefers. Her repeated, insincere agreement that everything will be "fine" after the procedure feels less like genuine belief and more like identity denial — the moment when a self stops advocating for its own existence. The beaded curtain she often gazes through, which separates the bar from the outside, subtly represents the boundary between a self she might claim and one she is being pressured to abandon.
Language and Communication
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In Hemingway's "Hills Like White Elephants," the focus shifts to language itself—it's not just about what is said, but more about what is avoided, deflected, and hidden beneath polite exchanges. The story's key conflict revolves around a woman's pregnancy and the man's pressure for her to have an abortion, yet this is never stated outright. The procedure is only referred to as "it" or "a simple operation," a deliberate vagueness that reveals how the man employs linguistic minimization as a means of control, trivializing the procedure to eliminate Jig's resistance.
Jig’s remark that the hills resemble white elephants represents the story's most intense communication moment. The man's flat and dismissive reply—he wouldn’t know, since he’s never seen one—shows his refusal to engage with her imaginative and emotional world. The idiom of the white elephant, signifying an unwanted burden, looms unaddressed over the entire exchange, a meaning neither character acknowledges.
Repetition acts as a pressure valve throughout the narrative. The man repeatedly assures Jig that he wants only what she wants, that everything will be fine afterward, that he loves her—but this insistence drains the words of their meaning. Jig's eventual request for him to stop talking isn’t a mere emotional outburst, but rather an accurate assessment: his words have turned into noise, a tool of coercion disguised as concern.
The beaded curtain, the two train tracks, and the contrasting barren and fertile landscapes serve as a visual language that the characters either can’t or won’t articulate. Hemingway crafts the story so that meaning builds up entirely in the silences between dialogue, making silence the most expressive—and most heartbreaking—form of communication.
Loss and Grief
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In Hemingway's "Hills Like White Elephants," loss and grief linger just beneath the surface of the dialogue, emerging through what is left unsaid, evasions, and the emotionally charged setting rather than overt admissions. The couple — referred to only as the American and Jig — never explicitly mention the procedure they are discussing, yet the heaviness of what they risk losing permeates every interaction. Jig's comment that the hills across the dry valley resemble white elephants serves as the emotional turning point: white elephants symbolize burdens that no one desires but cannot simply discard, and this imagery quietly points to the unspoken — a pregnancy, a relationship, a future that is already fading away.
The landscape itself reflects their grief. On one side of the train station, a barren, sun-baked terrain stretches out; on the other, lush fields and a river thrive. Jig looks toward the fertile side and remarks on its beauty, suggesting that they could have it all — a statement that the American quickly brushes aside. The stark contrast between the two landscapes illustrates the irreversible choice the couple faces: one option excludes the other, and whatever decision they make, something valuable will be lost forever.
The American's persistent reassurances — his claims that the operation is straightforward, that everything will turn out fine afterward, that they will be happy again — come off not as comfort but as a form of anticipatory mourning. He is already grieving the simplicity of their past life, the carefree nature of travel and drinks evidenced by the airline labels on the bead curtain. Jig's quiet, weary plea for him to stop talking reveals her own sorrow: not just for the potential child, but for a version of herself and their relationship that the discussion has already shattered. The story concludes without resolution, leaving the two of them sitting apart, the sense of loss already palpable in the silence between them.
07·Symbols & motifs
What are the symbols in Hills Like White Elephants?
Anis del Toro / Alcohol
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In Hemingway's "Hills Like White Elephants," Anis del Toro and the couple's drink orders symbolize escapism, avoidance, and their broken communication. The alcohol reflects the American man's wish to maintain a facade of pleasantness and stability, dulling the heaviness of their decision—whether Jig should go through with an abortion. Each drink represents a moment where they stop engaging in meaningful conversation, retreating into a superficial comfort. The liquor also highlights their transient, aimless lifestyle, focused more on pleasure than on commitment or consequences. Ultimately, the drinks illustrate the divide between their words and feelings, concealing a deep emotional gap under a mask of casual indulgence.
Evidence
The symbol appears right away when the American orders two Anis del Toros without checking with Jig, highlighting his tendency to make decisions for her. When Jig tastes it and comments that it "tastes like licorice," then ties everything back to licorice—"That's all we do, isn't it—look at things and try new drinks?"—Hemingway shows that she recognizes their relationship as a hollow routine. The man's repeated claim that the operation is "perfectly simple" comes between drink orders, using alcohol as a social lubricant to gloss over a serious moral dilemma. When Jig requests another Anis del Toro and the man goes inside for beers, the change in drinks suggests a subtle shift—they're no longer even sharing the same drink. In the end, the man sits alone at the bar before coming back, a quiet moment that highlights his isolation and his dependence on alcohol to avoid facing what their relationship has turned into.
Hills Like White Elephants
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In Ernest Hemingway's short story, the white hills seen from the train station in the Ebro valley represent the unborn child at the heart of the couple's unspoken conflict. The color white is often associated with innocence and new beginnings, while the phrase "the elephant in the room" refers to a major issue that everyone avoids discussing. The hills’ rounded shapes also hint at a pregnant belly. Altogether, this imagery highlights the heavy decision the couple struggles to voice: whether Jig will choose to have an abortion. Therefore, the hills symbolize both the potential life under consideration and the silence, avoidance, and emotional distance that characterize the couple's relationship.
Evidence
The symbol arises when Jig looks out over the dry landscape and comments, "They look like white elephants," which leads the American to deny ever having seen one. This deflection reflects his unwillingness to confront their reality. Later, Jig steps away from the table and gazes at the hills across the valley, which Hemingway describes as "lovely," teeming with fields of grain and trees lining the river—a vibrant contrast to the barren, shadowless side where they sit. When Jig says, "And we could have all this," she is mourning the life—and the child—she fears they are about to lose. The American's insistence that the operation is "perfectly simple" and "perfectly natural" only intensifies the hills' symbolic meaning: what stands out large and white on the horizon is exactly what he refuses to acknowledge.
The Beaded Curtain
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In Ernest Hemingway's "Hills Like White Elephants," the beaded curtain at the doorway of the Spanish bar serves as a metaphorical line between two conflicting futures. It divides the cool, shadowy interior—linked to comfort, avoidance, and the American man's reluctance—from the hot, exposed platform where the couple must face their reality. On a broader level, the curtain represents the divide between the things they say and the things they leave unsaid, capturing the story's core tension: a choice that is constantly hinted at but never explicitly addressed. It highlights the delicate, permeable line between the couple's current standstill and the irreversible decision looming ahead.
Evidence
The curtain first comes into view as Jig and the American sit at a table outside, with "strings of beaded curtains" hanging at the entrance of the bar. When the woman reads the Anis del Toro advertisement painted on it, the man seizes the moment to order drinks, using small talk to avoid deeper connection. Later, he steps through the curtain to carry their bags to the other side of the station—a brief yet significant crossing of the threshold—while Jig stays at the table, frozen in place. Each time a character goes through or mentions the curtain, Hemingway highlights how difficult it is to cross over easily: the beads clatter and resettle, creating a sense of disruption without resolution. The curtain's translucent nature—visible yet obscuring—reflects the couple's conversation, during which the term "operation" is mentioned, but its true meaning (abortion) is never clearly articulated.
The River Valley and Landscape
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In Ernest Hemingway's "Hills Like White Elephants," the two sides of the Ebro River valley symbolize the choices facing Jig and the American man. The lush, green side, filled with fields, trees, and a flowing river, embodies life, fertility, and the option to keep the child and build a family. In contrast, the dry, barren side, with its brown hills baking under the sun, reflects the man's desire for a sterile, rootless existence: freedom to travel, enjoy pleasures, and end the pregnancy. Together, this landscape illustrates the couple's internal struggle, revealing the stakes of their unspoken argument without Hemingway directly addressing them.
Evidence
Hemingway sets up the symbolic contrast right away: the station is located "between two lines of rails in the sun." On one side, the hills are described as "white in the sun," with "no shade and no trees," while the other side features "fields of grain and trees along the banks of the Ebro." When Jig glances at the fertile side, she says, "And we could have all this," pointing to the river and the green land—a clear expression of her desire for a settled life with the child. The man, however, keeps redirecting her focus, insisting they can still "have everything" if she decides to go through with the operation. When Jig briefly approaches the curtain made of bamboo strips and looks at the dry, shadeless hills, her silence conveys resignation. The valley's two sides illustrate the story's main conflict: abundance and commitment on one side, emptiness and evasion on the other.
The Train Tracks and Station
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In Ernest Hemingway's "Hills Like White Elephants," the train station and its tracks represent the irreversible nature of choice and the different paths available to Jig and the American. The station is located between two sharply contrasting landscapes—one vibrant and green, the other dry and desolate—reflecting the two futures the couple faces: keeping the baby or going through with the abortion. The tracks, diverging toward Barcelona and Madrid, emphasize that once a decision is made, there's no way to go back. The station serves as a liminal space, a threshold where a life-changing commitment is momentarily suspended, highlighting the story's core tension between permanence and the desire to escape.
Evidence
Hemingway sets the scene right away: the station is located "between two lines of rails" in the Ebro River valley, flanked by hills on one side and a dry plain on the other. When Jig looks toward the river and the grain fields, she says, "And we could have all this," motioning toward a life filled with possibilities—the choice to keep the child. Shortly after, she gazes at the parched, sun-baked side of the landscape, which is linked to the operation. The couple's bags, marked with "labels from all the hotels where they had spent nights," hint at a transient lifestyle that the American seems eager to maintain. A train to Madrid—where the clinic likely awaits—is set to arrive in forty minutes, creating a pressing deadline for their discussion. As the American moves the luggage to the other track at the end of the story, this physical act of heading toward the platform emphasizes how the push to leave has already eclipsed any real discussion.
08·Literary devices
What literary devices are used in Hills Like White Elephants?
Repetition
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In Hemingway's "Hills Like White Elephants," repetition captures emotions that direct confessions fail to convey. The word "fine" appears repeatedly—the man claims the operation is "perfectly simple" and "perfectly natural" so often that his reassurances turn into pressure. Each repetition exposes not confidence, but anxiety, and the reader senses the coercion that the girl struggles to articulate.
The phrase "I know" is used similarly as a weapon. When Jig says, "And if I do it you'll be happy and things will be like they were," the man responds with "I know." She repeats the conditional statement, and he counters with "I know"—this loop illustrates his refusal to genuinely listen to her.
Most disturbingly, their mechanical exchange about drinks—ordering Anis del Toro, commenting on its flavor, ordering again—creates a rhythm of avoidance. This repetition mirrors the circular nature of a relationship stuck in its own evasions. A straightforward acknowledgment of the man's selfishness would conclude the story; instead, the repeated phrases leave it painfully open, compelling the reader to experience the stalemate alongside Jig.
Symbolism
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In Hemingway's "Hills Like White Elephants," symbolism carries much of the emotional and thematic weight in a story where the central subject — abortion — is never explicitly mentioned. The hills themselves introduce the main symbol: Jig notes they "look like white elephants," which has a dual meaning. White elephants represent burdensome gifts that one cannot refuse or discard, reflecting the pregnancy that the American man wants to erase and that Jig feels she cannot simply let go of. The beaded curtain beside them, advertising Anis del Toro, separates inside from outside and choice from consequence — each time a character passes through it, a negotiation unfolds. The two landscapes visible from the station highlight the couple's differences: one side is dry and barren; the other shows "fields of grain and trees along the banks of the Ebro," lush and fertile. Jig looks toward the fertile side while the man turns away. Even their drinks — anise-flavored and tasting "like licorice," which Jig connects to "everything" — hint at the sweetness of a life the man is asking her to give up. A straightforward summary of their argument would reduce it to a medical dispute; the symbols transform it into a tragedy of irreconcilable visions.
Irony
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In Hemingway's "Hills Like White Elephants," irony unfolds primarily through the disconnect between what the characters say and what they truly mean, as well as what is spoken versus what remains unmentioned. The couple's dialogue seems to revolve around drinks, scenery, and train schedules, but the real issue at hand — an abortion — is never directly addressed. When the man states, "I don't want you to do it if you don't want to," it sounds caring, yet his constant repetition reveals it as manipulation disguised as concern. Jig's remark that the hills "look like white elephants" highlights the story’s main irony: a white elephant symbolizes an unwanted burden, subtly naming the pregnancy that the man refuses to confront openly. When Jig declares, "Then I'll do it. Because I don't care about me," the reader can sense the deep despair that a straightforward expression of anguish would lessen. The setting itself — a lush valley on one side and a desolate landscape on the other — further underscores the couple's dilemma without overt commentary. Hemingway's subtlety makes the irony hit harder than any direct assertion could.
Understatement
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In Hemingway's "Hills Like White Elephants," understatement serves as the story's structural backbone, keeping the couple's crisis largely hidden. The word "abortion" is never mentioned; instead, the man refers to the procedure as "just to let the air in" and insists "it's perfectly simple." This clinical minimization is a form of understatement itself — a life-changing, irreversible choice reduced to the language of a minor task. When Jig says, "And if I do it you'll be happy and things will be like they were," the heavy implications of what she's giving up are revealed entirely through what is not said. The man's repeated assurance, "I don't want you to do it if you don't want to," downplays his coercion by presenting pressure as permission. Even the setting reflects this: the hills Jig calls white elephants — beautiful, unwanted, and burdensome — subtly convey her desire for the child through the landscape rather than through direct confession. The story's final line, Jig's "I feel fine," lands on the most heartbreaking understatement of all, projecting a sense of calm that signals the opposite to any attentive reader.
Juxtaposition
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In Hemingway's "Hills Like White Elephants," juxtaposition serves as the main force driving the story's meaning, making the reader sense the couple's conflicting views without explicitly stating their argument. The most striking example is spatial: the two sides of the train station frame the entire conflict. On one side, there's a dry, barren landscape with "no shade and no trees," while the other side features "fields of grain and trees along the banks of the Ebro." Life and sterility, fertility and loss, exist literally on opposite sides of the tracks — a visual conflict that the characters cannot express verbally.
The drinks illustrate this tension as well. The man orders beer and nudges Jig toward Anis del Toro, then toward the beaded curtain that hints at something new, while Jig remains focused on the hills, the landscape, and the things that already exist. His forward movement and her backward glance create a constant tension.
The most heartbreaking juxtaposition comes at the end: Jig says, "I feel fine... There's nothing wrong with me. I feel fine," while the man carries their bags to the other side of the station — moving away even as she insists everything is still intact. The physical action contradicts her words, and this gap between them is where the essence of the story resides.
Tone
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Hemingway's tone in "Hills Like White Elephants" is marked by a deliberate, almost stifling restraint — a calmness that barely hides the emotional turmoil underneath. The couple’s conversation about drinks and the scenery remains strictly superficial: "They were two Americans and were not comfortable," the narrator observes with a flat, detached style. This detachment serves as a tool for the tone itself. When the man states, "It's really an awfully simple operation," the casual phrase "awfully simple" carries a chilling dismissiveness that a more direct expression of cruelty wouldn’t achieve. Jig's remark — "They look like white elephants" — is filled with longing, which the man promptly deflates, creating a tonal gap between her desire for connection and his refusal that becomes the story's deep wound. The curtain beads, the warm beer, the dry hills on one side and the green fields on the other — the narrator describes everything with the same unvarnished calm, compelling the reader to grasp the weight of what remains unspoken. In this case, tone performs the role of plot: the story's tension resides entirely in what the flat, controlled voice chooses not to articulate.
Imagery
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In Hemingway's "Hills Like White Elephants," the imagery conveys much of the story's emotional depth and themes since the characters avoid directly addressing their main conflict. Right from the start, the landscape sets up a clear tension: on one side of the train station, there are dry, "brown and dry" hills beneath a clear sky, while the other side offers lush fields, trees, and a river glistening in the sunlight. This contrast mirrors Jig's inner turmoil — with life and fertility on one side and sterility and finality on the other.
The title itself — hills that resemble "white elephants" — is rich in meaning. White elephants symbolize burdens that are difficult to get rid of, and this simile sticks with readers long before its significance becomes clear. When Jig remarks, "They're lovely hills... I wanted to try this new drink. That's all we do, isn't it — look at things and try new drinks?" the imagery of superficial enjoyment highlights the couple’s emotional evasion. The bead curtain, the warm beer, and the two sets of tracks splitting into different landscapes — each of these images subtly emphasizes a choice that both characters refuse to acknowledge.
The evidence09
09·Key quotes
What are the most famous quotes in Hills Like White Elephants?
“No, we can't. It isn't ours any more.”
Jig · to The American (man) · Train station bar, near the end of the story, after the man urges Jig to agree to the operation
Why it matters
This line is spoken by Jig, the young woman at the heart of Ernest Hemingway's 1927 short story "Hills Like White Elephants." It appears towards the end, after the American man has been pressuring her to agree to "the operation" — a subtle reference to an abortion. The couple is waiting at a train station in Spain, and the whole story unfolds through their tense, indirect dialogue.
When Jig says, "No, we can't. It isn't ours anymore," she's reacting to the man's empty reassurance that everything will be fine and that they can "have the whole world" together. Her words carry significant emotional weight: she realizes that their relationship — and possibly her own identity — has been fundamentally changed by the pressure he has put on her. The world they once shared feels lost, tainted by conflict and coercion.
Thematically, this line captures Hemingway's iceberg theory: the surface meaning (they can't have the world) hides deeper layers of grief, loss of innocence, and the breakdown of authentic partnership. It represents Jig's quiet yet profound moment of disillusionment, making it one of the story's most emotionally impactful lines.
“They're lovely hills. They don't really look like white elephants. I just meant the coloring of their skin through the trees.”
Jig (the American man's companion) · to The American man · Train station bar in the Ebro River valley, Spain — central dialogue
Why it matters
This line is spoken by Jig, the American man's companion, in Ernest Hemingway's 1927 short story "Hills Like White Elephants." The story unfolds mainly through dialogue at a train station in Spain, where the couple waits and debates an unspoken but heavily implied decision—whether Jig should have an abortion. Jig first introduces the simile, likening the hills to white elephants, but then she quickly backtracks, calling the hills "lovely" and claiming she only meant the color of their skin. This retraction is thematically significant: it highlights Jig's tendency to suppress her own thoughts and feelings to appease the man. The term "white elephant"—something unwanted yet impossible to ignore—serves as a key symbol for the pregnancy itself. By stepping back from her own metaphor, Jig embodies the very dynamic the story critiques: a woman being pressured to downplay, reframe, and ultimately erase something important. Hemingway's iceberg theory is evident here; the surface dialogue about hills hides the deep emotional and moral complexities underneath.
“It's really an awfully simple operation, Jig. It's not really an operation at all.”
The American man · to Jig · A bar at a train station in the Ebro River valley, Spain
Why it matters
This line is spoken by an American man to his companion Jig in Ernest Hemingway's 1927 short story Hills Like White Elephants. The story unfolds almost entirely through dialogue at a train station bar in Spain, where the couple awaits a train to Madrid. The "operation" the man mentions is an abortion, though neither character directly names it — a key feature of Hemingway's well-known "iceberg theory" of omission.
The quote is thematically crucial because it captures the man's manipulative downplaying of a life-altering decision. By referring to it as "awfully simple" and quickly correcting himself to say it's "not really an operation at all," he tries to diminish the emotional and physical significance of the procedure, pressuring Jig to agree while pretending to be casual and caring. His repetition and self-correction reveal his own anxiety lurking beneath the relaxed tone.
The line also emphasizes the story's central power imbalance: the man talks; Jig listens, resists, and ultimately retreats into silence. It prompts readers to consider how language can be used as a tool for control, and how what goes unsaid in a conversation can often reveal more than what is actually said.
“We can have everything.”
The American man · to Jig · A train station bar in the Ebro River valley, Spain; the couple's conversation while waiting for the train to Madrid
Why it matters
In Ernest Hemingway's short story Hills Like White Elephants (1927), the American man tells Jig, a young woman he’s traveling with, "We can have everything." This happens at a train station in Spain, where they wait for a train to Madrid while drinking and having a tense, indirect conversation about an unnamed operation — widely interpreted as an abortion. His words are part of a manipulative attempt to reassure Jig that if she consents to the procedure, their relationship and lifestyle will remain whole and satisfying. The irony is striking: the more he claims they "can have everything," the more evident it is that they cannot. Jig subtly resists, pointing out that once something is lost, it’s gone for good. Thematically, this quote embodies Hemingway's iceberg theory — the apparent optimism masks a deeper current of coercion, denial, and irreversible loss. It underscores the power imbalance between the characters and prompts reflection on autonomy, self-deception, and the price of living a transient, uncommitted life.
“They look like white elephants.”
Jig (the American girl) · to The American (the man) · The couple sitting at a table outside the bar at the train station, looking at the hills across the Ebro valley
Why it matters
This line is delivered by the American girl, Jig, to her male companion, simply known as "the man" or "the American," as they wait at a rural train station in Spain. While gazing at the sunlit hills in the distance, Jig makes her observation almost absentmindedly, as if she's trying to find a neutral topic to discuss. The man brushes it off quickly, and their exchange soon lays bare the tension simmering between them.
Thematically, this line acts as a central symbol of the story. "White elephants" typically represents something unwanted and burdensome that is hard to dispose of—an apt metaphor for the unspoken issue at the heart of their argument: Jig's pregnancy and the man's insistence that she have an abortion. The hills are described as "long and white," barren on one side and lush and fertile on the other, reflecting Jig's struggle between two incompatible futures. Hemingway's iceberg theory is evident here; the surface image seems innocent, even beautiful, yet it carries the entire emotional and moral weight of the story beneath. This quote encapsulates the story's hallmark technique of expressing deep conflict through careful understatement.
“I know. But if I do it, then it will be nice again if I say things are like white elephants, and you'll like it?”
Jig · to The American (man) · Train station bar, Ebro River valley, Spain — central dialogue between Jig and the American
Why it matters
This line is spoken by Jig, the young woman at the heart of Ernest Hemingway's 1927 short story "Hills Like White Elephants." It occurs during a tense exchange at a Spanish train station, after the American man has pressured her to have an unnamed operation, which is widely interpreted as an abortion. Earlier, Jig had noted that the distant hills resembled white elephants — a whimsical and imaginative observation — but the man brushed it off, breaking the easy intimacy they once enjoyed. Now, Jig asks, with a painful sense of irony, whether giving in to his demands will bring back that lost closeness and allow her poetic views to be appreciated once more. This question reveals the story's central tragedy: Jig realizes that the warmth in their relationship is already gone, and she doubts that any sacrifice will genuinely restore it. Thematically, the quote embodies Hemingway's "iceberg theory" — the dialogue on the surface hides deep emotional currents. It also underscores the power imbalance between the two characters, Jig's yearning for real connection, and the irreversible cost of the choice being imposed on her.
“Would you please please please please please please please stop talking?”
Jig (the American girl) · to The American man · A train station bar in the Ebro River valley, Spain
Why it matters
This urgent, repetitive plea comes from the American girl, Jig, directed at her male companion in Ernest Hemingway's 1927 short story "Hills Like White Elephants." Set mostly in dialogue, the story unfolds as the couple waits at a Spanish train station, ostensibly discussing whether Jig should undergo a "simple operation" — widely interpreted as an abortion. Throughout their conversation, the man insists that the decision is hers alone while subtly pressuring her to go along with his wishes. Jig's emotional outburst — a string of seven "pleases" — marks her breaking point, revealing her raw exhaustion. This moment is thematically significant for several reasons: first, it exposes the emptiness of the man's assertion that he won't pressure her, as she clearly feels overwhelmed by his words; second, it embodies Hemingway's "iceberg theory," where the surface dialogue conceals the deep tension and grief underneath; and third, it underscores the power imbalance in the story — Jig, who is largely voiceless and trapped, can only plead for silence instead of expressing her own desires. The repetition mirrors the circular, inescapable nature of their argument.
“I don't care about me.”
Jig · to The American (man) · Train station bar, during the couple's argument about the operation
Why it matters
This line is spoken by Jig, the young woman at the heart of Ernest Hemingway's 1927 short story "Hills Like White Elephants." It occurs near the peak of a tense exchange between the couple at a Spanish train station, where the American man has been persistently pressuring Jig to have an abortion, which he describes as "simple" and without consequences. When Jig says, "I don't care about me," she unveils the emotional turmoil lurking beneath her outward compliance — she has been so worn down by his relentless persuasion that she has lost her sense of self-worth and agency. This line is crucial thematically because it highlights the power imbalance in their relationship: the man's repeated claims that the procedure is "for her" starkly contrast with her admission that she no longer values herself. Hemingway's iceberg theory is evident here — the sparse dialogue carries a heavy, hidden meaning about autonomy, coercion, and the suppression of women's desires. The quote encapsulates the story's central tragedy: Jig's voice, although still present, has been effectively silenced by the dynamics of the relationship surrounding her.
“That's the only thing that's made us unhappy.”
The American (man) · to Jig · A train station bar in the Ebro River valley, Spain — the couple's conversation about 'the operation'
Why it matters
This line comes from the conversation between an American man and Jig at a Spanish train station in Ernest Hemingway's 1927 short story "Hills Like White Elephants." They are discussing whether Jig should have an abortion, which is never named directly but referred to as "the operation" or "a simple procedure." The man says this line in an effort to persuade Jig that the pregnancy is the main reason for their unhappiness, suggesting that ending it will bring back their carefree lifestyle of travel. The irony here is striking: by claiming that one thing is the root of their discontent, he unintentionally reveals how fragile and superficial their relationship really is. Jig's increasingly distant and melancholic replies indicate she grasps a truth he cannot face — that their unhappiness goes much deeper. This quote reflects Hemingway's "iceberg theory": the dialogue on the surface hides significant emotional depth underneath. It also emphasizes the power imbalance in the story, as the man consistently presents his views as objective facts, pressuring Jig into a decision that will impact her alone in profound ways.
“I feel fine. There's nothing wrong with me. I feel fine.”
Jig (the American girl) · to The American man · Train station bar in Spain; near the end of the story, after the man returns from moving the luggage
Why it matters
This line is delivered by Jig, the American girl, toward the end of Ernest Hemingway's 1927 short story "Hills Like White Elephants." The couple is at a train station in Spain, where the man has been persistently urging Jig to have an abortion, referring to it as "a simple operation" that will bring back their carefree lifestyle. When he asks if she feels better, Jig responds with a repeated phrase — "I feel fine. There's nothing wrong with me. I feel fine." — which is loaded with irony and quiet desperation. This insistence reveals the opposite: she is not fine. The repetition indicates an emotional shutdown, signaling a withdrawal from honest communication after a tiring and one-sided discussion. Thematically, this quote illustrates Hemingway's iceberg theory — the straightforward statement hides a deep well of pain, resentment, and resignation beneath the surface. It also highlights the story's central conflict between spoken words and true intentions, as well as the power dynamics between the two characters. Jig's words serve as a mix of surrender, sarcasm, and a plea for solitude, making this one of modernist fiction's most subtly heartbreaking closing moments.
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Discussion questions, essay prompts, and quizzes for Hills Like White Elephants
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2 single-period lessons for Hills Like White Elephants — objectives, do-now and exit tickets, activities, assessment and standards. Free.
Vocabulary
16 words from Hills Like White Elephants, defined in the sense the short story uses, with chapters and quotes. Free.
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Discussion questions2 items ·
Discussion Questions: Hills Like White Elephants by Ernest Hemingway
Consider the following questions as you discuss the story with your classmates. Support your responses with evidence from the text.
- Subtext and Silence: Hemingway never directly names the "operation" that the couple talks about. What do you think this operation is, and what textual clues lead you to that interpretation? Why do you think Hemingway chose not to specify it?
- Power and Persuasion: How does the American man use language to sway Jig's decision? Would you say his approach is supportive, manipulative, or something else entirely? Provide specific lines of dialogue to back up your perspective.
- Symbolism of the Landscape: Jig remarks that the hills resemble "white elephants." What could this image symbolize? How does the contrast between the dry, barren side of the valley and the lush, green side reflect the couple's situation or choices?
- Character and Voice: While both characters have dialogue throughout the story, whose perspective do we grasp more completely by the end, and why? What does Hemingway's narrative style reveal or hide about each character's inner thoughts?
- The "Iceberg Theory": Hemingway famously believed that a story's deeper meaning should lie beneath the surface, like the hidden part of an iceberg. How does this story showcase that technique? What emotions or conflicts are implied rather than stated outright but are deeply felt?
- Resolution and Ambiguity: Does the story come to a resolution? What do you think will happen to Jig and the American after the story concludes? Does the ambiguity enhance or lessen the impact of the story?
- Relevance Today: The story was published in 1927. Do the themes of communication, autonomy, and relationship dynamics still resonate today? In what ways might a modern reader react differently compared to a reader from Hemingway's time?
ap_lit · ib_lang_lit · common_core_ela · aqa
Discussion Questions: Hills Like White Elephants by Ernest Hemingway
Consider these questions as you engage in discussion about the story with your classmates:
- Subtext and the "Iceberg Theory": Hemingway believed that a story's deeper meaning should be suggested rather than explicitly stated. What is the main conflict in this story, and how can you identify it since it is never directly named? What aspects of the dialogue and setting hint at what the characters are truly discussing?
- Character Dynamics: How would you characterize the power dynamic between the American man and Jig? Who appears to have more power in the relationship, and does that power change at any point during their conversation? Reference specific lines of dialogue to back up your interpretation.
- Symbolism of the Setting: The story takes place at a train station situated between two different landscapes — one is barren and dry, while the other is green and fertile. What might each landscape represent? How does Jig's comment that the hills "look like white elephants" add to the story's meaning?
- Voice and Silence: Much of what the characters feel remains unspoken. What do you think Jig truly desires? What does the American genuinely want? How does Hemingway use silence, interruptions, and repetition to express emotion?
- The Title: A "white elephant" refers to something that is burdensome or unwanted but hard to dispose of. How does this concept relate to the situation, the relationship, or both? Do you think either character sees the other as a "white elephant"?
- Open Ending: The story concludes without a resolution. What do you think will happen after the story ends? Does the conclusion feel hopeful, bleak, or ambiguous — and why?
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Essay prompts2 items ·
Essay Prompt: Hills Like White Elephants by Ernest Hemingway
Prompt:
In Ernest Hemingway's short story Hills Like White Elephants, much of the meaning is conveyed through what remains unsaid rather than through direct statements. Write a well-developed argumentative essay in which you assert that Hemingway's use of indirect dialogue and symbolic imagery (especially the hills, the drinks, and the train station setting) highlights the fundamental power imbalance between the American man and Jig, ultimately illustrating how Jig's autonomy is limited by their relationship dynamic.
Your essay should:
- Present a clear, defensible thesis that makes a specific claim about how Hemingway employs literary techniques to convey theme.
- Analyze at least two specific literary devices (such as symbolism, dialogue, setting, tone, or irony).
- Use textual evidence — including direct quotations and paraphrases — to support each point.
- Acknowledge and counter a counterargument (for example, that Jig ultimately has the power in the conversation).
- Conclude by linking your argument to a broader thematic or cultural significance.
Suggested Length: 4–6 paragraphs Suggested Time: 45–60 minutes
ap_lit · ib_lang_lit · aqa · common_core_ela
Essay Prompt: Hills Like White Elephants by Ernest Hemingway
Prompt:
In Ernest Hemingway's short story Hills Like White Elephants, much of the meaning emerges through subtext—what the characters do not say rather than what they make explicit. Write a comprehensive argumentative essay arguing that Hemingway's use of subtext, symbolism, and dialogue is crucial for uncovering the power imbalance between the American man and Jig.
Your essay should:
- Introduce a clear, debatable thesis that highlights how Hemingway's literary techniques reveal the dynamics of control and agency in their relationship.
- Analyze at least two or three specific passages of dialogue or description, focusing on word choice, tone, and what remains unspoken.
- Discuss the symbolic importance of the hills, the contrasting landscapes (the fertile side versus the barren side), and/or the "white elephant" idiom in relation to your main argument.
- Conclude by reflecting on what Hemingway ultimately suggests about communication, autonomy, and the pressures individuals encounter in intimate relationships.
Guiding Questions to Consider Before Writing:
- Who has the upper hand in this conversation, and how can we tell?
- How does Jig's language evolve throughout the story? What does this change reveal?
- What does the landscape represent, and how does it enhance the story's central conflict?
- Why does Hemingway never directly mention the operation that the characters discuss?
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Quiz questions3 items ·
*Quiz Question: Hills Like White Elephants by Ernest Hemingway*
What central issue do the American man and Jig talk around in their conversations throughout the story, even though they never name it directly?
A) Whether to get married B) Whether to have an abortion C) Whether to move to a new country D) Whether to end their romantic relationship
Correct Answer: B) Whether to have an abortion
Explanation: The story centers on the couple’s indirect discussion about a medical procedure that the man refers to as "a simple operation." Using his iceberg theory and subtext, Hemingway allows readers to grasp that the "operation" is an abortion, which Jig is hesitant about while the man continues to pressure her.
ap_lit · ib_english · common_core_ela
Quiz Question:
In Ernest Hemingway's short story Hills Like White Elephants, what procedure are the American man and Jig, the girl, discussing during their conversation at the train station?
A) Heart surgery B) An abortion C) An appendectomy D) A tonsillectomy
Correct Answer: B) An abortion
Explanation: While the term "abortion" isn't mentioned directly, the "simple operation" the American man pushes Jig to consider is indeed an abortion. Hemingway's iceberg theory emphasizes what’s unsaid, allowing the topic to be understood through subtext and their dialogue.
ap_lit · ib_english · aqa · common_core_ela
*Quiz Question: Hills Like White Elephants by Ernest Hemingway*
What is the main issue the American man and Jig are discussing, even though they never clearly state it, during their conversation at the train station?
A) Whether to get married B) Whether to move to a new country C) Whether Jig should have an abortion D) Whether to sell their luggage and travel lighter
Correct Answer: C) Whether Jig should have an abortion
Explanation: The conversation between the American and Jig centers around an ambiguously referred to "simple operation" that the man insists is "perfectly simple" and "not really an operation at all." Using Hemingway's famous iceberg technique — where much of the meaning lies beneath the dialogue — readers can grasp that the couple is actually discussing abortion, even though the term itself is never mentioned.
ap_lit · ib_lang_lit · common_core_ela
Teacher handout2 items ·
Teacher Handout: Hills Like White Elephants by Ernest Hemingway
Mini-Lecture: Context & Background
Author: Ernest Hemingway (1899–1961) Published: 1927, in the collection Men Without Women Genre: Modernist Short Fiction / Minimalist Prose
Hemingway is famous for his "Iceberg Theory" (also known as the Theory of Omission): the concept that a story's deeper meaning should be felt rather than explicitly stated, similar to how most of an iceberg is submerged underwater. Hills Like White Elephants is often cited as a quintessential example of this technique.
Vocabulary
| Term | Definition | |---|---| | Subtext | The implicit meaning that lies beneath the literal dialogue or action | | Minimalism | A literary style characterized by sparse language and a lack of explicit explanation | | Iceberg Theory | Hemingway's idea that a story's true meaning is suggested rather than directly stated | | Euphemism | A softer or indirect term used in place of a harsh or blunt one (e.g., "the operation") | | Ambiguity | Language or situations that allow for multiple interpretations | | Dialogue-driven narrative | A story primarily told through the characters' spoken words | | White elephant | An expression for a troublesome possession or issue that is hard to dispose of |
Plot & Setting Overview
- Setting: A train station in the Ebro River valley, Spain; a hot afternoon
- Characters: An American man and a young woman named Jig
- Central conflict: The couple talks about "an operation," which is widely understood to mean an abortion, without ever naming it directly
- Structure: The story consists mostly of dialogue, with very little narration
> 🔑 Key Teaching Note: The term "abortion" is never mentioned in the text. Encourage students to explore how Hemingway communicates the weight of the decision through word choice, setting, and tone alone.
Scaffolded Discussion Prompts
Level 1 — Recall
- Where does the story take place, and what are the two characters doing?
- What is the "operation" the characters refer to?
Level 2 — Analysis
- How does Hemingway use the landscape (the hills, the dry side vs. the fertile side of the valley) to mirror the characters' emotional states?
- What does Jig mean when she says the hills "look like white elephants"? How does the American respond, and what does his response reveal?
- Identify two examples of euphemism in the dialogue. Why do the characters avoid using straightforward language?
Level 3 — Evaluation & Synthesis
- Who has more power in this relationship — the American or Jig? Use specific lines from the dialogue as evidence.
- Does the story resolve the conflict? What does Hemingway's ending imply about the couple's future?
- How does the Iceberg Theory influence your reading experience? What is not said that holds the most significance?
Close Reading Activity
Directions: Read the following passage aloud and annotate for subtext.
> "It's really an awfully simple operation, Jig," the man said. "It's not really an operation at all."
- What is the man aiming to achieve with this statement?
- How does the repetition of "really" influence the tone?
- What does this line indicate about the power dynamic between the characters?
Extension / Writing Prompt
In a short paragraph (5–8 sentences), argue whether Jig ultimately agrees to "the operation" or resists it. Cite at least two specific moments from the text to back up your interpretation.
Curriculum connections: AP Literature & Composition | IB Language & Literature | Common Core ELA (Grades 11–12)
ap_lit · ib_lang_lit · common_core_ela
Teacher Handout: Hills Like White Elephants by Ernest Hemingway
Mini-Lecture: Context & Background
Author: Ernest Hemingway (1899–1961) Published: 1927, in the collection Men Without Women Genre: Modernist Short Fiction / Minimalist Prose
Hemingway is famous for his "Iceberg Theory" (also known as the Theory of Omission): the concept that a story's deeper meaning lies beneath the surface — much of the truth is left unsaid, requiring the reader to infer it from subtext, dialogue, and details.
Hills Like White Elephants is a prime example of this technique. The story is primarily composed of dialogue between two characters — an American man and a young woman named Jig — as they wait at a train station in Spain. The main topic of their conversation is never explicitly named.
Key Vocabulary
| Term | Definition | |---|---| | Subtext | The underlying meaning that goes beyond what is literally stated | | Minimalism | A literary style characterized by sparse language and minimal explicit description | | Iceberg Theory | Hemingway's idea that surface details hint at a much deeper, unexpressed truth | | Ambiguity | Capable of being interpreted in multiple ways; intentionally vague | | Symbolism | The use of objects, settings, or images to represent abstract concepts | | Dialogue-driven narrative | A story predominantly conveyed through characters' spoken words | | White elephant | An idiom referring to something that is burdensome, unwanted, or hard to dispose of |
Plot Summary
An American man and a young woman named Jig wait for a train at a station in the Ebro River valley in Spain. While enjoying drinks, they discuss an unspecified "operation" that the man wants Jig to undergo. Jig hesitates; the man claims it is "simple" and will solve everything. The landscape around them is divided: one side is dry and barren; the other is lush and green. When the train arrives, the conflict remains unresolved.
Scaffolded Discussion Prompts
Level 1 — Literal Comprehension
- Where are the two characters, and what is their destination?
- What is the "operation" the man keeps mentioning? What textual evidence supports your answer?
Level 2 — Inferential Thinking
- How does the landscape (the two sides of the valley) mirror the choice Jig faces?
- What does the title's image — "hills like white elephants" — imply about their situation?
Level 3 — Critical Analysis
- How does Hemingway create tension through what is left unsaid? Identify two specific moments of subtext in their dialogue.
- Who holds the power in this relationship? How does Hemingway illustrate power dynamics through word choice and dialogue structure?
- How does Jig's character evolve — or remain static — throughout the story? What does this indicate about her agency?
Close Reading Focus: Key Passage
> "They look like white elephants," she said. > "I've never seen one," the man drank his beer. > "No, you wouldn't have."
Teacher Prompt: Ask students — What does Jig mean by "No, you wouldn't have"? What does this exchange reveal about the emotional distance between the two characters?
Thematic Connections
- Communication & Silence — Often, what is unsaid has a greater impact than what is spoken.
- Choice & Autonomy — Who genuinely has the freedom to choose in this narrative?
- Gender & Power — How are gender roles reflected in the characters' speech and actions?
- Modernism & Disillusionment — The post-WWI "Lost Generation" and the breakdown of traditional values.
Extension Activity
Ask students to rewrite one exchange of dialogue from the story, having the characters speak directly about what they are avoiding. Then discuss: How does making the subtext explicit alter the emotional impact of the scene?
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12·Cite & download
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MLA
Hemingway, Ernest. "Hills Like White Elephants." 1927. Storgy, https://storgy.com/works/hills-like-white-elephants/.
APA
Hemingway, E. (1927). Hills like white elephants. Storgy. https://storgy.com/works/hills-like-white-elephants/
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