Hills Like
Setting and Context
Time period and source material context discussed in class: the setting is a remote train station bar in Spain in 1927, with travelers passing through Europe.
Location specifics mentioned in lecture: they are in a bar in the lobby of a railway station; the broader setting is the valley with hills, a river, and mountains nearby. The river is referred to as the Eve River in the transcript, and the valley/region is described as having green fields and trees along the river banks.
Travel culture of the era: long-distance rail travel across Europe was common; tickets and travel stickers on suitcases signified ongoing journeys.
Cultural and historical frame emphasized by the instructor: these are old stories, written in the early 20th century; readers should avoid projecting contemporary laws and norms onto 1927 settings.
Visual/metaphorical setting cues discussed:
Hills and mountains framing the valley, with a river running through — symbolic of boundary and choice.
Train tracks as a potential barrier and a sign of separation or decision point.
The train station landscape acts as a liminal space where a turning point or decision is made.
Characters and Names
The two main figures:
The American ( unnamed in the text, referred to as the man or the American).
Jig (the young woman).
Age and relationship cues:
Jig is suggested to be very young (teenage, around 18–19 by some readings).
The American appears older, possibly mid-20s; exact ages are not specified in the text.
They are an unmarried couple traveling together across Europe, which was socially charged for the era.
Names and identifications:
Jig’s name is given to Jig (she is not just referred to as “girl” or by other descriptors; she is identified as Jig in class discussions).
The American remains unnamed in the story, a deliberate authorial choice that contributes to the theme of anonymity and objectification.
Supporting characters mentioned implicitly:
A waitress or bar staff who bring drinks; not central to plot, but noted as background characters.
Plot and Structural Notes
The story is nearly entirely dialogue-driven, with minimal narrative exposition, aligning with Hemingway’s iceberg theory.
Core conflict revolves around a life-changing decision: whether Jig should undergo an abortion at the urging of the American.
The main linguistic and dramatic technique:
The dialogue functions as the vehicle for persuasion, pressure, and ambiguity rather than explicit narration.
The critical line often cited: "We can have everything if you do this one thing for me, I'll give you the world." (paraphrased in discussion; exact phrasing noted in class discussions)
Repetition shows pressure: Jig says
"please" multiple times (about seven occurrences) in one moment, signaling reluctance and discomfort.
Key narrative moments discussed in class:
The couple has been traveling and talking at length about a procedure (abortion), signaling a potential breach of social norms for the era.
There is a tension between desire for freedom/pleasure (hedonism) and the consequences of an unplanned pregnancy.
The conversation hints at a possible pregnancy and the potential abortion as a turning point in their relationship.
Thematic interpretation offered by the instructor:
The discussion is not merely about abortion; it represents power dynamics, autonomy, and the tension between commitment and casual desire.
The narrative invites readers to read between the lines: what is left unsaid matters as much as what is spoken.
Major Themes and Ideas
Persuasion and coercion: the American attempts to persuade Jig to terminate the pregnancy; Jig’s resistance and ambivalence are central.
Pregnancy and abortion: the possibility of abortion as the focal crisis; socially fraught in the 1920s.
Autonomy and consent: Jig’s ability to say yes or no remains crucial; she cannot be coerced into an act without her consent.
Marriage, commitment, and social norms: travel and intimate involvement without formal marriage were controversial topics; the narrator’s questions about what counts as a legitimate relationship in that era.
Hedonism and lifestyle: discussion of living for pleasure, travel, and carefree attitudes; linked to references to The Great Gatsby as a point of comparison for youth, wealth, and excess.
Innocence, purity, and adolescence: Jig’s youth frames the moral and emotional stakes of the decision.
Decision point and boundary-crossing: the valley and river symbolize an existential decision — to continue with the pregnancy or to end it.
The burden of desire and the burden of choice: the title Hills Like White Elephants invites multiple readings about burdens and unwanted gifts.
Symbolism and Imagery
Hills like white elephants (title and imagery):
White elephants symbolize something valuable but burdensome or unwanted; here it may refer to the pregnancy or to innocence and its preservation/loss.
The hills’ whiteness is a striking, ambiguous image that invites multiple interpretations about purity, exposure, and burden.
The journey motif: traveling across Europe; trunks and suitcase stickers signaling multiple stops; the journey itself as a metaphor for life choices.
The river (Eve River in the transcript):
The river and its banks define the setting and propose a boundary that characters must cross in their decision.
The train tracks and the valley:
Barriers and points of no return; literal and figurative thresholds that compel a choice.
The act of drinking and pregnancy context:
The setting in a bar and the discussion of whether Jig is pregnant (and whether she should drink or not) link to societal norms about women’s behavior and health in the era.
The audience’s perception of the female body and autonomy:
Discussants note how the pregnancy and possible abortion reveal gender dynamics and societal expectations of women in the 1920s.
Narrative Technique and Theoretical Context
Iceberg theory: Hemingway’s approach where much truth resides beneath the surface; dialogue conveys much through implication rather than explicit statements.
Dialogic form as script-like: the page numbers referenced (e.g., pages 288–290 in some editions) show the dialogue-driven structure; the text reads almost like a stage play.
Archetypes and cultural critique:
The American’s privilege and pressure reflect power imbalances in romantic relationships.
Jig’s hesitation and repeated pleas reveal resistance to manipulation.
The instructor’s emphasis on historical context:
Readers should adjust their interpretations to the period’s norms, not modern standards.
The text invites analysis of gender roles, class, and the politics of reproduction in a historical frame.
Historical and Cultural Context
Era-specific norms and legal context:
In 1927, abortion was a sensitive and legally restrictive issue in many places; the text engages with the tension between personal desire and social constraints.
The relationship dynamic (an unmarried couple traveling together) challenges contemporary social expectations.
Literary context:
The story is often used to discuss modernist techniques (dialogue-driven narrative, subtext, minimal exposition).
The instructor connects the story to broader modernist concerns and to Hemingway’s broader oeuvre.
Key Passages and Observations (Illustrative Quotes)
Central persuasion line (paraphrase in discussion):
"We can have everything if you do this one thing for me, I'll give you the world."
Repetition signaling pressure:
Jig: "Please, please, please, please, please stop talking about this?" (noting seven instances in a key moment).
Moments of imagery and setting (described in lecture):
The girl stood up and walked to the end of the station; across on the other side were fields of green and trees along the bank of the Eve River; far away beyond the river were mountains.
February reference in the text (as discussed):
The middle of February — a time marker quoted in class discussions when the characters reflect on their choices.
Meta-commentary by the instructor on interpretation:
The discussion highlights that different readers may derive different themes from the same text, and that context and era shape interpretation.
Connections to Earlier Lectures and Foundational Principles
Reiteration of the iceberg theory (one of Hemingway’s core principles) and its application to Hills Like White Elephants.
Comparison to The Great Gatsby in terms of hedonism and youth-enjoyment narratives.
Emphasis on interpreting literature through historical context to avoid anachronisms.
Practical Implications for Close Reading and Writing
Reading strategy:
Focus on dialogue to identify subtext and hidden motives.
Track recurring motifs (pleas, persuasion, travel, landscapes) to infer themes.
Writing prompts suggested by the instructor:
Analyze the power dynamics between Jig and the American.
Discuss the symbolism of the hills and the river as representations of choice and consequence.
Explore how the concept of autonomy is framed within the constraints of 1927 society.
Assignment detail:
Students will write a one-page reading response due on Wednesday.
Length constraint: exactly one page (no more, no less) to train concise argumentation and precise textual support.
Discussion Prompts and Reflection Questions
What does the title Hills Like White Elephants suggest about the pregnancy and the couple’s dynamic?
How does the setting (bar, train station, valley) function as a character in its own right?
In what ways does Jig exercise agency, and in what ways is she pressured by the American?
How might the era’s cultural norms influence the characters’ decisions and the narrator’s presentation of the scene?
If you compare this story to The Great Gatsby, how does Hemingway depict youth, wealth, and hedonism differently or similarly?
What is the significance of the repeated use of the word "please" in Jig’s speech?
How does the iceberg theory shape your understanding of what is known vs. what is implied about Jig’s pregnancy and the abortion?