Ernest Hemingway in “Hills like White Elephants” uses third person objective to show the inadequacies in the relationship. I will be focusing on the inadequacies in the relationship between the couple through Jig.
The third person objective writing style is normally used to portray a situation in a short story by its details. Each detail is used as a symbol or metaphor. A third person objective narrative can only be seen through the actions of each of the characters because the thoughts and the emotions are not known, but felt by the reader. The lack of emotions leaves the reader feeling left out and disconnected from the story. Hemingway used this technique to perfection. The inadequacies of the relationship are felt through this disconnection.
One instance of the story that is really vivid through the actions of the American boyfriend in the end of the narrative is after there is a huge climax to the couple’s discussion. The discussion is interrupted when a lady states that the train is five minutes away. At this point it seems as if the void that was created by the discussion is truly shown. The American boyfriend gets up and moves across the train station with the bags alone. Solitude is not good in this circumstance. Not being with the person you love is the epitome of miscommunication and relationship inadequacies.
Once the boyfriend returns from his solitude journey across the station, Jig responds to the guy in a manner that shows definite miscommunication issues. “‘Do you feel better?’ he asked. ‘I feel fine,’ she said. ‘There’s nothing wrong with me. I feel fine.” (Hemingway, 233) From the whole discussion between the couple, Jig is unwilling to continue. She leaves the discussion still in the air. While the boyfriend opens the discussion once again. It is sad as a couple that they are not willing to work through this.
Not much is stated about Jig, but her actions truly define who she is. She tends to be immature. I say this because in the beginning of the story she asks to taste a new alcohol. Once she tastes this beer, she refers to its taste as licorice. (Hemingway, 230) Another instance of immaturity is seen through the response of how the couple talks. They do not talk about sex in the open, yet they feel free to have it. Though they are talking about an abortion, they don’t feel comfortable enough to be frank with each other. The way the couple handles the situation of the pregnancy shows a great deal of immaturity because both are selfish. Both want happiness at the cost of a child.
Jig throughout the story tries to get the point across to her boyfriend about how she feels. Throughout page 232 in Literature and Its Writers, Jig pushes the idea that this child is a gift that is a curse. She gives the impression that even though this pregnancy is something that wasn’t planned she doesn’t want to have it terminated. “‘No it isn’t. And once they take it away, you never get it back.’” (Hemingway, 232) But the American boyfriend never saw this, and kept using reverse psychology against her.
The fact that he used reverse psychology against her truly shows the inadequacies in the relationship. There was no true communication declaring to each other what their true feelings were. This is where the third person objective comes into play. It creates a feeling of confusion. This would be the same confusion the couple would be feeling at the same time. The couple spoke in metaphors and symbols. Which I think really assumes upon the other person in the relationship to understand what the true meanings are.
“Hills like White elephants” is a short story of inadequacies in relationships. It makes use of the third person objective. It takes into consideration a girl who is immature, but thrust in a situation which a guy is not understanding his girlfriend. Through this short story we should learn that we should be careful with how we communicate with others.
Work Cited
Hemingway, Ernest. “Hills like White Elephants”. Literature and its Writers: A Compact Introduction to Fiction, Poetry, and Drama 3rd Edition. Charters, Ann and Samuel, Editors. New York: Bedford/St. Martin’s Press, 2004. 230 – 233
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