Hemmingway Essay Research Paper JanErik SaueEnglish 352 free essay sample

Hemmingway Essay, Research Paper Jan-Erik Saue English 352, Short Stories TTH 12:15 Concluding paper ERNEST HEMINGWAY ( 1899-1961 ) # 8220 ; You truly ought to read more books # 8211 ; you know, those things that look like blocks but come apart on one side. # 8221 ; F. Scott Fitzgerald, 1927 This is a paper about Ernest Hemingway # 8217 ; s short narratives The Snows of Kilimanjaro ( 1938? ) , Hills like White Elephants ( 1927 ) , Cat in the Rain ( 1923? ) , The Killers ( 1927 ) and A Clean Illuminated Topographic point ( 1933 ) . However, to understand Hemingway and his short narratives I find it necessary to take a brief expression at his life and background foremost. It is non easy to sum up Ernest Hemingway # 8217 ; s adventuresome life in a few paragraphs, but I # 8217 ; ve tried to concentrate on the most of import things before I started on the analysis of the five short narratives. Ernest Miller Hemingway was born in oak Park, Illinois, July 21st 1899, and committed self-destruction July 2nd, 1961. In his life-time Hemingway managed to compose some of the best known novels of our century, including books such as The Sun Besides Rises, ( 1926 ) A Farewell to Arms ( 1929 ) , Death in the Afternoon ( 1932 ) and For Whom the Bells Toll ( 1940 ) . We will write a custom essay sample on Hemmingway Essay Research Paper JanErik SaueEnglish 352 or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Hemingway # 8217 ; s foremost published work was Three Stories and Ten Poems ( 1923 ) and so In Our Time ( 1924 ) , before his celebrity grew with the publication of The Sun Besides Rises in 1926. By that clip Hemingway was married and had a kid, and he was working as a intelligence letter writer in Paris. At the age of 18 Ernest Hemingway signed up for the ground forces to contend in World War I, but because of his hapless vision he was non accepted in the combat forces. After a short span as a newsman in Kansas City, he joined the Red Cross as an ambulance driver. Three hebdomads after his reaching at the forepart, Hemingway was wounded and spent about six months in recuperating before he returned place to USA and a hero # 8217 ; s welcome. Hemingway # 8217 ; s experiences in Italy, his wounding and recovery, subsequently inspired his great novel A Farewell To Arms, and besides explains some of the dark, pessimistic spirit one can follow trough much of his ulterior work. After the return from Europe, Hemingway worked as a newsman for the Toronto Star Daily and in 1921 he moved to Paris as the paper # 8217 ; s European letter writer. Hemingway # 8217 ; s background as a newsman is clearly shown in most of his work, and the regulations inflicted in the newspaper, recommending short sentences, short paragraphs, active verb, genuineness, compaction, lucidity and immediateness follows him throughout his calling. He subsequently said: # 8220 ; Those were the best regulations I of all time learned for the concern of authorship. I # 8217 ; ve neer forgotten them. # 8221 ; ( Wilson ) He lived, worked and wrote in Paris for the following six old ages, until he moved back to the US in 1928. Hemingway was an eager huntsman and fisher. He went on many runing campaign to Africa and was a passionate deep sea fisher. Hemingway # 8217 ; s love of nature and hunting is shown in many of his novels and short narratives, most clearly in the book The Old Man and The Sea from 1952. The battle between the adult male and the marlin is a superb description of bravery and staying power, and the old adult male seems to be the premier illustration of the Hemingway hero, a apogee of a life-time of composing that comes together in the character of Santiago. Hemingway settled in the US in 1928 and wrote much of his best work in the following ten-fifteen old ages. He worked as a letter writer in the Spanish Civil War in 1937, and covered the Normandy invasion and the release of Paris among others in the concluding face of World War II. Hemingway received the Nobel Prize in Literature in 1954. The narratives I have chosen for this essay, The Snows of Kilimanjaro ( 1938? ) , Hills like White Elephants ( 1927 ) , Cat in the Rain ( 1923? ) , The Killers ( 1927 ) and A Clean Illuminated Topographic point ( 1933 ) , have many things in common, but are besides distinguishable in their ain ways. All five are centered within a little geographic country, and the clip span of the narratives are comparatively short in all five. I will give a brief review of each narrative before I start analysing them exhaustively. The Snows of Kilimanjaro describes a twosome on a hunting campaign who has had an accident. The hubby, Harry, has injured his pes, and it became septic. Because of bad/wrong intervention of the lesion, he is easy deceasing. The married woman takes attention of him and attempts to supply for him the best she can, but in the terminal she can # 8217 ; t prevent him from deceasing. On his deathbed Harry contemplates his life and the things he neer did. Hills Like White Elephants is a narrative about a adult male and his girlfriend. On the surface it seams like they are sitting on a train station waiting for a train to Madrid. Upon closer scrutiny of the conversation there are marks that there is more to it than meets the oculus. In fact, she is pregnant and they are on their manner to acquire an abortion. This is what they really discuss. Cat in the Rain is besides a narrative about a twosome. The twosome, aged and likely affluent, is on vacation in Italy. The adult female sees a cat caught out in the rain and wants to travel downstairs and # 8220 ; salvage # 8221 ; it. When she gets down to the cat, the animate being is gone. However, the hotel-keeper comes to her deliverance and ulterior gets the cat in and brought up to their room. The Killers is a narrative about two work forces come ining a diner and discoursing with the director. They hold the director, the prick and the lone invitee by gunpoint and coerce them into the kitchen. Then they reveal that they are at that place to kill a adult male, Ole Andreson, but the adult male neer show up. The three # 8220 ; hostages # 8221 ; are released unhurt when Andreson doesn # 8217 ; t appear. As the invitee ( Nick Adams, a character in several Hemingway narratives ) goes to warn Andreson, he finds the adult male unaffected and small interested in seeking to get away. In A Clean Illuminated Place Hemingway takes the reader to a little caf? where two servers are holding a treatment about an old adult male who is the last leftover invitee. Apparently the adult male has tried to take his life earlier, and he is a regular invitee at the constitution. The youngest server wants to kick him out so he can travel place, while the older server sympathizes with the adult male and wants to allow him remain a spot longer. In the terminal the younger server kicks the old adult male out. # 8220 ; Maybe you could neer compose them, and that was why you put them off and delayed the starting. # 8221 ; The Snows of Kilimanjaro Hemingway # 8217 ; s The Snows of Kilimanjaro is a narrative about a adult male and his decease battle, his relationship to his married woman, and his remembrances of a distressing being. It is besides, more significantly, a narrative about authorship. Through the narrative of Harry, a delusory, deceasing, disintegrating author, Hemingway expresses his ain feelings about authorship, as an art, as a mean of fiscal support, and as an ineluctable impulse. When analysing the narrative, much focal point can be put on the failures of Harry. His failures to compose, his failures as a adult male, a hubby and a huntsman. Harry and his married woman ended up in the unfortunate place after Harry had an accident on their hunting trip, and wounded his leg. The leg has been infected and Harry is easy deceasing. As he is deceasing Harry contemplates his life and all the things he didn # 8217 ; t make, compose or state in his life-time. At his deathbed Harry find himself at the base of the mighty Kilimanjaro mountain, the highest point in Africa. He is looking up at the snow-clad top of the mountain, and at the terminal, as he passed off, he dreams that he reaches the top. Obviously the mountain plays a important function in the narrative, and this is besides shown in the rubric. In his decease dream, Harry dreams that this is where he is headed, but the reader leaves Harry in an indeterminate province and returns to the universe of the life, wer e in fact Harry has died in his bed. Harry, as a author, neer writes about the things which he most wants, and is hence a failure. Harry is the writer who can non convey himself to compose about his past experiences. The italicized parts of the narrative are the 1s about which Harry has ever desired, but neer been able, to compose. In fact, the italicized text is comprised of the experiences which would hold made good fiction, had they merely been written. Sadly, Harry is neer given the chance to compose these narratives because he has grown soft, he has lost the ability to make, he has failed as a author. Hemingway portrays Harry as a adult male who is a # 8220 ; failed creative person # 8221 ; , as an creative person who is fighting with his art, an art that Hemingway knows closely. In several of his short narratives, Ernest Hemingway uses one or more animate beings as symbols around which the narratives revolve. In The Snows Of Kilimanjaro, the carnal symbols can easy be observed. Hemingway uses two different animate beings to typify the individual Harry wishes is and the adult male he has really become. The leopard, even if it is merely seen in the gap paragraph of the narrative, is a symbol of what Harry wishes he was. It # 8217 ; s presence is of import throughout the narrative. In the gap paragraph, the reader is told the fable of the leopard carcase found at the top of Kilimanjaro. This leopard, it seems, was seeking the acme for some unknown ground. The leopard gives the reader associations of grace, velocity, strength, bravery, and self-respect. It is an animate being that acts with intent, with lightning velocity, and with truth. In this narrative, the leopard symbolizes all of these qualities, missing in Harry The hyaena is a symbol of qualities that are present in Harry. This barbarous scavenger, who all through the narrative circles the cantonment, waiting for Harry to decease, represents the scavenger-like qualities of Harry # 8217 ; s personality and his religious decease, which has occurred long before his physical 1. Because he was excessively afraid to seek, Harry neer was able to populate out his endowment resolutely, and he realizes that if he dies, he # 8220 ; would non hold to neglect at composing [ his ideas ] down # 8221 ; , and hence does non fight against decease. He simply awaits decease, anticipating to derive from it the religious enlightenment that others must work hard for. The hyaena is much closer related to Harry # 8217 ; s personality than the leopard. He has lived off the wealths of his married woman, naming his love for her # 8220 ; the prevarication he made his staff of life and butter by # 8221 ; . Harry lies crippled on a fingerstall while his married woman goes # 8220 ; to kill a piece of meat # 8221 ; , the cantonment is an extension of the existent universe in which Harry picks up the leftovers of others, merely as the hyaenas live off the leftovers of the better huntsmans. Every clip the hyaena appears in the narrative, it is someway associated with Harry # 8217 ; s decease. When Harry faces the realisation of his decease, it comes # 8220 ; with a haste. . . of a sudden evil-smelling emptiness. . . that the hyaena slipped lightly on the border of # 8221 ; and when decease eventually sets in, it is announced by the hyaena, with # 8220 ; a strange, homo, about shouting sound # 8221 ; Since it is with Harry # 8217 ; s psychological province that the hyaena is associated, it is non needfully of Harry # 8217 ; s physical decease that the hyaena is symbolic. It is merely every bit good a symbol of the psychological decease that has already occurred because of his inability to move resolutely and compose down his interior ideas. The physical decease is merely the last measure in this procedure. Besides the hyaena symbolizes decease itself. It is an animate being that lives of decease and dead animate beings, unable to run for itself. Towards the terminal the hyaena is replaced by Death, but in the concluding paragraph it is back as the symbol of Harry, both his life and his decease. The two animate beings in the narrative represent conflicting personality traits. Harry, in the terminal, dies as he lives, as a hyaena scavenging the leopard # 8217 ; s leftovers on the fields below the Kilimanjaro. Hemingway is known as a maestro of the insinuation, the dual significance. Besides in several other narratives he uses the carnal symbol as a description of the supporter or chief character. In Cat in the Rain, the carnal symbol is so indispensable to the narrative that it is described already in the rubric. This # 8220 ; cat in the rain # 8221 ; is symbolic of the emotional province of head of the American married woman. She is in a close drowned emotional province, caused by her hubbies apathy and deficiency of fondness. Hemingway besides establishes a bond between the adult female and the cat right from the start. She empathizes with the animate being and when it # 8217 ; s first observed seeking screen under the tabular array, it is described as # 8220 ; she # 8221 ; , even though the gender is clearly impossible to set up from three floors up. However this creates a bond in the readers mind between the cat and the American adult female. The American adult female # 8217 ; s empathy for the cat is shown through her continuity to deliver it from the rain, despite the fact that she has to travel out and acquire wet herself. She knows # 8220 ; it isn # 8217 ; t any merriment to be a hapless pool out in the rain # 8221 ; . It is shortly clear to the observant reader why the adult female emphasizes with the cat. ( Besides the fact that she likes cats. ) She herself feels like a cat drowning in the rain. Her hubby is the beginning of her emotional desperation, and he doesn # 8217 ; t truly give her the attending she deserves. When she tells him her desires, he is apathetic to her demands. The adult female wants the cat so she can keep it on # 8220 ; her lap and pet it as it purrs. # 8221 ; Obviously she is showing the desire to be loved and held. Possibly even the demand for person to stroke her, physically every bit good as emotionally. There are clearly strong sexual undertone in this narrative, as is the instance in several of Hemingway # 8217 ; s narratives. The adult female feels unwomanly, like a male child with her short hair. When the cat eventually is brought in from the rain, it is the hotel-keeper that has responded to the adult female # 8217 ; s demands and came to her ( or the cat # 8217 ; s ) deliverance, non her hubby. That is the same adult male that had caused in her # 8220 ; a fleeting feeling of supreme importance # 8221 ; , and in whom she admired # 8216 ; the manner he wanted to function her # 8221 ; . He has provided the adult female with the attending that she # 8217 ; s non having from her hubby, at least non emotionally. The sexual u ndertone suggests that the married woman might be satisfied by the hotel-keeper, emotionally every bit good as sexually. The sexual undertone, which is a hallmark in many of Hemingway # 8217 ; s novels and short narratives, is besides present in the narrative Hills Like White Elephants. In this narrative Hemingway portrays a twosome that on the surface is merely taking a trip, waiting for their train to get. At a first glimpse one is about led to believe that this is it, that these two people merely sit in the saloon and speak about imbibing and nil of importance. However, looking deeper into the conversation one can observe much more. They are evidently on their manner to some ( illegal ) clinic where she can hold an abortion. This is neer stated straight, but the conversation is clearly circling the topic. The characters in the narrative are besides described otherwise. They are introduced as the American and the miss, demoing that there is a age difference between them. The adult male is neer named, and non given much of a personality. The miss, subsequently named Jig, has more of a personality. She has a hard clip doing up her head whether or non to maintain the babe and has a job clearly saying what she thinks to the American. She thinks the abortion can salvage their relationship, while the adult male already has distanced himself from her and realized that they can’t travel back to where they were earlier. The characters are truly cryptic, we know nil about their lives but they seem to hold nil to make in life apart from sex and imbibing. They spend the clip imbibing, intoxicant is considered as aphrodisiac. They order # 8220 ; an? s # 8221 ; because she wants to seek new things, possibly she is sing the possibility of holding a new relationship or a new experience in life, but when she tastes it she says # 8220 ; it tastes like liquorice # 8221 ; which is a really common and non alien gustatory sensation, and she adds that # 8220 ; Everything gustatory sensations of liquorice. Particularly all the things you # 8217 ; ve waited so long for # 8230 ; # 8221 ; connoting that when you wait for something for a long clip, for case a relationship, one time you get it, it loses the enigma and entreaty. Subsequently on there is a mention to the modus operandi they seem to be in when she says that all they do is looking at things and seeking new drinks. The two briefly discuss their hereafter, and by that clip the attitude of the American sing the unborn kid is raging Jig. This is shown in her comment # 8220 ; And you think so we # 8217 ; ll be all right and be happy? # 8221 ; The irony in Jig # 8217 ; s inquiry is apparent, but the American is unmindful to the significance and tosses the capable aside and continues to discourse the # 8220 ; simple operation. # 8221 ; He is clearly afraid that she will alter her head about the operation, and he is all the clip seeking to reassure her in the determination. He openly refers to the operation as nil of importance, and really easy ; # 8220 ; It # 8217 ; s merely to allow the air in # 8221 ; . The American feels that the gestation is a nuisance in their lives. The babe would intend the necessity to settle down and get down a household, and this would alter their life. They live a mobile life, traveling around a batch, and their bags are full of # 8220 ; labels from all the hotels they had spent nights. # 8221 ; At the terminal of the narrative the American says # 8220 ; we can hold the universe # 8221 ; and Jig answers # 8220 ; No, we can # 8217 ; t. It isn # 8217 ; t ours any longer? And one time they have taken it off, you neer acquire it back. # 8221 ; Here we can observe that Jig wants the kid, and knows that one time she has the operation she won # 8217 ; t be able to acquire the kid back. She # 8217 ; s besides afraid that after the operation the relationship will alter. The American is merely concerned about her holding the operation. He wants to convert her it is her determination, but leaves merely one option. He says # 8220 ; if you don # 8217 ; t want to you wear # 8217 ; Ts have to? But I know it # 8217 ; s absolutely simple. # 8221 ; He is the lone 1 who have no uncertainties about it. The symbolism in the narrative is non every bit obvious as in # 8220 ; Cat in the Rain # 8221 ; , but besides in this narrative Hemingway utilizes symbols to exemplify. The narrative takes topographic point in a train station in the vale of the Ebro, Spain. The train in the narrative could typify alteration, and the fact that it merely stops for two proceedingss illustrates the short clip in which Jig has to do a determination. At this point in clip abortion was surely non legal in Catholic Spain, and the determination had to be taken rapidly. In a manner the train symbolizes the journey of life. Many things in the narrative is related to birthrate and aridity. The subject of gestation and abortion is illustrated through the rubric of the narrative where # 8220 ; Hills Like White Elephants # 8221 ; refer to the form of the abdomen of a pregnant adult female. The first feeling you get when you start reading the text is that it is situated in the center of a dry, sterile topographic point under the Sun, with no shadiness or trees. It reinforces the thought of deficiency of life but in contrast, the people are in the warm shadow of the edifice where life is. This emphasizes the contrast between the gestation of the adult female, as being fertile, and everything around them, including him. They are besides separated from the remainder of the people that are inside the saloon from a bamboo bead drape, it gives the thought of privateness reinforced by the thought of the warm shadow of the edifice that protects them from the universe that exists inside the saloon, they are outside , with nature. The unusual name of the miss, Jig, is besides slightly symbolic. It is the name of a lively dance and it can besides mention to # 8220 ; a peculiar kind of behaviour or activity which varies harmonizing to the state of affairs that person is in # 8221 ; ( Collins Cobuild Dictionary ) . I discovered this by opportunity looking up the dance, but that significance of the name clearly shows that Hemingway didn # 8217 ; t pick the name out of the air. The name implies that she can alter her head about the abortion, and the American is afraid that this might go on. He is all the clip seeking to reassure her in the determination. After the first introductory paragraph, the duologue between the two people start. The duologue seems insouciant, but through it we can infer the sort of relationship they have. The linguistic communication is simple, but it # 8217 ; s still showing feelings. The existent subject of the conversation is non clearly stated but it is underlying, they are speaking about love, feelings and her gestation. The tenseness is in the air, but is non expressed openly, possibly because of a fright of being overheard ( since they are speaking about an illegal act ) , or possibly it # 8217 ; s merely a job of communicating and of sharing feelings. There are some mentions to gender in the signifier of phallic symbols, such as # 8220 ; An? s del Toro # 8221 ; , the bull being a symbol of virility and strength. It # 8217 ; s the miss, Jig, who starts the duologue and she is the 1 taking the determinations, connoting that the determination for the abortion in the terminal will be hers. The American avoids the subject at first, altering the topic and talk about simple things such as the conditions. Like most work forces, he has a job demoing his feelings. The narrative besides shows another trait of Hemingway # 8217 ; s narratives ; the usage of Spanish ( foreign ) words and sentences. The adult male orders # 8220 ; dos cervezas # 8221 ; from the saloon lady. One can presume that she doesn # 8217 ; t talk English, but subsequently on he orders and she replies in English. However, from the context of the narrative it is clear that this conversation besides takes topographic point in Spanish, but that in order non to interpret the whole conversation merely the first word exchange was kept in Spanish to put the phase. The usage of Spanish word and sentences is besides shown in the narrative A Clean Illuminated Topographic point. This narrative is, like # 8220 ; Hills Like White Elephants # 8221 ; , set in a little Spanish town and about the full narrative takes topographic point inside a little # 8220 ; caf? . # 8221 ; The chief portion of the narrative is the conversation between the two servers. The younger server is impatient to acquire place to his married woman, and angry at the old adult male who # 8217 ; s maintaining them at that place so late. The other server is older, single and in no haste to acquire place. He empathizes with the old adult male, and understand his demand to remain at that place. In fact he states that # 8220 ; I am of those who like to remain tardily at the caf? . # 8221 ; The older server shows concern for the old adult male, and he is the 1 who knows about the niece and the suicide effort. As the narrative progresses, the character of the two servers emerges t hrough their duologue and ideas, as does many of Hemingway # 8217 ; s characters. The usage of Spanish words in this narrative, proposing it takes topographic point in Spain, emerges at the terminal of the narrative, as the older server walks of entirely and visits some saloon. When the barman asks what he wants, the adult male answers in Spanish: # 8220 ; Nada # 8221 ; . The barman replies in Spanish # 8220 ; Otro loco mas # 8221 ; proposing that, as is the instance with the conversation between the adult male and the server in Hills Like White Elephants, the whole conversation really takes topographic point in Spanish. The scene of the narrative in Spain could besides be supported by the milieus of the caf? . The soldier passing by with his sweetie, and the two work forces # 8217 ; s remarks at the clip suggests that it is in the period of the absolutism before the civil war, or during the war. Their remarks that the guards will acquire him could indicate to a clip of struggle. ( Like the civil war. ) In the narrative the older server possesses many of the typical character traits of the Hemingway hero. He is reserved, judgmental and thoughtful, much like Harry in # 8220 ; The Snows of Kilimanjaro # 8221 ; . He takes the old adult male in his defence, and shows concern for him. He says he knows how nice it is to be in a clean, illuminated topographic point alternatively of in some noisy, soiled saloon. He doesn # 8217 ; t mind remaining in the saloon a small longer so the adult male can complete up in his ain gait. At the terminal he has a # 8220 ; treatment # 8221 ; with himself, contemplating his life and faith and the emptiness of his being. This is another analogue to the character of Harry. As A Clean Illuminated Topographic point and Hills like White Elephants, the narrative The Killers is placed in a small topographic point. This narrative is situated inside a little diner in a little town called Summit. The narrative begins as two work forces, instantly striking the reader as rude and unpleasant work forces, enters and starts to harass the director, George. There is merely one client in the diner except the two mobsters, and he is rapidly intimidated by the work forces. The client, Nick Adams, is a character Hemingway writes about in several narratives. Like the two other narratives mentioned before, this narrative is simply told as if person is outside registering what happens. Hemingway frequently writes his narratives like that, as if observed by a camera. Besides the duologue in the narrative is typical of Hemingway. It is the duologue that carries the action of the narrative and there is no demand for much account except to depict certain actions. The manner of much duologue and a composing the manner people speak is something Hemingway Masterss absolutely. The emotion behind the duologue is besides easy to descry in most Hemingway narratives. In this narrative it seems as if Andreson doesn # 8217 ; t care about his life any longer. Like Harry in The Snows of Kilimanjaro, he simply accepts the fact that he # 8217 ; s deceasing. Neither Andreson or Harry is making anything to avoid their fate, even though in both instances they could likely at least postpone decease. Andreson simply says # 8220 ; there # 8217 ; s nil I can make about it # 8221 ; and he merely stays apathetic in his room. The fact that he haven # 8217 ; t been out all twenty-four hours points to him already cognizing about the mobsters from Chicago, and as George suggests, he likely got in to some sort of problem in Chicago. Decision: Hemingway by and large use much duologue and writes in a colloquial manner. All five of the narratives I have chosen contain a batch of duologue and the characters carry the action of the narrative through their conversation. Hemingway, like William Faulkner, was an expert in composing human duologue. The symbolism in Hemingway # 8217 ; s narratives are frequently taking signifier of animate beings, but besides other symbols are normally used. In several of his short narratives, Ernest Hemingway uses one or several animate beings as symbols around which the narratives revolve. As cardinal symbols, Hemingway # 8217 ; s animate beings are the manifestations of the psychological provinces and emotional desires of the chief characters in the narratives and are used to enable the reader # 8217 ; s apprehensiveness of the frequently unexpressed psychological forces that motivate them. The sexual undertone is besides frequently a strong presence in Hemingway # 8217 ; s narratives. As the conversation goes on the feeling that there is more to what the character say emerges, and one can understand the underlying, dual significance of the narrative. This is something notably of Hemingway. Often he is characterized as the # 8220 ; maestro of insinuation and dual meaning. # 8221 ; The geographical arrangement of Hemingway # 8217 ; s narratives are normally limited to minimal physical scenes, and the clip span is short. All five narratives discussed here are limited to a small topographic point, whether that is a saloon, train station, caf? , diner or the little hunting cantonment on the great fields of Africa. This is a usual trait in many short narratives, and this is a trait Hemingway frequently uses. The adult females, or the back uping characters, in Hemingway # 8217 ; s narratives are frequently weak and indecisive. The married woman in The Snows of Kilimanjaro, the adult female in Cat in the Rain and the miss in Hills Like White Elephants are all either weak or treated severely without them making anything about it. Harry # 8217 ; s married woman in The Snows of Kilimanjaro is non even named, even though we get to cognize Harry good through the narrative. Jig in Hills Like White Elephants seems to be a strong adult female. However, the manner she is treated and the fact that she most probably will give in to the adult males whishes and have the abortion, tells us that she isn # 8217 ; t strong plenty to stand up for herself after all. Hemingway has a inclination to handle the adult females in his narratives severely, and the male characters of his narratives is frequently emotionally cold and doesn # 8217 ; t show much feelings. This could be a contemplation of his ain life, Hemingway was married several times and neer seemed emotionally stabile. He finally even took his life. Hemingway # 8217 ; s characters are normally nomadic and unattached. Often they are people who are going in unusual and unfamiliar environments, in train Stationss, on campaign, at diners or bars, at the races or in the bull contending sphere. He writes about lovers, frequently rupturing each other apart. He writes about the old author on his deathbed, peeking up at the snow covered top of Kilimanjaro and believing about everything his life should hold been. He writes about the alone old adult male, patiently sitting in the clean illuminated topographic point every bit long as he can, merely to bury about whatever it is waiting for him out in the dark. He writes about the old adult male contending the marlin in his small boat, merely to turn out to himself that he can crush the sea one more clip. Hemingway is one of the greatest authors of our century, and his narratives will populate on to divert many coevalss to come. Jan-Erik Saue Bibliography: Wilson, M. , # 8220 ; No Man Alone # 8211 ; A life of Ernest Hemingway # 8221 ; , hypertext transfer protocol: //members.aol.com/Mwilson311/Hemingway/biography.htm, visited November 13, 1998 Pickering, James H. , # 8220 ; Fiction 100 -An Anthology of Short Stories # 8221 ; 8th ed. , Prentice-Hall inc. New Jersey, 1998 Hemingway, Ernest # 8220 ; Short Stories # 8221 ; Charles Scribner # 8217 ; Sons New York, 1953 Wilson, M. , # 8220 ; No Man Alone # 8211 ; A life of Ernest Hemingway # 8221 ; , hypertext transfer protocol: //members.aol.com/Mwilson311/Hemingway/biography.htm, visited November 13, 1998 Pickering, James H. , # 8220 ; Fiction 100 -An Anthology of Short Stories # 8221 ; 8th ed. , Prentice-Hall inc. New Jersey, 1998 Hemingway, Ernest # 8220 ; Short Stories # 8221 ; Charles Scribner # 8217 ; Sons New York, 1953