The labyrinthine structure of what is perhaps Hemingway's least-anthologized novella, "The Handle," belies its peremptory dismissal by many critics as a hastily written jumble of vacuous dialogue wrapped around a poorly-contrived plot. "The Handle," a posthumously published novella that Hemingway penned in the frustrated years following his Nobel prize in literature for "The Old Man and the Sea," is the story of a farmer, set in a sleepy fictional province of rural Ohio, whose yearnings for a more transitory lifestyle are offset by a feeling of obligation to the land and the house and the profession of his father, his grandfather, and great-grandfather before him.
Although the fields of Joseph Mallort are now little more than barren clumps of rock, tilled for generations until, as Hemingway writes, "the ground finally refused to yield," the farmer continues to plow his dusty, heat-cracked fields, hoping against hope to eek what little sustenance they might still provide. Although one may be tempted to draw the conclusion that Hemingway's barren fields are little more than a thinly-veiled expression of rising self-doubt about the author's own creative abilities that becomes prevalent in Hemingway's later years, to dismiss the story as nothing more than a straightforeward allegory is to do an injustice to its more intriguing thematic elements.
Joeseph Mallort is a widower, living alone in the creaky old farmhouse of his father, who awakens in the predawn hours to milk the cows and get the plowing underway before the murderous sun beats down on him. By most afternoons he has succumbed to something that might be diagnosed as mild heat-stroke today, and wanders the fields aimless and slightly confused, murmuring one-sided conversations with his deceased wife, father, gandfather, and the original settler of the farm. Although the dialogue of "The Handle," represents a tenuous structural departure in that all of the secondary characters are either dead ghosts or mild halucinations, it is still chock full of the brisk versimilitude rendered in simple prose that is the hallmark of Heminway's finest passages.
After a blight of cow-fever leaves Joseph without the chores of milking and feeding, he digs a mass grave for the cows and buries them under a mound of earth. Several days later, he's walking the perimeter of his fields, mending the barbed-wire fence, when the ghost of his grandfather begins to taunt him for wasting his time on the fence when all the cows are dead.
Hemingway presents takes the several literary styles to present this short story. Hemingway’s use of Foreshadowing, Pathos, Imagery and Personification allows the reader to enter the true context of the frustration and struggle that the couples face. Although written in the 1920’s it the presents a modern day conflict of communication that millions of couples face. At first glance the beautiful landscape of the Barcelonian hillside in which Jig refers to frequently throughout the text appears to have taken the form of White Elephants. The Americans’ response to Jigs’ observation was less than enthusiastic as he provides a brief comment and continues on with his cerveza. This was but the first of the many verbal jousts to come between Jig and the American. The metaphorical inferences in those verbal confrontations slowly uncover the couple’s dilemma and why they may be on the waiting for the train to Madrid.
Hemingway’s narrative technique, then, is characterized by a curt style that emphasizes objectivity through highly selected details, flat and neutral diction, and simple declarative sentences capable of ironic understatements; by naturalistic presentation of actions and facts, with no attempt of any kind by the author to influence the reader; by heavy reliance on dramatic dialogue of clipped, scrappy forms for building plot and character; and by a sense of connection between some different stories so that a general understanding of all is indispensable to a better understanding of each. He thus makes the surface details suggest rather than tell everything they have to tell, hence the strength of his “iceberg.” His short stories, accordingly, deserve the reader’s second or even third reading.
Hemingway, Ernest. "Hills like White Elephants." Responding to Literature. Ed. Judith Stanford. Boston: McGraw-Hill, 2006. 841-44. Print.
Eby, Carl P. "Hemingway's Fetishism: Psychoanalysis and the Mirror of Manhood. Albany: State University of New York Press. As Rpt. in Bauer, Margaret D. "Forget the Legend and Read the Work: Teaching Two Stories by Ernest Hemingway. College Literature, 30 (3) (Summer 2003): 124-37. EBSCOhost.
Baker, Sheridan. "Hemingway?s Two-Hearted River." The Short Stories of Ernest Hemingway: Critical Essays. Ed. Jackson, J. Benson. Durham: Duke UP, 1975. 158.
Hemingway packed plenty of theme, symbolism, and overall meaning into this short story. However, the story would not have been nearly as meaningful had it been written from another point of view.
When a writer picks up their pen and paper, begins one of the most personal and cathartic experiences in their lives, and forms this creation, this seemingly incoherent sets of words and phrases that, read without any critical thinking, any form of analysis or reflexion, can be easily misconstrued as worthless or empty. When one reads an author’s work, in any shape or form, what floats off of the ink of the paper and implants itself in our minds is the author’s personality, their style. Reading any of the greats, many would be able to spot the minute details that separates each author from another; whether it be their use of dialogue, their complex descriptions, their syntax, or their tone. When reading an excerpt of Hemingway’s A Moveable Feast one could easily dissect the work, pick apart each significant moment from Hemingway’s life and analyze it in order to form their own idea of the author’s voice, of his identity. Ernest Hemingway’s writing immediately comes across as rather familiar in one sense. His vocabulary is not all that complicated, his layout is rather straightforward, and it is presented in a simplistic form. While he may meander into seemingly unnecessary detail, his work can be easily read. It is when one looks deeper into the work, examines the techniques Hemingway uses to create this comfortable aura surrounding his body of work, that one begins to lift much more complex thoughts and ideas. Hemingway’s tone is stark, unsympathetic, his details are precise and explored in depth, and he organizes his thoughts with clarity and focus. All of this is presented in A Moveable Feast with expertise every writer dreams to achieve. While Hemingway’s style may seem simplistic on the surface, what lies below is a layered...
Through the characters' dialogue, Hemingway explores the emptiness generated by pleasure-seeking actions. Throughout the beginning of the story, Hemingway describes the trivial topics that the two characters discuss. The debate about the life-changing issue of the woman's ...
Every work in literature is open to interpretation, and every person is entitled to their opinion. In a story shorter than 1,500 words, less than that of this paper, Ernest Hemingway’s A Clean, Well-Lighted Place has garnered serious debate and criticism. Written and published in 1933, Hemingway’s story containing a theme about nothing in several contexts has definitely given many critics something to talk about, but not about the usual theme, irony, or symbolism. For the past 55 years, the critics continue to debate the conflicting dialogue between the two main characters, and whether the inconsistency was intended by Hemingway or a mistake by the original typesetter.
"Hills like White Elephants" is not the normal story where you have a beginning, middle and end. Hemingway gave just enough information so that readers could draw their own conclusions. The entire story encompasses a conversation between two lovers and leaves the reader with more questions than answers. Ernest Hemingway was a brilliant writer. People that study Hemingway's works try to gain insight and draw natural conclusions about Hemingway and his life. Hemingway led a difficult life full of martial affairs and misfortune. Some of these experiences have set the foundation for Hemingway's greatest works. This essay will analyze the influence that Hemingway's separation from Pauline and divorce from Hadley had on "Hills like White Elephants."
The Cambridge Companion to Ernest Hemingway; edited by Scott Donaldson; Cambridge U. P.; New York, NY; 1996
Earnest Hemingway’s work gives a glimpse of how people deal with their problems in society. He conveys his own characteristics through his simple and “iceberg” writing style, his male characters’ constant urge to prove their masculinity.
Hopeless Suffering in A Farewell to Arms Near the end of A Farewell to Arms Ernest Hemingway has Fredrick Henry describe the time he placed a log full of ants on a fire. This incident allows us to understand a much larger occurrence, Catherine's pregnancy. Combined, both of these events form commentary on the backdrop for the entire story, World War One. After he finds out his son was stillborn, Lt. Henry remembers the time when he placed a log full of ants on a fire.
Hemingway, Ernest. “Hills Like White Elephants.” The Norton Introduction to Literature. 10th ed. Eds. Alison Booth and Kelly J. Mays. New York: Norton, 2010. 113-117. Print.
As it can clearly be seen, Earnest Hemingway has reflected his life throughout his works. This outlet of expression has proven to be worth the time and effort he had put forward in crafting these stories. It is unfortunate that factors such as human suffering as well as intimate harm were present in Hemingway's life, but it is thanks to those themes that such great works came about. In the short stories "Indian Camp," "The Old Man at the Bridge," and "Hills Like White Elephants," Hemingway has proven that he was indeed the voice of his generation and has crafted a path for future authors and writers to write in a similar manner and style.