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The story takes place at a train station in the Ebro River valley of Spain. The year is not given, but is almost certainly contemporary to the composition (1920s). This particular day is oppressively hot and dry, and the scenery in the valley is barren and ugly for the most part. The two main characters are a man (referred to only as "the American") and his female companion, whom he calls Jig.

While waiting for the train to Madrid, the American and Jig drink beer and a liquor called Anís del Toro, which Jig compares to licorice. Their conversation is mundane at first, but quickly drifts to the subject of an operation which the American is attempting to convince Jig to undergo. Though it is never made explicit in the text, it is made clear (through phrases of dialogue such as "It's just to let the air in" and "But I don't want anybody but you," among numerous context clues) that Jig is pregnant and that the procedure in question is an abortion.

After posing arguments to which the American is largely unresponsive, Jig eventually assents to the operation, giving the final justification: "I don't care about me." She attempts to drop the subject, but the American persists as if still unsure of Jig's intentions and mental state. As the train approaches, it is important to note that he carries their bags to the opposing platform and has a drink alone before rejoining Jig. She smiles at him, assures him that she is "fine," and the story ends.

Jig's reference to white elephants could be in reply to the baby. The American could see the baby as a white elephant and not want to raise it because of the cost, while Jig could see the child as an extraordinary addition to her mundane life of drinking and mindless traveling

"Hemingway" redirects here. For other uses, see Hemingway (disambiguation).

Ernest Hemingway

Hemingway in 1939

Born Ernest Miller Hemingway

July 21, 1899(1899-07-21)

Oak Park, Illinois, United States

Died July 2, 1961(1961-07-02) (aged 61)

Ketchum, Idaho, United States

Occupation Author

Nationality American

Notable award(s) Pulitzer Prize for Fiction (1953)

Nobel Prize in Literature (1954)

Spouse(s) Elizabeth Hadley Richardson (1921–1927)

Pauline Pfeiffer (1927–1940)

Martha Gellhorn (1940–1945)

Mary Welsh Hemingway (1946–1961)

Children Jack Hemingway (1923–2000)

Patrick Hemingway (1928–)

Gregory Hemingway (1931–2001)

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Ernest Miller Hemingway (July 21, 1899 – July 2, 1961) was an American author and journalist. His distinctive writing style, characterized by economy and understatement, influenced 20th-century fiction, as did his life of adventure and public image. He produced most of his work between the mid-1920s and the mid-1950s. He won the Nobel Prize in Literature in 1954. Hemingway's fiction was successful because the characters he presented exhibited authenticity that resonated with his audience. Many of his works are classics of American literature. He published seven novels, six short story collections, and two non-fiction works during his lifetime; a further three novels, four collections of short stories, and three non-fiction works were published posthumously.

Hemingway was born and raised in Oak Park, Illinois. After leaving high school he worked for a few months as a reporter for The Kansas City Star, before leaving for the Italian front to become an ambulance driver during World War I, which became the basis for his novel A Farewell to Arms. He was seriously wounded and returned home within the year. In 1922 Hemingway married Hadley Richardson, the first of his four wives, and the couple moved to Paris, where he worked as a foreign correspondent. During his time there he met and was influenced by modernist writers and artists of the 1920s expatriate community known as the "Lost Generation". His first novel, The Sun Also Rises, was written in 1924.

After divorcing Hadley Richardson in 1927 Hemingway married Pauline Pfeiffer; they divorced following Hemingway's return from covering the Spanish Civil War, after which he wrote For Whom the Bell Tolls. Martha Gellhorn became his third wife in 1940, but he left her for Mary Welsh Hemingway after World War II, during which he was present at D-Day and the liberation of Paris.

Shortly after the publication of The Old Man and the Sea in 1952 Hemingway went on safari to Africa, where he was almost killed in a plane crash that left him in pain or ill-health for much of the rest of his life. Hemingway had permanent residences in Key West, Florida, and Cuba during the 1930s and '40s, but in 1959 he moved from Cuba to Ketchum, Idaho, where he committed suicide in the summer of 1961.

The title of the story, "Hills Like White Elephants," is an allegory of the innocence of what seemed to be but is not (Jig's lust towards an American man) from Jig's perspective in regards to her affair with a man who simply sees the pleasure in being with her in the flesh. Innocence is revealed when Jig orders a drink that she has never had before, and does not know the taste of. This is an allegory which develops into mixed feelings as the story unfolds. In her quote, she states that "everything tastes like licorice, especially all the things he’s waited so long for, like Absinthe." This clearly reflects that, in her innocence, she is confused of the fact that after her deliberate assurance in her decision for her love for this man, and her decision to impregnate herself with the child of this American, she is confused. She does go on to express his immorality towards her as she expresses that everything to her tastes like licorice.This reflects her intoxication which goes beyond the physical, as he abused her physically, and also emotionally. The American answers, "Oh cut it out", which is a pun intended as a nod toward abortion, and goes on saying, "Well, let's try and have a fine time."
The title of the story refers to an aspect of its setting which is symbolically important in many ways. Jig draws a simple simile by describing the hills across the desolate valley as looking like white elephants. The implication is that, just as Jig thinks the hills in the distance look like white elephants, the American views the couple's unborn child as an approaching obstacle, a hindrance to the status quo or status quo ante. To avoid this impending responsibility, he attempts to manipulate Jig into having an abortion by presenting the operation as a simple procedure that is in her best interests, a panacea for all that is ailing her and troubling their relationship.
Furthermore, this symbolism combined with Jig's question "That's all we do, isn't it--look at things and try new drinks" and her statement that even exciting new things she has waited a long time to try, like absinthe (sometimes valued as an aphrodisiac), merely end up "tasting like licorice," implies that the couple's perpetually ambling, hedonistic circus-like lifestyle has become something of a metaphorical white elephant to her. It appears that she seeks more stability and permanence in life; "It isn't ours anymore," she states of the carefree lifestyle she and the American have been pursuing from one hotel to the next.
The symbolism of the hills and the big white elephant can be thought of as the image of the swollen breasts and abdomen of a pregnant woman, and to the prenatal dream of the mother of the future Buddha in which a white elephant (in this case, a symbol of prestigious leadership) presents her with a lotus flower, a symbol of fertility.[2]
The reference to the white elephants may also bear a connection to the baby as 'a valuable possession of which its owner cannot dispose and whose cost (particularly cost of upkeep) is out of proportion to its usefulness.'
Apart from the eponymous hills, other parts of the setting provide symbolism which expresses the tension and conflict surrounding the couple. The train tracks form a dividing line between the barren expanse of land stretching toward the hills on one side and the green, fertile farmland on the other, symbolizing the choice faced by each of the main characters and their differing interpretations of the dilemma of pregnancy. Jig focuses on the landscape during the conversation, rarely making eye contact with the American.[3]
At the end of the story, the American takes the initiative to pick up the couple's luggage and port it to the "other tracks" on the opposite side of the station, symbolizing his sense of primacy in making the decision to give up their child and betraying his insistence to Jig that the decision is entirely in her hands. This is, however, often viewed as a sign that the couple has changed their mind and decided to go back to where they came from. The argument is that they would have been going in to the city, but then when he moves the bags "to the other tracks" that he has changed their destination after the discussion they had. Also one direction of the tracks leads to the desolate "brown and dry" region while the others moves towards the river, mountains and green valleys.
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