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Hemingway Style Analysis

Submitted by rorymoney on April 27, 2005

Category: English
Words: 1400 | Pages: 6
Views: 503
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Earnest Hemingway is one of Americas foremost authors. His many works, their style, themes and parallels to his actual life have been the focus of millions of people as his writing style set him apart from all other authors. Many conclusions and parallels can be derived from Earnest Hemingway's works. In the three stories I review, ?Hills Like White Elephants?, ?Indian Camp? and ?A Clean, Well-lighted Place? we will be covering how Hemingway uses foreigners, the service industry and females as the backbones of these stories. These techniques play such a critical role in the following stories that Hemingway would be unable to move the plot or character development forward without them.

In ?Hills Like White Elephants? Hemingway utilizes the waitress as a method to help develop the character of the lead male. His interaction at the beginning of the story with the waitress in her native language show his intellectual superiority which is also emphasized in the following line, ?The girl looked at the bead curtain. 'They've painted something on it,' she said. 'What does it say?'? (Hemingway). This setup is a crucial transition from the blank slate we start at with both characters. The story of course unfolds following what the interaction with the waitress and bar setting created for us. One in which the lead male character is dominant, controlling and a person who provides information and answers not available to the female character. Additionally the male characters treatment of the female waitress creates the building blocks for our understanding of how he interacts with females. He never mentions please or thank you
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when ordering or receiving their first drinks and by the second round acts in the follow
way, ?The man called 'Listen' through the curtain.? when addressing the waitress (Hemingway). It is only a few lines later he begins semi-jokingly and in condescending manner scolding his female...

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