VCCS Litonline                                                             

                                                                                                   Ebro Valley and Hills

Paulette Estep
Professor Eric Hibbison
English 112
February 13, 2005                                                                                        

Gypsum Hills

  Hemingway skillfully draws our attention across time to the fear and pressure a young woman named “Jig” undergoes in her quest to be loved.  As she and “the American” wait at the train station, their simple verbal exchange evokes a complex thought process.  A plethora of symbolism entices us on a journey through the “Hills Like White Elephants.”

            Hemingway quickly introduces us to the theme of “two” which is prevalent through out the story.  Reid Maynard substantiates this pattern and uses the term “leitmotif” in his critique.  Maynard says, “two appears in an image of division or separation and suggests the actual state of the lovers…” (274)  The American and the girl are divided in their perceptions of the situation.  They anticipate the arrival of an express train for two different reasons.  Additionally, Hemingway has strategically placed the station between two rail lines on the river in Zaragoza, a caravan center where Europe and the east met in the Middle Ages (Beltran).

Spain remained neutral during World War I, so Spain is a neutral zone between Jig’s world and the American’s world where they discuss the abortion.  It would be foolish for them to seek the operation in Madrid since Spain is 94% Catholic and most likely under the control of the dictator, Miguel Primo de Rivera when “Hills” is written.  There are two rail lines divided by one train station; two individuals divided by their perceptions; two drinks and felt pads; Zaragoza lies mid way between Barcelona and Madrid; two contrasting landscapes divided by one river; two groups of passengers divided by one bead curtain.  There are two possible directions for Jig and the American to choose which will result in one thing, life or death (SpainInfoplease).

We find ourselves on the hilly, barren side of the river with the couple, listening in on their conversation.  It’s hot and uncomfortable and the only shaded spot is in the shadow of the building.  We see that the American and the girl are seated at a table outside of the building, isolated and alone.  “The hills across the valley of the Ebro were long and white.  On this side there was no shade and no trees and the station was between two lines of rails in the sun. The American and the girl with him sat at a table in the shade, outside the building” (Hemingway 838).  Initially their conversation is casual and superficial.  It’s simply a young couple traveling together discussing the weather and what to drink.  The man is older and the girl much younger than him.  It’s easy to deduce that they are not married to each other.  The girl asks, “what should we drink?”  The man is able to speak Spanish and orders “Dos cervezas” calling to the waitress through the bead curtain (Hemingway 838).  

A woman brings “two” glasses of beer, and “two” felt pads to put under them.  Here we see the repeated “leitmotif” where identical twains are divided by the couples “contrasting” motives (Maynard 274).  As the waitress delivers the drinks she looks at the man and the girl observing that the girl is daydreaming, looking off into the distance at the white hills.  The man is not looking. His answer to Jig is barren like the hills.  His basic, literal observation goads the girl to give a cutting response, “They look like white elephants,” she said.  “I’ve never seen one,” the man drank his beer.  “No, you wouldn’t have.”  “I might have,” the man said.  “Just because you say I wouldn’t have doesn’t prove anything” (Hemingway 839).  

The American “in jig time” displays his ignorance (Merriam-Webster).  His narrow focus limits his perception. He isn’t thinking about how unlikely it would be for him to see a rare white elephant nor is he admiring the beautiful scenery.  He sees only his beer, cheap and unimaginative.  He has no vision for their future.  The American only wants to resolve their problem and move on to the next stop.  He has missed another opportunity to enter Jig’s fragile world, delicate and easily broken like the gypsum crystals of the Ebro Valley (Wikipedia; Roses). 

Hemingway’s use of white elephants may represent a conglomeration of gag gifts, easily disposed of like the baby and the couples love for each other.  The American views the baby as a problem and something that is interfering with their relationship.  Again Maynard’s “leitmotif” reveals itself as we see the couple divided by the baby. The American wants only Jig and not the baby.  He pushes her to go through with the “operation” presenting it as “simple” and “perfectly natural” (Hemingway 840).  He’s willing to risk her life in a back alley abortion clinic with no anesthesia or antibiotic.  He callously urges her to divest herself of this white elephant.      

 Jig attempts a higher level of social interaction with her companion, but she does not meet with the desired response. Her sharpness ruffles the American's feathers.  She cleverly redirects his attention by pointing out the bead curtain and something painted on it. The bead curtain is closer to his visual scope.  It symbolizes the barrier that exists between them and the rest of the passengers. She’s not able to read the writing on the curtain.  The man must translate the Spanish words for her “Anis del Toro. It’s a drink,” he says (Hemingway 839).   Jig is attempting to atone for her earlier cutting remarks by displaying a facade of dependency on the American, both emotionally and financially, since she asks permission from him to try the drink and she obviously doesn’t understand Spanish. 

The man calls “Listen” (Hemingway 839) through the curtain.  It’s possible the American has been here before with other women.  This could also be a plausible reason why the waitress looked at him and then the girl as if to say “who do you have with you now?”  In response to his call, the waitress comes out thinking that they are ready to pay their bill, but instead they order two Anis drinks.  The issue arises whether or not to drink water with the Anis.  Once again Jig must depend on the American to translate, or maybe she is not paying attention to the waitress’s questions.

There is a brief pause in the couple’s conversation as they wait for their drinks to be served, but Jig resumes talking and takes another jab at the American’s ego.  She complains that the drink tastes like licorice.  The American agrees and adds “that’s the way with everything”.  Jig concurs but adds “especially all the things you’ve waited so long for, like absinthe.”  Her sarcasm acts as a catalyst for another argument (Hemingway 839).    

            Absinthe is an exotic drink with a stunning emerald green color which could be symbolic of Jig’s pregnancy and longing for family life and happiness.  Absinthe is bitter though, and turns a milky white color when cold water is dripped into the drink over a sugar cube using a slotted spoon (Taggart).  This milky tint could be symbolic of the white hills as an obstacle but we have to remember the white, luminous gypsum found in the rocky hills and fertile valley (Roses; Dave). The sugar cube and cold water are paramount to the consumption of traditional absinthe, taking the edge off of the bitter Artemisia (Taggart).  The Absinthe is displaying two possible avenues to the same outcome; it is dependent on the sugar cube for completion just as the valley is incomplete without the river and gypsum to nourish its soil (Wilson). 

Van Gogh’s Absinthe Glass and Decanter, 1885

Absinthe was once quite popular throughout Europe and well known for its high alcohol content and hallucinogenic qualities.  Heavy absinthe users had a penchant towards insanity and suicide (Taggart).  This could represent the intensity of Jig’s emotions as she begins to realize the shallowness of their relationship since all they do is “look at things and talk about drinks” (Hemingway 839).  She must face the fact that their happiness was only a dream, a vapor, quickly fading away and now she’s pregnant.  It’s all so bittersweet like the absinthe. Perhaps Jig’s singular reference to absinthe as something that she’s waited so long for refers to her yearning for the real thing like true love, not cheap beer or absinthe imposters. Absinthe phonies were infamous for their deadly, poisonous character traits.  Jig numbs her fears with cheap beer, longing for exotic absinthe but it may never come.  She settles for a counterfeit, bitter, and poisonous like the abortion.

                 The American succumbs to Jig’s sarcasm, but her point driven home, she quickly calms the scene by pointing out her simile about the hills.  “Wasn’t that bright?” she says or does she really mean “I’m somebody special. I want to be more than just your concubine”.  Painfully we see Jig’s gradual realization that she’s put the cart before the horse and given her beau the amenities of marriage without the commitment. Oddly enough she downgrades her earlier description. The imagery is gone as she eliminates the simile and says “They don’t really look like white elephants.  I just meant the coloring of their skin through the trees” (Hemingway 840).

The warm air blows through the bead curtain just as the man tells Jig all he knows about the abortion procedure; “they just let the air in and then it’s all perfectly natural” (Hemingway 840).  Or the wind blowing through the beads could represent a change in direction.  The American initiates the conversation, he is clumsy and selfish.  He hasn’t a clue how Jig feels.  He doesn’t notice that she looks down at the ground, probably feeling ashamed, scared and alone.  All he can think about is convincing Jig that the operation is “awfully simple”.  He even goes so far as to tell her that “It’s not really an operation at all” (Hemingway 840).  The man continues to oversimplify this dangerous, life threatening operation which was illegal in the 1920’s.

Jig is sharper than the man realizes.  She skillfully uses different tactics to give him every opportunity to change his mind.  He manipulates her with promises of renewed love and everything being the same again, but I think Jig knows exactly what he’s doing.  Remember, the white elephant brings knowledge.  With every statement, she’s getting stronger.  “I don’t want you to feel that way” he says.  Jig gets up and walks away from him to the end of the train station. “Across, on the other side, were fields of grain and trees along the banks of the Ebro.  Far away, beyond the river, were mountains.  The shadow of a cloud moved across the field of grain and she saw the river through the trees. (Hemingway 840).  Jig has come to the end and a decision but wants to test her beau further. 

Jig looks out on to the fertile side of the valley.  She sees the clouds shadow passing over the grain fields.  The shadow represents her dilemma.  It’s not stationary but passing over, moving away.  She sees the river through the trees.  Jesus is often associated with trees in the bible and “the river of the water of life”.  Ironically this biblical quote is found in the last chapter of the last book in the Bible (Matt.12:33, Rev 22:1 NASV).  Jig sees mountains in the distance; “I will lift up mine eyes to the mountains; from whence shall my help come?  My help comes from the Lord who made heaven and earth” (Ps.121 NASV).

While Jig is at the end of the train station she makes an interesting comment, “And we could have all this,” she said, “And we could have everything and every day we make it more impossible” (Hemingway 840).  She could be referring to a post World War I Europe where nothing is the same now or she could be referring to the baby changing their relationship. 

“And once they take it away you never get it back” (Hemingway 841); a cryptic comment that could refer to the abortionists that would take her baby away if she agrees to that procedure. Spain was under the rule of a dictator until 1930. Abortion was not legalized in Catholic Spain until 1985 and is still stringently opposed and very restrictive today (Childbirth 20). The abortion would have been dangerous and illegal. Kenneth Johnston says, “The Spanish setting contributes to the ironic tone of the story, for the moral drama takes place in a predominantly Catholic country where the church stands in firm opposition to abortion” (234).

She could also be referring to “they” as a higher power.  Perhaps she believes some mythological white elephant god is pulling her puppet strings.  Maybe Jig believes that an eccentric pagan idol can control her destiny and that of her baby, possibly against her will or maybe she looks at God through the eyes of a deist believing sadly that He plays the same game, when in reality He wants to protect her (Ps. 20:1NASV).

The American and Jig are back at their table and once again Jig is gazing off into the distance at the hills.  The American dredges up the previous discussion about the operation and finally Jig, frustrated, begs him to stop talking.  She says please seven times; seven is the biblical number of completion which again reinforces the idea that Jig has made a determination (Gen.2:2 NASV).  Realizing that he has upset her again, the man looks away, but not far, only at their bags by the wall and specifically he notices the labels pasted on them “from all of the hotels where they had spent nights”.  He sees their vagabond life style slipping away.  Amazingly, he says, “But I don’t want you to; I don’t care anything about it”.  Jig threatens to scream but did she hear what he said?  I believe he just told her he doesn’t want her to have the abortion.  (Hemingway 841)

The waitress reappears through the bead curtain and announces that the train comes in five minutes.  Jig makes a 180 degree turn when she gives the woman a bright smile as a thank you. Nancy Hemond Brown notes: “the frequency and subjectivity of the word "smiling" is used three times in the last 13 lines.”  This analysis further supports a positive ending; Jig has decided to keep her baby. Another strange thing happens, the man picks up their weighty bags and “carries them around the station to the other tracks”.  It would not be unusual for them to be traveling through Europe with at least one trunk.  Let us remember that the elephant uses his trunk to remove and overcome obstacles (Rooke).  Also, Jig smiles at him when he suggests moving the bags which is obviously a positive confirmation.  I think they’ve decided not to move forward with the abortion plan (Hemingway 841). 

            We leave this young couple, but not where we found them, as Diane Henningfeld concludes, “frozen in the space between comic and tragic resolution” alone, desolate, caught in limbo.  They are on the other side of the station now where the valley is lush and green.  There’s a glimmer of hope for them like a light sparkling on gypsum deep within the hills (Dave). We’ve pealed away layers of symbolism to find the seeds from which a new future will grow and blossom for Jig and the American.  Their decision is made, they leave the Zaragoza junction. They will not need to look back at the “Hills Like White Elephants”. 

Works Cited

Beltran, Antonio. Zaragosaopen. 9 February 2005 <http://www.zaragozaopen.com/txt11_in.html>.

Childbirth by Choice Trust. Abortion: In Law, History and Religion.  Toronto, Canada:. Revised 1995.

            http://www.cbctrust.com/abortion.html

Dave's Down to Earth Rock Shop Evanston, IL http://www.davesdowntoearthrockshop.com/minerals7.htm

Hemingway, Ernest.  “Hills Like White Elephants”.  In Judith A. Stanford’s, Responding to Literature:
            Stories, Poems, Plays and Essays. 4th Edition. Boston: McGraw-Hill, 2003. 

Henningfeld, Diane. Overview of: “Hills Like White Elephants”. For Short Stories for Students, The Gale Group, 1999.

Johnston, Kenneth G., “’Hills Like White Elephants’: Lean, Vintage Hemingway,” in Studies in American Fiction, 10.2, Autumn 1982: 233-38.

Kossak, Steven M. and Edith W. Watts. “Art of South Asia (before ca. A.D. 1500).” The Art of South and Southeast Asia.  Ed. Philomena Mariani.  Metropolitan Museum of Art: New York, 2001. 26 February 2005 http://www.metmuseum.org/explore/publications/pdfs/asia/divided/d1_Art_S_Asia.pdf

Maynard, Reid, “Leitmotif and Irony in Hemingway’s ‘Hills Like White Elephants’,” in The University Review, 37.4, Summer, 1971: 273-5.

Merriam-Webster Online Dictionary. 11 February 2005 < http://www.merriam-webster.com>

Rooke, Andrew, “Ganesha: Overcomer of Obstacles”. Sunrise Magazine, June-July 2004. Theosophical University Press <http://www.theosophy-nw.org/theosnw/world/asia/as-rooke.htm>

ROSES Partners. “Risk of Subsidence due to Evaporite Solution”. Roses Study Sites, Northern Spain

http://www.ncl.ac.uk/roses/nspain.html

SpainInfloplease, All the knowledge you need. 7 February 2005 http://www.infoplease.com/ipa/A0107987.html

Taggart, Chuck. Gumbopages. 2 February 2005 http://www.gumbopages.com/food/beverages/absinthe.html  

“The Birth of the Buddha”, Translated from the Introduction to The Jataka (i.4721). Internet Indian History Sourcebook. Ed. Paul Halsall. Fordam University. 2001 http://www.fordham.edu/halsall/india/buddha-life.html

The Ryrie Study Bible. New American Standard Version. Charles Caldwell Ryrie, Th.d., Ph.d. Chicago: The Moody Press, 1978. Matt.12:33, Rev. 22:1, Ps. 20:1, Gen. 2:2

Weeks, Lewis E. “Hemingway Hills: Symbolism in ‘Hills like White Elephants.’” In Studies in Short Fiction,17.1, Winter, 1980: 75-77.

Wikipedia, the Free Encyclopedia.  Selenite. http://en.wikipedia.org/wiki/Selenite

Wilson, Art. “Why Use Gypsum: The Most Versatile Agricultural Mineral”. Art Wilson Company, 1998. http://www.awgypsum.com/why_use_gypsum.htm

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