Hemingway's Juxtaposition at the junction

Ernest Hemingways opening paragraph in Hills Like White Elephants right away pojects his readers into a landscape that is barren and uncomfortable. It is a position so simple, yet so the vivid, that the reader physically senses the enthusiastic of the cheerfulness and the stillness of the day, interrupted only by the peckish locomote and the woman from the bar. It is a scene symbolic of the lives, the future, and the black irresoluteness that confronts the American and the girl, Jig. The story takes place in Spain, at an plain small railway station above the vale of the Ebro River, somewhere mingled with Barcelona and Madrid. The time is probably the early or mid-1920s, when the post-war dumbfound generation was in exile. It is fitting that Hemingway should choose, as a range for his story a jointure--that place where lines, roads, and railways come together or cross. The American and the girl are at a junction of their own, a point at which they must decide whi ch road to take. And herein lies the conflict. Abortion is the issue. A decision rests somewhere amongst their dickens trains of thought, just as the station was between devil lines of rails in the sun. The American wants to leave this station, this stopover in their voyage, and continue their nomadic wanderings without an extra passenger. He vehemently declares, I dont want anybody but you. I dont want anyone else. He knows, at first, what he wants Jig to do, and gently attempts to persuade her: Ill go with you and Ill dwell with you all the time. They just let the air in and hence its all perfectly nature. The girl, however, is plagued with uncertainty as relentless as the scorching sun. There is no shade and no tress, no relief from the... If you want to get a full essay, regular army it on our website: OrderCustomPaper.com

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