Guadalupe Reyes Bueno
Professor Allen Loibner-Waitkus
Composition II
22 March 2026
Below the Iceberg: Symbolism in Ernest Hemingway’s
“Hills Like White Elephants”
Ernest Hemingway’s short story “Hills Like White Elephants” relies on a sparse style and understated dialogue to explore the emotional tension between a man and a woman waiting at a Spanish train station. Rather than directly naming the central conflict whether the woman should undergo an abortion Hemingway constructs the narrative through symbolic imagery embedded in the setting, objects, and landscape.
The hills, the contrast between fertile and barren land, the train station itself, and the drinks the characters consume all function as symbols that reveal the deeper emotional and moral stakes of the conversation. Through these carefully chosen details, Hemingway communicates the characters’ inner conflict and the imbalance in their relationship while maintaining the minimalist style that characterizes his fiction.
The most prominent symbol in the story appears in the title itself: the white elephants. Early in the conversation, the woman, Jig, looks toward the distant hills and remarks that they “look like white elephants” (186). The American initially responds dismissively, saying he has never seen one, and Jig replies that he probably would not
have. The metaphor of the white elephant carries multiple symbolic meanings.
Traditionally, a white elephant refers to something burdensome or unwanted, often costly to maintain. In the context of the story, this phrase symbolizes the pregnancy that Jig carries. For the American man, the unborn child represents an unwanted responsibility that threatens their carefree lifestyle. His repeated insistence that the operation is “perfectly simple” reveals his desire to remove this burden without acknowledging the emotional consequences (187). However, the image of the hills as white elephants also suggests something rare and possibly sacred. This dual meaning reflects Jig’s ambivalence. While the American sees the pregnancy as a problem, Jig senses its significance and cannot easily dismiss it.
The surrounding landscape further reinforces the symbolic tension between fertility and barrenness. The train station lies in a valley between two contrasting environments. On one side of the tracks, the land is dry and barren; on the other side, there are fields of grain and trees along a river. This geographical contrast mirrors the decision confronting the couple. The barren side symbolizes the emotional emptiness of continuing their current lifestyle without the child. Their relationship, based largely on travel, drinking, and transient pleasure, resembles this dry landscape lacking permanence or growth. In contrast, the fertile side of the valley symbolizes the possibility of life, growth, and commitment represented by the pregnancy. When Jig walks to the end of the station and looks out at the green fields and river, she briefly
imagines a future that includes the child. The natural imagery suggests that life and fertility exist just beyond the narrow space in which the couple is currently trapped.
The train station itself functions as another central symbol in the story. Stations are transitional spaces where people pause briefly before continuing their journey elsewhere. In “Hills Like White Elephants,” the station represents a moment of decision in the couple’s relationship. They are literally waiting for a train that will take them to another city, but symbolically they are waiting to determine the direction of their lives. The tracks running in opposite directions reinforce the idea that their choice will lead to different futures. The station’s temporary nature also reflects the instability of their relationship. They have no permanent home or shared purpose beyond travel, which underscores the American’s desire to maintain a lifestyle free from long-term responsibility.
Even small objects within the setting carry symbolic meaning. The beaded curtain hanging in the bar doorway, printed with advertisements for Anis del Toro, serves as a subtle barrier between the couple and the outside world. The beads partially obscure the view, suggesting the emotional distance between the two characters. While they sit together, their conversation repeatedly circles around the topic of the abortion without confronting it directly. The curtain thus symbolizes the veil of indirect language and avoidance that characterizes their interaction.
Alcohol also plays a symbolic role throughout the story. The couple drinks beer, anisette, and other beverages during their conversation. On one level, the drinks reflect their casual, pleasure-oriented lifestyle. However, alcohol also functions as a coping mechanism that dulls the emotional tension between them. The American repeatedly orders more drinks, attempting to maintain a relaxed atmosphere while discussing a deeply serious issue. Jig’s comment that the anisette tastes like licorice and that “everything tastes of licorice. Especially all the things you’ve waited so long for” (187) reveals her growing disillusionment. The sweetness of the drink contrasts with the bitterness of their situation, symbolizing the way superficial pleasures mask deeper dissatisfaction.
Hemingway’s dialogue further reinforces the symbolic framework of the story. The American continually minimizes the significance of the abortion by describing it as “just to let the air in” and insisting that it is “not really an operation at all” (187). His language reduces the procedure to something mechanical and insignificant, reflecting his emotional detachment. In contrast, Jig’s remarks become increasingly symbolic and reflective. Her attention to the landscape and her imaginative comparison of the hills reveal her sensitivity to the broader meaning of their situation. This contrast in speech patterns symbolizes the imbalance in their relationship: the American focuses on convenience and freedom, while Jig grapples with the emotional and existential implications of their choice.
The final moments of the story reinforce the unresolved nature of the conflict. After their tense discussion, the American carries the bags to the other side of the station and returns to find Jig smiling and insisting that she feels “fine” (190). This ending leaves the decision ambiguous. Jig’s smile may represent resignation rather than genuine happiness. Symbolically, the couple remains suspended in the same transitional space where the story began. The train has not yet arrived, and their future remains uncertain.
Through these layered symbols, Hemingway transforms a simple conversation into a complex exploration of choice, responsibility, and communication. The hills, the contrasting landscapes, the train station, and the drinks all reflect the emotional struggle beneath the characters’ restrained dialogue. Rather than explicitly stating the themes of the story, Hemingway allows these symbolic elements to reveal the deeper tensions within the couple’s relationship. As a result, “Hills Like White Elephants” demonstrates how symbolism can convey profound meaning within a minimalist narrative, inviting readers to interpret the emotional realities that lie beneath the surface of the text.
Hemingway, Ernest. “Hills Like White Elephants.” UA-PTC Composition Mix, edited by Marian Johnson, 2nd ed., W. W. Norton, 2023, pp. 185-91. Norton Custom,
https://nerd.wwnorton.com/nerd/275944/r/goto/cfi/70!/4.