The Real (character/life changing) lesson...

 Remember to look for conflict, and change, two essential elements of stories, short or long (and life!). Attend to the relationships between Ms Moore and the group, and between Sug and the first person narrator (Sylvia), but especially consider how Sylvia changes. It may be productive to consider this as Sylvia's story, in this sense (i.e., consider her as the point of view character, or the one who undergoes the most significant change in the story; remember, character change can often be subtle, and is not always obvious, but implied through details of set, action, narrator observations... the final scenes of the story esp. significant).  

Note how the terms of Sylvia's competition with Sug change, and how Ms Moore makes use of Sylvia's competitive nature to effect the more significant "lesson." Note also how Sylvia's attitude toward Ms Moore changes, how she eventually gains respect for Ms. Moore (this is subtly apparent in one particular scene toward the end of the story, in the way she frames a comment of she makes about Ms. Moore's) and subtle suggestions that she responds in a much deeper way to her experiences at the toy store than the others do. How do Sylvia's behavior and comments toward the end of the story suggest she has found a new purpose in life and how does this contrast with earlier attitudes and behavior? Notice also Sylvia's responses to particular experiences during the visit to  FAO Schwartz, such as her reaction/response to the cost of the sailboat.  Notice also her analysis of the clown, her description of the subway tracks, the final scenes between her and Sug and her alone.  How do we see Sylvia beginning to change, and her struggle with accepting the burden of critical consciousness? How does Sylvia's "analysis" of the clown toy after the trip differ from Sug's awareness? Of the two, Sug and Sylvia, who has learned the deeper "lesson" of the story? I.e., what does being "educated" or learning mean in context of this story?  What does Sylvia essentially learn to do that other characters do not (note, along these lines, that Sylvia is gradually separated from the other characters)? this is why the final scenes, Sylvia's analysis of the clown, and scenes involving Sylvia and Sug, then Sylvia alone ( and her final comments) are important--otherwise, it would be easy to say that both Sylvia and Sug were "educated" in the same way; there is, however, as I suggest above, a great difference; consider that they literally--and symbolically--split, going in different directions, at the end. Where does Sug say she will go and what does she suggest they do; how does this contrast with where Sylvia goes and what she does, and why is it significant that she does it alone?  It is important to provide some evidence from the story about Sylvia's attitude at the beginning, so we can see how she begins to change; it is especially important is to compare her attitude and behavior in the beginning with the end, and account for this change (as above). It is important to not how the "strength" of her voice at the beginning of the story differs from the voice after the exprience at FAO Schwartz. We can say her voice that the beginning was primarily bravado--masking what? We see her lose her voice at the threshold of the toy store (threshold for entry into what, literally and symbolically?)--why? Suggesting what? In her analysis of the clown, later, she regains a strength of voice--but quite different from the early pars. of the story. What was missing there that now grounds her new found strength of voice? We can say this new voice  is gounded not in bravado, but self-confidence--how, in what way, derived from what? Why is it significant that she actually references Ms. Moore in this scene, to support a point she is making? What does this scene and others that follow suggest she is learning to do, perhaps still somewhat despite herself (as when she says earlier, while at the toy store, "I hear myself saying...); the old Sylvia is still there of course, as sentences that follow suggest, but with a difference, and her competitive drive has been turned toward someting more substantial by the end of the story.

You may consider that there are actually two "lessons" being taught, one having to do more generally with economic inequality, but the second, more essential, life-long and life-changing lesson--i,e, is Ms Moore concerned with simply pointing out economic inequality? If this were the only lesson, what would happen when she is no longer around to tutor the kids? Without the second, more significant lesson Sylvia learns, the former will have little staying power. As always, consider details of character (behavior, appearance, etc.) action/interaction, dialogue, as well as other elements of fiction, in your analysis. Focus on specific details of the scenes noted above.  Comment specifically on what Sylvia observes, says, and does, what she goes off to do at the end of the story, how she describes that activity, and how this differs from behavior and goals at the beginning, etc., and how we see this change developing through key scenes in the story.

So, as always, in the first paragraph, following a brief but comprehensive plot overview, a clear focal statement should be presented.  In this case, the thematic statement has more to do with a skill Sylvia learns, rather than any concept per se.--what is this "skill"? 

The main body of the essay should select specific scenes from the beginning, middle, and end of the story and analyze details to show conflict and change. What evidence is there in the beginning that Sylvia may potentially have this ability. or skill, and how do we see it develop, and what changes in behavior/attitude go along with it? Details of setting, character action, interaction with other other characters and elements of the setting, dialogue with other characters (as well as inner dialogue), and character observations should all be discussed with a clear relation to the ideas stated in the essay thesis. 

    Remember--don't just generalize--analyze

Teaser: consider names, esp the trio of main characters: Ms Moore, Sylvia, Sug.  How does sugar become artificial sweetener by the end of the story ("artificial" rhymes with?); what more is there to the lesson Sylvia learns (It is evident, ealry in the story,  that Ms. Moore knows Sylvia is capable of more--how so? what details suggest this...?)

Below are some comments on blogs from previous classes, related to above, that may be helpful (taken from the following: the second "English 40" blog (3rd set from bottom of previous blogs) and "English" blog (also 3rd set from bottom of  previous blogs; excerpts included below):

Do you think the point is that they [the "students"] should strive for the middle-upper middle class consumer-based lifestyle, or is it to make them critically conscious about socio-cultural and class issues, to encourage them to "compete" in more purposeful ways--not to be more materially successful,but to actively engage them in critical thinking? Who is the main character, here, and what is her conflict in relation to larger socio-economic issues the story broaches?--i.e., who changes most, and what kind of change does that character experience? A lot of this story is about building awareness--a "coming of age" in a certain way...? Focus on some key scenes, dialogue exchanges, etc. that suggest this.

Consider for eg. the opening par.--what's the narrator's attitude? what kind of things are on her mind and how does this characterize a certain kind of world view--in contrast to the closing par. what has changed?  How has the narrator's (Sylvia's) attitude changed? trace this development--when do you begin to notice this change, and how does the final paragraph of the story take a previous thought the character has in a different direction? How has Ms Moore provided a catalyst for this change in attitude? Note the specific details that suggest this.

RE both lessons: Did she [Ms Moore] "impose" the lessons--let's think about this method of teaching as "active learning."

The idea of an "awakening" can be explored in different ways/degrees for each of the characters--the narrator and Sugar at the top of the heap.., and yet, how deep do Sug's realizations go (also let's not forget Ms. Mallard in Story of an Hour! ha--could be an interesting comp/contrast, though completely different in the specific terms...)?

Those Hills...

 In addition to this blog, as always, be sure to review the  study sheet.

"Hills Like White Elephants": The title clues you in--you can't "get" the central conflict of this story without close consideration of the setting and dialogue--this is really all you have; almost like a poem, every word and detail count here.  Images and image contrasts tell a "story" here that can't be arrived at by simply considering plot--in fact, that nothing "happens", a least externally, is itself thematically significant.  In any case, look closely at elements of set--descriptive passages, but also where it becomes part of the dialogue.  So much to think about here--from descriptions of the landscape, to the beaded curtain and the suitcase, to the number of drinks they have, and where and in what context--and details of all these, as well as particular patterns of details  (As one critic notes, for e.g., the repetition of twos, or "couples," so to speak, in the story--as well as patterns in action and setting involving two things--is significant): everything will help reveal the conflict in the point of view character (Jig); elements of setting are particularly important here in revealing a conflict that the young woman herself is not able to conceptually articulate, but that is worked out though what she observes--this is the case in most good stories; set--including character description--dialogue, action, plot, character interaction, including interaction with elements of the setting, all become symbolic within the frame of the story, and help to reveal character conflict and change.

First, as far a specific overview, what is the age difference of the couple and their apparent relationship? Where are they? Note the the Ebro is a river, but not a "place"; also, the specific scene/setting of the dialogue is also---not a "place," per se, but what? It is also important to note they are Americans traveling in Spain.  What is the time period of the story? You should emphasize that Jig is the point of view character, and be specific, in your introductory thesis, about the conflict and larger issues involved (see below). In the main body of the essay, you should emphasize how details of setting, as observed by Jig and revealed through a focused third-person narrative perspective, as well as other elements of the story, help articulate the main character's internal conflicts.  

Following a brief overview of the story in the first paragraph, include a specific statement of the theme and conflict, as rooted in the Main character, Jig, would be something like (the statement is in bold type; the parentheses indicate what should be analyzed in detail): The pregnancy represents a "promise" or possibility of something lacking in their current relationship (both sides of this are detailed in Jig's observations and comments); Jig gradually becomes disillusioned with this other possibility, which, in any case, from the outset has been presented as always distant, "wished" for, more a fantasy than a reality (note carefully the two overall landscape descriptions, and the distinction between "this" side and "the other"; note the 5 references to the hills, and other specific details). Essentially, Jig and the man represent two diverging worldviews and sets of values (how do the differ? Research the "lost generation," esp. RE the man, who represents this point of view and then think "rooted"--Jig's desires--how so? What images are key here?- v. "rootless" --and what else  goes along with the "rootless" lifestyle; consider the imagery of the "other" side in this regard).  Also consider images and details of image patterns of things that are rooted, in contrast to things that are rootless or preventing intimate connection. Two important things to emhazise, again--the conflict RE the aboriton is a symptom of the deeper conflicts, but not the main issue. Also, note that the story is as much about pregnancy--i.e. what that represents and the lifestyle and value system it is symptomatic of--as about the lifestyle/value system and what it lacks represented by abortion, Also, though gender inequalities is an aspect of the story, it is a marginal concern at best, and, again, not the central issue. The opening details of contrasts in the landscape, for e.g., as seen through Jig's eyes, are crucial to grasping the central conflicts, but have little to do with gender inequalities.

 In the essay body, consider that details suggest Jig is conflicted from the beginning of the story--what are the terms of the conflict, as suggested by opening contrasting details (more on this below)? We can see how this conflict develops, through Jig's observations,  interactions with aspects of the setting, and dialogue exchanges with the man (some of this is referred to below), and how she gradually becomes disillusioned with the "promise" (or "hope," or desire) the hills imaginatively offer (a climactic dialogue moment, mentioned below,  caps this realization that has been building), and, though we can't say for sure what happens in Madrid, evidence suggests, either way, something other than "happy ever after." Why?

 

So again, RE the larger issues noted above: The story is a commentary on a certain lifestyle, a way of being (or not being) in the world; the essential conflict has to do with different values, or perhaps values and their lack.  It’s not abortion per se that is the issue, but what having a child represents in the story, its significance to the world view Jig represents, and what world view (represented by the older man) contrasts with in the story.  For an historical context for this, as noted above, Google "the Lost Generation" (the Wikipedia and Britannica entries will give you what you need).

 

Again, the contrasts in the landscape, the tracks, everything is symbolic.  The central part of  the conversation between the two--and what may be the  climax of the story, as far as Jig's realization-- when Jig says “we could have everything,” followed by and important qualification (we could, but what?), and both understand that in very different ways: it is important to note that the man actually misunderstands what Jig means by this (how are Jig's and the man's "everything" different?); an important instance of a miscommunication that runs thought the story…And Jig’s realization here is significant; it is prefigured by her views of the surroundings, not least of which are highlighted by the title of the story (as I imply above, setting functions as a character, here, in the sense that it suggests much of the central character’s conflict)…You must consider elements of the setting, esp. the contrasting descriptions of the landscape, how Jig sees the hills, and how her attitude toward them, and her descriptions of the landscape, alter slightly during in the story,  to get a sense of what's at stake, here--not just for these two characters, but the world views they represent. Jig's observations of the landscape, and of the hills, change as the conflict develops, and she begins to become more aware of  gulf (in world view, attitude) between the two...

 

Descriptions of the overall landscape occur twice in the story. The first sets the terms of Jig's conflict. in this first description,  two landscapes are contrasted--the one on "this" side (the side they are currently on) and another, further off (all this is significant). The second time we get the overview, only one of these two is focused on--why, and with what difference (a new element is added to the second description, forming a pattern with similar images in the story).

 

Note also the Hills are referenced five times in the story, and figure into dialogue highlighting contrasting or conflicting attitudes between the man and Jig. Note also, that just before Jig's second observation of the landscape, the hills are referred to and Jig's comment on them is significantly different from her previous attitude toward them--what has changed and why? What led up to this shift in attitude?

 

Also note that though the annotations to the story refer to white elephants as representing an unwanted gift, though this is a general reference to white elephants, in the context of the story, the image is more complex and ambiguous. Is the "gift" unwanted by Jig and the man? Jig's realization that "accepting" the "gift" may mean losing something else does not mean it is unwanted, from her perspective---several details suggest that Jig wants the gift, but of course there is a conflict... So again it is is always important to interpret details as symbols in the present context of the story and its specific conflicts, despite (or in addition to or beyond) the general social or cultural implications of a detail  outside the story.

 

Besides the hills themselves and the landscape (though every detail of which, and Jig's changing observations of them, are significant), several other details reveal aspects of the deeper conflicts that discussion  of the abortion bring up (much like the death of  Brently Mallard in “Story of an Hour” opened a space, or revealed elements that had previously been buried--pun intended).  Consider , for eg., the beaded  curtain— Gary Elliott , in his Explicator article, suggests this represents a rosary, which may imply one aspect of  Jig’s conflict (though this connection is not worked out in the story)—but consider how the beads are actually articulated in the story--what and who move the beads in the curtain, who/what passes through them, what do they separate, how does Jig interact with them--how does she hold them and how many strands does she hold and what ultimately does she do with them (i.e, when she rises to walk toward the end of the platform and observe the landscape for the second time (see above), what will become of the beads that she had been holding, etc.? Also, what sound would  they likely make when people pass through them and when the wind nudges them against the table, and why is this siginficant?—but this is just a single example.  look at all details, and esp. details of the landscape, in this way….Other examples: the fact for eg that the man goes off on his own to have a final, single drink--remember the pattern of 2s that this plays against--is significant; 2, btw, does not necessarily mean 2 together--it can also mean 2 in opposition, or in the same space but apart.... 2 going different directions, or parallel but apart, as in the tracks.... ).  There are many such details to examine in the story....Something else to think about: we mentioned patterns of twos in the story (ironically, two together is also two separate, disconnected), but there are also two threesomes (that, ironically, we could refer to as ménage à trios)--what are they? how is their contrast significant, and further hint at the "girl's" ultimate decision? consider for e.g. how people are identified in each threesome (the names given to them), and the different worldviews/lifestyles represented/implied by each.

 

Remember: the story is not just about the abortion or the operation; for the author, this is a means to generate a conflict that reveals larger socio-cultural, existential issues.  And again,--and  this is the case in all stories-the conflicts and larger issues are articulated through details of set, dialogue, action, etc. are never just for their own sake, as is apparent in Chopin (nice coincidence) as well.  You must look closely at details of set, character interaction and dialogue, and how characters interact with their environment as well as each other.

 

Some other detail patterns, related to the main lietmotifs, to consider:

A minor but significant correction RE the annotated version of the story online: The annotations to the story on the website suggest that, when the bartender is called back to the table, "four reales" refers to a charge for drinks spoken to another customer.  More likely, it is spoken to the couple, since when she is called back to the table she is assuming the man wants to pay the bill for the previous two beers (two reales each).  Why is this more likely? it would figure into a pattern of misunderstandings throughout the story.-- another way of representing, though a minor character not involved in the conflict, the pattern of miscommunication: when she is called back to  the table, she assumes the man wants to pay the bill, whereas he actually wants something else... similar to the way the man misunderstands Jig's wants and needs, and her various comments and realizations, how for eg the man misunderstands what having "everything" means when jig says it, etc. (his "everything" is not hers...), etc.

Btw, speaking of bar tabs--Jig: three beers ("big ones") and one Anis del Toro; the man: three beers and two Anis del Toro--all within 35 minutes, though neither appear drunk, suggesting this lifestyle of traveling place to place and drinking is something they've become accustomed to....  the drinking may also suggest, on Jig's part, a passive/aggressive way of dealing with her conflict, esp. if she has already decided to "go through" with "it"...

Along these lines, there are two (yep, two again) types of liquid, also flowing in different ways through the narrative--what are they? Play with these contrasts a bit... how they differ in their uses, effects; how do they amplify the essential conflicts and tensions?

Teaser: look up the American idiom, "to be left holding the bag": what does it mean to be the one left holding the bag, and how can you apply that here? Who is left holding the bag? could both main characters be left holding the bag in some way (careful, as more than a literal bag is implied)? But, RE the literal bag: toward the end of the story one of the few observations we get from the man's point of view, in addition to passengers waiting for the train, is the description of the suitcase--both what is on it and, not what is in it but how its contents effect its weight--why are these details noted by the man? Does this suggest the conversation may have impacted him more than he lets on? how so?

See the study sheets on Bb, and my comments  on current blogs. AVOID using "comments" appended to the story's website as secondary sources