Kanghui Yan

This paper situates Ernest Hemingway’s short story Hills Like White Elephants within the historical context of the “Lost Generation”, exploring how the post-World War I spiritual crisis among American youth—marked by shattered beliefs, lost values, and existential confusion—is reflected in the text. By analyzing the detached and futile dialogue between a couple at a train station regarding an unspoken "operation" (abortion), the study reveals how Hemingway employs minimalist narration and rich subtext to portray the psychological plight of the Lost Generation: their sense of powerlessness in the face of critical decisions, the alienation between genders, and the breakdown of communication. The story’s mundane setting and the metaphorical imagery of "hills like white elephants" collectively construct a microcosm of the postwar spiritual wasteland, embodying the protagonists’ hesitation, escapism, and emotional void. This paper argues that Hills Like White Elephants is not merely a depiction of individual fate but also a profound allegory of the Lost Generation’s collective psyche, serving as Hemingway’s masterpiece in capturing the era’s trauma through his unique artistic form.

Ernest Hemingway; Hills Like White Elephants; Lost Generation

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