Tag: Story analysis

Understanding Stories: Cat in the Rain by Ernest Hemingway

Arshan Dhillon

Cat in the Rain is a short story by Ernest Hemingway. First published in 1925, the 1,145-word story perfectly exemplifies the iceberg theory style of writing that Hemingway made famous. This writing style is a minimalistic style that focuses on surface-level elements without explicitly unpacking the underlining themes. The deeper meaning of the story isn’t overtly discussed but comes through the text, regardless.

The story starts by establishing an isolated atmosphere. 

There were only two Americans stopping at the hotel. They did not know any of the people they passed on the stairs on their way to and from their room.

Hemingway informs us that the two Americans aren’t just alone but they also don’t know anyone else in the hotel. We feel a sense of isolation from the start which is further unpacked by the rain, forcing everyone to stay inside. More isolated than they otherwise would have been. 

The motor cars were gone from the square by the war monument. Across the square in the doorway of the cafe a waiter stood looking out of the empty square.

The text then shifts to the wife, and immediately her wants are expressed. She sees a cat stuck out in the rain and she wants the cat. The main conflict of the story comes when the wife’s wants are met with disinterest by the husband. The husband doesn’t even bother to stop reading to address his wife’s wants.

“I’m. going down and get that kitty,” the American wife said.

“I’ll do it,” her husband offered from the bed.

“No, I’ll get it. The poor kitty out trying to keep dry under a table.”

The husband went on reading, lying propped up with the two pillows at the foot of the bed.

Now that the focus of the story has narrowed from saving a cat from the rain to an unsatisfied relationship, Hemingway provides us with further evidence for the latter point. The wife comes across the hotel keeper and notes the man’s dignity and the way he pays attention to her and how he wishes to serve her needs. Three things we assume her husband isn’t doing. 

The wife liked him. She liked the deadly serious way he received any complaints. She liked the way he wanted to serve her.

However, the wife’s want isn’t fulfilled. When she goes out to rescue the cat, it’s gone. So instead, the wife whines and for the first time, we see Hemingway refer to her as an ‘American girl’ perhaps suggesting her age. The story narrows in our mind and now we see the couple is young and perhaps the story is turning towards a loss of innocence. 

“Yes,” she said, “under the table.” Then, “Oh, I wanted it so much. I wanted a kitty.”

When she talked English the maid’s face tightened.

“Come, Signira,” she said. “We must get back inside. You will be wet.”

“I suppose so”, said the American girl.

Once more, the importance of the hotel keeper is highlighted as she goes back inside.

The padrone made her feel very small and at the same time really important. She had a momentary feeling of being of supreme importance. 

When the wife gets back to her room, she expresses her wants again but her husband continues to read, ignoring her requests and even telling her to be quiet. 

“And I want to eat at a table with my own silver and I want candles. And I want it to be spring and I want to brush my hair out in front of a mirror and I want a kitty and I want some new clothes.”

“Oh, shut up and get something to read.,” George said. He was reading again.

However, in the end, one of the wife’s wants is met. The hotel keeper sends her a cat. Here, Hemingway implies that another man can fulfill her wants instead of the husband. The fact that Hemingway hints at the hotel keeper being able to make her feel important we can infer something deeper is happening, underneath the surface of the text. Because the hotel keeper fulfills the wife’s wishes, we can take this as a symbolic gesture as to the hotel keeper fulfilling the wife’s physical or emotional needs. This may hint at an adulterous relationship to come or one that has happened already. Or perhaps, further acknowledging that this relationship between the husband and wife will not last as the wife realizes her dissatisfaction and understands that there are others who can make her happy. 

Lessons From Stories: Hemingway’s A Clean, Well-Lighted Place

Arshan Dhillon

Ernest Hemingway captured an essential understanding of human nature in just 1,465 words. The understanding is: We need order when we’re lost in life.

Chaos and order are the bases of many stories, so it is not unique per se that Hemingway explores this issue, but the way he does it is unique. In A Clean, Well-Lighted Place, the cafe represents order because cleanliness and light are often associated with orderliness. The cafe is an attractive place that shelters those in need, like the old man who is lost in life. The old man regularly gets drunk at the cafe and later on, we are told that his wife recently passed away and he tried to commit suicide. The old man has lost his sense of purpose, his meaning for life and so he clings to the cafe because he doesn’t want to be alone.

Solitude represents chaos in this story. The old man doesn’t want to be alone at home. The older waiter, whose perspective we see the story from, can’t sleep until the sun rises. This is because when your mental state is not correct, one of the worst places you can be is in your own head, alone with your thoughts. That is a dangerous place. A chaotic place. 

The opening scene of the story has two waiters. The older one and the younger one. The two are different in one main way; the younger waiter has a sense of purpose and meaning, hence, he has order in his life.

“You have youth, confidence, and a job,” the older waiter said.

“You have everything.”

“And what do you lack?”

“Everything but work.”

“You have everything I have.”

“No. I have never had confidence and I am not young.”

This is why the younger waiter has a tough time emphasizing with the old man. He can’t see the old man is lost. He passes judgment on the old man and even says the old man has nothing to be sad about because he’s rich.

“Last week he tried to commit suicide,” (young) waiter said.

“Why?”

“He was in despair.”

“What about?”

“Nothing.”

“How do you know it was nothing?”

“He has plenty of money.”

This raises an interesting question. Can someone who has order or meaning in their life relate to someone who doesn’t? Someone who is in a chaotic state? Often when we have meaning in our life, we are focused on it and that can cause us to put blinders on and not see others who are trying to find their own way. Trying to find order. 

The older waiter suffers from chaos. He can’t be alone with his thoughts. He has trouble finding meaning in anything. This is shown in perhaps the most famous passage of this story.

It was all a nothing and a man was a nothing too. It was only that and light was all it needed and a certain cleanness and order. Some lived in it and never felt it but he knew it all was nada y pues nada y nada y pues nada. Our nada who art in nada, nada be thy name thy kingdom nada thy will be nada in nada as it is in nada. Give us this nada our daily nada and nada us our nada as we nada our nadas and nada us not into nada but deliver us from nada; pues nada. Hail nothing full of nothing, nothing is with thee. He smiled and stood before a bar with a shining steam pressure coffee machine.

Nothing matters to the waiter.

But because the waiter has no meaning in his life, he can relate to the old man, and feel empathy towards him. The older waiter is even willing to keep the light on in the cafe for a while longer to give the old man more time to drink.

“We are of two different kinds,” the older waiter said. He was now dressed to go home. “It is not only a question of youth and confidence although those things are very beautiful. Each night I am reluctant to close up because there may be some one who needs the cafe.”

“Hombre, there are bodegas open all night long.”

“You do not understand. This is a clean and pleasant cafe. It is well lighted. The light is very good and also, now, there are shadows of the leaves.”

Hemingway was famous for capturing a moment in time, a slice of life. The story ends without an answer. The old waiter blames his state of mind on insomnia, which could be seen as a scapegoat instead of confronting the reality of the meaninglessness of life.

But what could be a solution to this chaos?

Lost souls need order as evidenced by the old man’s desire to stay in the cafe. Order is then an essential need for those who are without meaning. Perhaps this suggests that when we are lost and lack meaning, we need to find things that bring order into our lives. Routines, habits, people, places, etc. Whatever helps us positively deal with our mental state.

In the story, it is implied that the old man lost his meaning after his wife passed. While the old waiter is seen trying to find meaning through religion but fails to do so. Even the young waiter finds his meaning through his work and his wife, both are liable to change.

What then?

Perhaps the meaning of our life has to be intrinsic. Something that can survive the ups and down of life. Perhaps that is the meaning. How well can you navigate what life throws at you? To constantly find the meaning behind your suffering. To search for the light in the darkness.

Maybe that is how meaning is created, and our mind becomes a place of solitude. 

Lessons From Stories: Kafka On The Shore

Arshan Dhillon

Kafka On The Shore is a novel by Haruki Murakami. The narrative follows two central characters, Kafka and Nakata, as they interact with other humans, cats, spirits, and even figures like Colonel Sanders and Johnnie Walker. Murakami uses aspects of magical realism in order to explore concepts such as fate and past trauma. It’s in this exploration of life that we can find valuable lessons.

Lessons:

Embrace The Storm

Sometimes fate is like a small sandstorm that keeps changing directions. You change direction but the sandstorm chases you. You turn again, but the storm adjusts. Over and over you play this out, like some ominous dance with death just before dawn. Why? Because this storm isn’t something that blew in from far away, something that has nothing to do with you. This storm is you. Something inside of you. So all you can do is give in to it, step right inside the storm, closing your eyes and plugging up your ears so the sand doesn’t get in, and walk through it, step by step.

[…]

And once the storm is over you won’t remember how you made it through, how you managed to survive. You won’t even be sure, in fact, whether the storm is really over. But one thing is certain. When you come out of the storm you won’t be the same person who walked in. That’s what this storm’s all about.

Fate is at the core of Murakami’s novel. Kafka’s fate is to confront his mother, who abandoned him at a young age. All his actions lead him towards this fate. He tries to run away from it, to hide from it, but he is constantly driven towards his fate. He eventually relents to the inevitable and faces his fate/storm in order to grow.

Such storms are always present in our life. We can view them as fate or perhaps challenges and obstacles life has set in front of us. Trials for us to complete and mature or to ignore and hide from and remain the same person. These storms can involve our career choices, relationships, habits, or ideologies. The very thing that causes us discomfort is what we need.

Of course, real life is not like a story. Our life isn’t a plot that will cause us to confront the uncomfortable aspects. Here is where the story of Kafka can influence us. If Kafka never confronted his mother, then he would always be a prisoner to his past feelings. But because he was able to come to terms with his abandonment issues, he was freed.

The story urges us to face our storm or fate, so we can gain a better understanding of who we are and move forward in life freely.

Take Responsibility

It’s all a question of imagination. Our responsibility begins with the power to imagine. It’s just like Yeats said: In dreams begin responsibilities. Flip this around and you could say that where there’s no power to imagine, no responsibility can arise.

This is significant in two ways. First, the more practical approach. Taking responsibility for our lives and our actions. We have to imagine that we have some control over our circumstances, whether good or bad. Our actions matter. Our choices matter and so, through our imagination, we can then develop ownership of our actions and thus create order.

Second, the potentials that imagination opens up also require our responsibility. If we imagine ourselves running a marathon, then it becomes a responsibility to work towards that imagination. This is true with creating art, traveling, setting goals, and so on. We have to imagine it first and then bring it to life.

Be Open

“If I had to say anything it’d be this: Whatever it is you’re seeking won’t come in the form you’re expecting.”

Nothing ever comes exactly the way we expect. There has to be a sense of letting go when we seek whatever it is that we want. To give up control and accept whatever it is that life thinks is best suited for us.

Otherwise, with a close mind, we can overlook the blessings presented to us.

Have Empathy Towards Others

“Miss Saeki’s life basically stopped at age twenty, when her lover died. No, maybe not age twenty, maybe much earlier…I don’t know the details, but you need to be aware of this. The hands of the clock buried inside her soul ground to a halt then. Time outside, of course, flows on as always, but she isn’t affected by it. For her, what we consider normal time is essentially meaningless.”

[…]

“Kafka, in everybody’s life there’s a point of no return. And in a very few cases, a point where you can’t go forward anymore. And when we reach that point, all we can do is quietly accept the fact. That’s how we survive.”

The character of Miss Saeki is portrayed as a shell of a human being. Her essence, her spirit, is stuck in a time when she was happily in love. However, a traumatic incident caused her to be severed from the present and to live in the past.

Miss Saeki is a fictional character, but her portrayal is very much real. From an outsider’s point of view, Miss Saeki appears perfectly normal. Just as we may think of the people we encounter in our daily life. We cannot know what is going on inside the person’s head. We don’t know what past events still haunt them. This is why empathy and kindness need to be at the forefront of our actions.

These two qualities can be viewed as a luxury, for we may not receive them from others. However, we all have the capability of showing these qualities and it becomes an obligation to do so, regardless of whether others show it to us.

As long as there’s such a thing as time, everybody’s damaged in the end, changed into something else. It always happens, sooner or later.

Too Much Of A Good Thing

“Man doesn’t choose fate. Fate chooses man. That’s the basic worldview of Greek drama. And the sense of tragedy—according to Aristotle—comes, ironically enough, not from the protagonist’s weak points but from his good qualities. Do you know what I’m getting at? People are drawn deeper into tragedy not by their defects but by their virtues.”

Too much unselfishness can breed greed, as others can take advantage of the unselfish nature. Too much love can breed resentment, as the person can be viewed as overbearing. We can have a boundless work ethic in order to improve our life or our family’s life but can end up with a broken home because of overworking.

In themselves, no virtue is good or bad, but when the human element is added to the mix, then there needs to be some kind of boundary. Otherwise, what we imagine being a good thing can cause negativity.

The Ebb and Flow of Life

“Picture a bird perched on a thin branch,” she says. “The branch sways in the wind, and each time this happens the bird’s field of vision shifts. You know what I mean?”

[…]

“It bobs its head up and down, making up for the sway of the branch. Take a good look at birds the next time it’s windy. I spend a lot of time looking out that window. Don’t you think that kind of life would be tiring? Always shifting your head every time the branch you’re on sways?

“I do.”

“Birds are used to it. It comes naturally to them. They don’t have to think about it, they just do it. So it’s not as tiring as we imagine. But I’m a human being, not a bird, so sometimes it does get tiring.”

“You’re on a branch somewhere?”

“In a manner of speaking,” she says. “And sometimes the wind blows pretty hard.”

We can see the natural rhythm of life as the individual trying to remain stable as events outside of their control create disorder. The actions of other people, chance events, unlucky instances, absurd misfortunes are to us what the wind is to a bird. Knocking us about, disrupting our flow, causing us to readjust. So, there is a constant ebb and flow, push and pull, as we adjust to the new rhythm of life and just as we master the new, another challenge arises.

The cycle is endless, and it is by accepting this cycle that can gain some peace of mind. So that when we are knocked off balance, we don’t view it as some grave misfortune but as the natural rhythm of life. And perhaps we can even be prepared for the next gust of wind.

True Inner Strength

“The strength I’m looking for isn’t the kind where you win or lose. I’m not after a wall that’ll repel power coming from outside. What I want is the kind of strength to be able to absorb that outside power, to stand up to it. The strength to quietly endure things—unfairness, misfortune, sadness, mistakes, misunderstandings.”

Too often we wish that nothing bad happens to us. But that just isn’t realistic. Hoping gets us nowhere. What we need is to cultivate certain characteristics so that when misfortune strikes, we can manage them in a calm and orderly manner. One practice is to meditate on the worst possible scenario, as the Stoics advised. So when bad things happen, we aren’t surprised by them.

Another way to cultivate inner strength is by purposely exposing ourselves to suffering. Whether it be physical training, which can help with mental endurance, or by constantly trying new things and failing, and trying again. Both of these tactics can bring us insight into how to endure. How to be patient. How to deal with that inner voice which wants comfort and ease. How to dust ourselves off and keep going.

This type of thinking puts the control in our hands. Gives us an understanding of how to behave when faced with difficult challenges.

Overcome Yourself

“You have to overcome the fear and anger inside you,” the boy named Crow says. “Let a bright light shine in and melt the coldness in your heart. That’s what being tough is all about.”

We all have our defects. No individual is perfect. Part of living is about finding the pieces of yourself which are broken or maybe even missing and mending them and creating them anew.

“Even though she loved you, she had to abandon you. You need to understand how she felt then, and learn to accept it. Understand the overpowering fear and anger she experienced, and feel it as your own—so you won’t inherit it and repeat it. The main thing is this: You have to forgive her. That’s not going to be easy, I know, but you have to do it. That’s the only way you can be saved. There’s no other way!”

“Mother, you say, I forgive you. And with those words, audibly, the frozen part of your heart crumbles.”

The core of the novel is Kafka coming to terms with the abandonment by his mother. He gets angry; he lashes out; he runs away from home but wherever he goes; he carries with him this burden that his mother left him. Until he can come to terms with that, he’ll never truly evolve and grow. Once more, this requires Kafka to overcome himself. To forgive someone requires us to subdue our own feelings and our ego. Kafka is able to do so and move on with his life. But many people get stuck in the past. They harbor a singular event or person and let the past dictate their present. To be free in the present, we have to face the past and deal with it and in turn, deal with our own issues. This is what Kafka’s journey is all about.

Great Lines

“Mr. Nakata, this world is a terribly violent place. And nobody can escape the violence. Please keep that in mind. You can’t be too cautious. The same holds true for cats and human beings.”

“There’s only one kind of happiness, but misfortune comes in all shapes and sizes. It’s like Tolstoy said. Happiness is an allegory, unhappiness is a story.”

“But what disgusts me even more are people who have no imagination. The kind T. S. Eliot calls hollow men. People who fill up that lack of imagination with heartless bits of straw, not even aware of what they’re doing. Callous people who throw a lot of empty words at you, trying to force you to do what you don’t want to.”

He lived in a world circumscribed by a very limited vocabulary.

“Having an object that symbolizes freedom might make a person happier than actually getting the freedom it represents.”

“Memories warm you up from the inside. But they also tear you apart.”

Lessons From Stories: Hemingway’s Hills Like White Elephants

Arshan Dhillon

‘Hills Like White Elephants’ is a short story by Ernest Hemingway. The story is about a young couple waiting on a train to come and In the meantime, they have a conversation about a lingering topic of conflict amongst them, the unplanned pregnancy. The initial conflict is simple, the American, as the boy is called, wants the girl to have an abortion. The girl wants their life to go back to what it was, prior to the pregnancy. Much of the conflict takes place subtly as was Hemingway’s style.

Without conflict a story is bland. No one wants to read about some person who got everything they wished and then lived happily ever after. This can barely be even classified as a story. At the surface of ‘Hills Like White Elephants’, you may think that it’s without much conflict as much of the time the couple bickers over hills which may or may not look like white elephants or what drinks to get, however, the conflict is evident in the changing desire of the two characters which takes place underneath the surface.

The warm wind blew the bead curtain against the table.

‘The beer’s nice and cool,’ the man said.

‘It’s lovely,’ the girl said.

‘It’s really an awfully simple operation, Jig,’ the man said. ‘It’s not really an operation at all.’

The girl looked at the ground the table legs rested on.

‘I know you wouldn’t mind it, Jig. It’s really not anything. It’s just to let the air in.’

The girl did not say anything.

‘I’ll go with you and I’ll stay with you all the time. They just let the air in and then it’s all perfectly natural.’

‘Then what will we do afterwards?’

‘We’ll be fine afterwards. Just like we were before.’

‘What makes you think so?’

‘That’s the only thing that bothers us. It’s the only thing that’s made us unhappy.’

The American wants the girl to have an abortion, this is his desire. The girl agrees but only if it pleases the American in the hope that this will return their relationship to what it was. She desires the past, a time before this “interruption” came.

‘If I do it you won’t ever worry?’ (the girl said)

‘I won’t worry about that because it’s perfectly simple.’

‘Then I’ll do it. Because I don’t care about me.’

‘What do you mean?’

‘I don’t care about me.’

‘Well, I care about you.’

‘Oh, yes. But I don’t care about me. And I’ll do it and then everything will be fine.’

‘I don’t want you to do it if you feel that way.’

The American is displeased because he’s getting want he wants but not in the way he’d like because he loves the girl he wants her to do it if only she wishes it too and not as a favor. The conflict leads to a change in desire. The girl wants to please the American but can’t and the American wants the girl to be happy which she isn’t because her happiness is tied with the American who she knows desires the operation. 

And we could have all this,’ she said. ‘And we could have everything and every day we make it more impossible.’

‘What did you say?’

‘I said we could have everything.’

‘We can have everything.’

‘No, we can’t.’

‘We can have the whole world.’

‘No, we can’t.’

‘We can go everywhere.’

‘No, we can’t. It isn’t ours any more.’

‘It’s ours.’

‘No, it isn’t. And once they take it away, you never get it back.’

‘But they haven’t taken it away.’

‘We’ll wait and see.’

She is displeased now because she’s realizing that things will never be what they used to be and so it doesn’t matter if she keeps the child or not, her desire will never be fulfilled. This is where the story ends. A realization that there is no turning back the clock, whether or not the abortion takes place, this relationship has changed for good. The girl grows as a character through this realization and the story leaves the reader with the harsh reality of life which is that with each action you limit certain possibilities in your life and open others. Once that action is committed all you can do is make the best out of the possibilities that are left for you. 

‘Do you feel better?’ he asked.

‘I feel fine,’ she said. ‘There’s nothing wrong with me. I feel fine.’