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Questions on the Classic Readings

Ernest Hemingway, “Hills Like White Elephants”

  1. What are the man and Jig talking about, though neither names it?
  2. Jig ends by saying, “I feel fine. … There’s nothing wrong with me. I feel fine.” What does the repetition suggest?

Katherine Mansfield, “Miss Brill”

  1. What does Miss Brill believe about herself on her Sunday in the gardens?
  2. At the end, when she puts the fur away, “she thought she heard something crying.” What is Mansfield telling us without saying it?

Subtext is what a scene means beneath what is said. Hemingway’s couple never name the operation; Miss Brill never says she has been hurt. The example below, the end of a story, gives a boy who has promised his father to say nothing, and a mother who answers him in three words.

The classic readings come first, and they are the heart of the lesson. A passage from a story by James Mulhern follows as a working example, for a practical reason: he can tell a class what he was trying to do in it, and where he is still unsure he managed it.

Aiden, whose parents have separated, lives with his grandmother while his mother recovers from a stay in a psychiatric hospital. On a snowy Sunday his father picks him up for a visit. In the car the talk is small, about school, Dickens and bad drivers, until his father tells him that he is moving to Arizona with another woman. At the end, the father drives him home.

A page from the story · the ending

When we were in front of my grandmother’s house, Dad said, “Are you okay?”

I opened the door and stepped onto the curb. “You’re irresponsible. You don’t give a shit about us and you just want to hurry away.”

“You’re pissed, Aiden. I still love you. We’ll talk about this again when you’re not so upset. I planned to tell you and Martin over dinner. I was gonna take you out to a nice restaurant. Sorry it happened like this.”

My grandmother and mother, on a scheduled visit, were shoveling the front steps. They stopped and looked up.

Mom shouted, “You’re home so soon. What happened?”

“Nothing,” I said.

My father waved to her, then whispered, “Please don’t tell them, Aiden. Your mom’s not ready to hear the news.”

“Dad, I’m sure she already knows. That’s the difference between you and her. You think she’s crazy, but she’s not. Mom has the ability to see things you can’t. You’ll never understand. I think you’re a sad guy, like that Ghost of Christmas Past.” I kicked some snow. “Maybe I just expect too much, or maybe I’ll understand someday like you said.”

“You won’t say anything, right?” He looked like a child and an old man at the same time.

“I won’t say anything, Dad.” I shut the door and walked towards the steps.

“What the hell happened?” My grandmother wrapped her arm around me. Mom kissed my cheek. I heard my father drive away.

“The streets were getting icy. The snow was falling harder. Dad wanted me home before the roads got bad.”

My mother stared at me. “They already are.”

Nanna said, “My ma used to say, ‘Never dread the winter ’til the snow is on the blanket.’ Let’s get inside.”

We leaned the shovels against the side of the house and walked up the steps. I felt the beating of my heart and the passing of air into my lungs. The smoke of my breath rose, and dissolved like eddies in a careless sky.

My father drove onward, streets glistening, snow like piled linen, and Arizona far, far away.

From The Weight of Small Mercies.

The boy keeps his promise and offers an excuse about the roads. His mother answers, “They already are,” and the story does not say what she means or how she knows. The hope was that the reader would hear both the weather and the marriage in her answer, and that the last sentences, a breath dissolving and Arizona “far, far away,” would carry what nobody in the scene says aloud.

A suggestion. If a scene in your draft ends with a character explaining what has happened, you might try giving the last word to a line that answers something else, and see whether the reader still understands.

Questions on James Mulhern’s Example

“The Wrong Way”

  1. Aiden says the roads will get bad, and his mother answers, “They already are.” What might she be talking about?
  2. Why does Aiden keep his promise to say nothing?
  3. What does the last sentence, “and Arizona far, far away,” suggest?

Activities

These draw on the classic readings and on the example on this page.

  1. The unsaid subject. Write a scene of one page in which two characters face a decision they never name. Give the reader enough to name it.
  2. Answer something else. End a scene with a line of dialogue that answers a different question from the one asked, so that it carries two meanings.

—Silver Current Press

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