30 pages • 1 hour read
Ernest HemingwayA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
As part of his “iceberg theory” approach to writing, Hemingway uses undertone to imply important parts of the story. Throughout “Indian Camp,” the narrator leaves gaps in the narrative or chooses not to thoroughly explain events and characters. By downplaying specifics and making implications, Hemingway allows the reader to construct meaning in the story.
Examples of undertone include the simple sentence, “The room smelled very bad” (16). The narrator provides a detail about the shanty in which the woman is giving birth but does not add any more specifics. The bad smell could come from the husband’s wound or the pipe he smoked, as both elements were mentioned in previous sentences. It could be scents from the woman giving birth—sweat, blood, or amniotic fluid—or the men who arrived. In not specifying, the narrative hints at a cacophony of unpleasant smells, contributing to the unsettling tone of the story. It also foreshadows the dark ending, given that a dirty, bad-smelling environment is not the ideal environment for medical procedures.
Vernacular is the word used to describe informal speech, such as slang or dialect. When writers use vernacular, they seek to add a sense of realism to the story. Most will still use formal language in exposition and even in dialogue, using vernacular to make characters or specific phrases stand out.
Hemingway prided himself on his naturalistic dialogue, a technique he used to make characters feel more like real people, allowing readers to think more critically about the claims that they make. Vernacular is present in the dialogue in “Indian Camp.” As Dr. Adams explains what a breech birth is and the woman’s situation, he uses natural, simple descriptions rather than medical terminology to ensure his young son understands him: “You see, Nick, babies are supposed to be born head first but sometimes they’re not” (17). Likewise, when Dr. Adams is trying to comfort Nick after discovering the body of the husband, he says, “It was an awful mess to put you through” (18). The wording allows him to downplay the horror, minimizing his culpability and the traumatic impression the events left on his son.
Vernacular can also be used for characterization. For example, Uncle George calls the pregnant woman anti-Indigenous and misogynistic slurs after she bites him, adding negative aspects to his characterization and deepening the story’s themes about colonization and masculinity.
Point of view describes a story’s perspective, the things that the text chooses to “see.” It’s often helpful to think of point of view as the lens through which the text looks, like a camera on a movie set.
“Indian Camp” is told through a third-person limited point of view. The narrator has some insight into Nick’s feelings—“Nick did not watch. His curiosity has been gone for a long time” (17)—but none of the other characters’ thoughts or feelings. Hemingway’s narrator employs realism in their perspective; they observe a bass jumping out of the water, Uncle George handing out cigars, and the husband’s dead body, but they do not offer explanations or interpretations. In a short, economical story, each detail is important in its presence, and it’s up to the reader to draw conclusions.
On the other hand, readers can determine what’s important by noticing what falls outside the text’s point of view. These can be assumptions that the text is making about values or events as well as plot beats that aren’t described. For example, the pregnant woman is given no dialogue, which allows interpretations about how masculinity is defined in contrast to femininity. Likewise, the husband’s suicide is unexplained, but combined with other hints like Uncle George handing out cigars, it strengthens the interpretation that Uncle George is the child’s real father.
At the end of “Indian Camp,” the narrator tells us that Nick “felt quite sure that he would never die” (19). That might strike some readers as an absurd thing to feel, especially in the aftermath of a prolonged, bloody labor and the husband’s grisly death. This is an example of irony, a difference between expectations and reality. When something is ironic, it seems inconsistent in a way that cannot be easily understood.
Hemingway closes with an ironic statement that clarifies the story’s themes about performing masculinity and colonization. Throughout the story, Nick is conflicted and unsettled by what he is witnessing and forced to take part in. However, the tone and setting of the trip home contrast with the story’s middle; whereas the shanty was full of death and screaming, the lake is placid and beautiful, and his father is full of vitality as he navigates home. Nick considers the contrast between the two experiences and embraces the path he thinks will secure safety for himself. The ironic statement of never dying after just seeing a man’s slit throat is jarring, emphasizing the dark undertones beneath Nick’s desire to avoid being the victim of masculine colonial violence.
By Ernest Hemingway