Green Hills of Africa - Ernest Hemingway

Summary

"Green Hills of Africa" is a non-fiction account of a month-long safari Ernest Hemingway undertook in East Africa during December 1933. Framed as an attempt to capture the reality of a hunting trip without resorting to fictional devices, the book chronicles Hemingway's pursuit of a magnificent kudu, the rivalry with fellow hunters, and his reflections on hunting, writing, life, and the African landscape. The narrative is largely focused on the thrill of the chase, the physical challenge of the hunt, and the competitive spirit among the hunters, particularly between Hemingway and another American hunter, Karl, and later, Garrett, over who can shoot the largest trophy. Interspersed with the hunting episodes are philosophical discussions about literature, the nature of courage, and the unspoiled beauty of Africa.

Book Sections

Section 1

This section introduces the reader to Hemingway and his hunting party in the East African bush. The group, led by the professional hunter Pop, includes Hemingway, his wife M., and other native trackers and porters. The initial focus is on the daily routine of the safari, the vastness of the landscape, and the challenges of tracking game. Hemingway expresses his passion for hunting, particularly his desire to shoot a truly large kudu, a notoriously elusive antelope. He describes the frustrations of unsuccessful hunts, the camaraderie within the group, and his growing appreciation for the wilderness. This section also introduces the theme of literary discussion, as Hemingway and Pop talk about American and European writers, reflecting on the craft of writing and the honesty of storytelling. The competition among hunters begins to surface, as Hemingway is initially less successful than his wife, M., who shoots a good rhino.

Character	Characteristics	Motivations
Hemingway (The Author/Narrator)	Obsessed with hunting, competitive, reflective, analytical, passionate about Africa, a writer.	To hunt the largest kudu, to experience true wilderness, to test himself, to find material for his writing.
Pop (Philip Percival)	Experienced professional white hunter, patient, wise, calm, respectful of nature.	To guide his clients safely and successfully, to enjoy the hunt, to ensure ethical hunting.
M. (Pauline Pfeiffer Hemingway)	Hemingway's wife, determined, supportive, also a keen hunter, resilient.	To share the hunting experience with her husband, to succeed in her own right, to support Hemingway.
Karl (Kandinsky)	Another white hunter, a friend of Pop, often described as a bit less serious than Pop, but competent.	To hunt, to enjoy the companionship, to fulfill his role as a guide.
Jackson	One of the native trackers, skilled, loyal, observant.	To assist the hunters, to ensure success, to earn his living.
Abdullah	Another native tracker, skilled, stoic, often the one to spot game.	To assist the hunters, to ensure success, to earn his living.

Section 2

In this part, the hunting party moves to a new area known for its kudu population. The competition for the best trophy intensifies, not only among the immediate group but also with the arrival of other hunters in the vicinity. Hemingway's rivalry with Karl over who can shoot the largest kudu becomes a central focus. Hemingway experiences periods of intense frustration due to near misses and the difficulty of finding the really big game. He reflects on the mental and physical demands of hunting, the feeling of elation after a successful kill, and the disappointment of failure. The landscape itself becomes a character, with its harsh beauty and unforgiving nature shaping the hunters' experiences. There are further discussions about literature, with Hemingway expressing his views on American writers and the challenges of capturing truth in writing. The section culminates in a successful hunt for Hemingway, where he shoots a large buffalo, providing a temporary boost to his spirits, though the magnificent kudu remains elusive.

Character	Characteristics	Motivations
Garrett	A rival hunter, competitive, sometimes appears to have an easier time finding game, somewhat arrogant.	To out-hunt Hemingway, to achieve his own hunting successes.
G.C. (George Curzon)	Garrett's native hunter/tracker, skilled and efficient.	To assist his employer, to find and track game.

Section 3

The narrative delves deeper into Hemingway's single-minded pursuit of the kudu. The party travels through varied and challenging terrain, enduring heat, thirst, and exhaustion. Hemingway's obsession borders on a feverish quest, as he passes up other game in his relentless search for the 'great' kudu. He is driven by a profound need to prove himself, not just as a hunter but as a man facing the wilderness. This section highlights the stark beauty and danger of the African bush, with vivid descriptions of the animals and their habits. Hemingway also uses this part to further explore his philosophical ideas about the primitive thrill of the hunt, the connection between man and nature, and the transient nature of life. The psychological toll of the hunt is evident in his growing frustration and the occasional tension within the group. The competition with Garrett is still present, but Hemingway's internal struggle with himself and the kudu takes precedence. He finally shoots a large kudu, but it is not the magnificent specimen he dreamed of, leading to a mix of satisfaction and lingering desire.

Section 4

This final section brings the safari to a close. After shooting a good kudu, though not the record-breaking one he initially sought, Hemingway reflects on the experience as a whole. The hunt concludes, and the journey back begins, offering a different perspective on the land and the people. Hemingway engages in more philosophical discussions with Pop, touching upon the value of experience, the lessons learned from the wilderness, and the ethics of hunting. He also revisits the theme of writing, contemplating how to honestly portray such an intense experience without embellishment. The book ends with Hemingway feeling a sense of peace and fulfillment, not just from the hunting success, but from the deep connection he forged with Africa and the challenge he faced. He looks forward to writing about the experience, recognizing the difficulty and importance of telling a true story.

Literary Genre

Non-fiction (Memoir, Travelogue, Hunting Narrative)

Author's Details

Ernest Hemingway (1899-1961) was an American novelist and short-story writer. He was known for his stark, concise prose style, which had a significant influence on 20th-century fiction. He won the Pulitzer Prize for Fiction in 1953 for "The Old Man and the Sea" and the Nobel Prize in Literature in 1954. His works often explored themes of masculinity, war, wilderness, and loss. His experiences as an ambulance driver in World War I, a journalist, and an avid sportsman deeply informed his writing.

Moral

The "moral" of "Green Hills of Africa" is less about a clear ethical lesson and more about the profound experience of facing the wild and oneself. It explores the search for authenticity, the competitive spirit inherent in human nature, and the deep connection one can forge with nature. It suggests that true fulfillment comes from pursuing one's passions with intensity and confronting challenges head-on, even if the ultimate prize is not exactly what was envisioned. The book also implicitly advocates for respectful and ethical hunting, emphasizing the beauty and power of the animals and the landscape.

Curiosities

• Experimental Form: Hemingway stated in the foreword that he aimed to write "an absolutely true book to see whether the shape of a country and the pattern of a month's action can, if truly presented, compete with a work of the imagination." This makes it an early example of what would now be called "creative non-fiction."
• Characters' Real-Life Identities: "Pop" is based on professional hunter Philip Percival, a renowned guide in East Africa who also guided Theodore Roosevelt. "M." is Pauline Pfeiffer, Hemingway's second wife. "Karl" is likely Charles Thompson, another hunter.
• Literary Critiques: The book contains Hemingway's famous, sometimes controversial, critiques of American writers, including F. Scott Fitzgerald and William Faulkner, and his reflections on the state of American literature.
• Reception: While not as critically acclaimed as some of his novels, "Green Hills of Africa" is valued for its raw depiction of the hunting experience and its insights into Hemingway's personal philosophy and writing process.
• Safari Tradition: The safari described in the book took place at a time when big-game hunting was a popular pastime for wealthy Westerners, reflecting a specific historical period of colonial Africa.