n this sense, "The Snows of Kilimanjaro" is a very atypical Hemingway story. In this story, the matters that trouble Harry are made clear to the reader; the narrator, who is inside Harry's head, speaks of them explicitly. But Hemingway sets these instances of introspection apart, dividing them into sections printed in italics. In all but one of the sections that are in roman type, the narration is typical Hemingway: blunt, unadorned, almost devoid of adjectives, and quite uninformative as to what Harry is feeling. The sentences are short and declarative. But when the narration drifts into the italic sections, the tone changes. The sentences grow longer and almost stream-of-consciousness, with one clause tacked on after another recording the protagonist's impression of a scene.