Ernest Hemingway and the white, male characters he crafted have become synonymous with Canonical literature’s misogyny, racism, and in general a troublingly nonexistent concern for minorities, or anyone that is not white and male. This lack of concern with the plight of underrepresented people in American society has, as a whole, usually been attributed to the author as well. In fact, Hemingway’s lack of concern for “others” has been taken on faith for so long that Nobel Prize-winning author and critic Toni Morrison notes in surprise that the few black characters in Hemingway’s fiction sometimes serve to “articulate the narrator’s doom and gainsay the protagonist-narrator’s construction of himself... We are left, as readers, wondering what to make of such prophecies, these slips of the pen, these clear and covert disturbances” (84). Morrison goes on to read in Hemingway’s work a troubling trend of not giving a voice to minorities, be they of another race or of the female gender.