t of an inner journey for Francis. As Grebstein suggests, Francis, like other Hemingway tyros, moves from innocence to suffering to awareness. 1 With awareness, at least in Francis' case, comes action as well. The other main structure in the story is more abstract and theoretical but equally as evident as the first, namely that of an arch pattern relating to place and spheres of action. This structural pattern, which will be analyzed in conjunction with the former structure, is a progression from outside to inside to outside. 2
             Francis Macomber begins the story with a skewed type of innocence that is common in Hemingway's writing. His innocence is not so much of a lack of experience but a lack of valuable, dignified, real experience, leaving Francis with years of memories but none which he can use to improve his personal character. 3 That is to say that Francis has led a 'sheltered life', one where he has been protected from making difficult decisions by the barriers and buffers of his wealth, his marriage and his status, which in true Hemingway fashion are all represented more or less by one unifying entity: Francis' wife Margot.
             In the story, Margot is the personification of the forces of nada. All the things Francis has cherished and which have (unbeknownst to him) made his life so meaningless thus far, are the same things which Margot and he share, and further, are the things which Francis will have to reject and de-value in order to face the wounded big game on the hunt, in order to confront fear and nada. Implicit in that statement is the assertion that Francis must reject Margot (his personal marriage to nada) in order to start to live, and conversely that by loosening her grip on him, Francis also loosens the grip of nothingness, of nada, on himself. Of course, Francis does not know any of the above early on in the story, and even for a while after the wounded lion incident; he is still in a state of unaware in...