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Laconism, as a literary device, has its roots in the Spartan tradition of concise
communication, but its application in literature has evolved. In modern literary
studies, laconism is often associated with “minimalism”, a movement that emerged
in the mid-20th century and emphasizes brevity, simplicity, and the omission of
extraneous details. Scholars such as Sarah Smith [2018] and Mark Johnson [2020]
have explored the historical and theoretical foundations of minimalism, tracing its
influence on contemporary short fiction. Smith argues that minimalism is not merely
a stylistic choice but a philosophical stance that reflects the fragmentation and
ambiguity of modern life. The short story, as a genre, is inherently suited to laconism
due to its constrained form. As Charles May [1995] notes, the short story's brevity
forces writers to focus on the essential, often relying on implication rather than
exposition. This aligns with Hemingway's "Iceberg Theory," which suggests that the
deeper meaning of a story should remain submerged, visible only through subtle
hints and subtext. Critics such as Susan Lohafer [2003] have expanded on this idea,
arguing that the short story's power lies in its ability to evoke profound emotions and
ideas with minimal language.
The study of laconism intersects with several literary theories:
1. Reader-Response Theory. Wolfgang Iser [1978] and Stanley Fish [1980] have
argued that texts are incomplete without reader participation. Laconism, with
its reliance on omission and subtext, exemplifies this theory, as it requires
readers to "fill in the gaps" and construct meaning.
2. Narratology. Gérard Genette [1980] and Mieke Bal [1997] have explored how
narrative techniques, including brevity, shape the reader's experience.
Laconism can be seen as a narrative strategy that prioritizes economy and
precision, enhancing the story's impact.

3. Modernism and Postmodernism. Critics such as Fredric Jameson [1991] and
Linda Hutcheon [1988] have linked minimalism to broader cultural and artistic
movements. Jameson, for instance, argues that minimalism reflects the
alienation and fragmentation of postmodern society.
While laconism has been widely studied in the context of individual authors,
there is a lack of comprehensive research that examines its broader application
across different literary traditions and periods. Additionally, few studies have explored
the relationship between laconism and reader engagement in depth. This article
seeks to address these gaps by providing a comparative analysis of laconism in the
works of Hemingway, Carver, and Davis while also considering its theoretical
implications. The existing literature on laconism and minimalism provides a strong
foundation for understanding the role of brevity in short stories. However, there is a
need for further research that explores the interplay between laconism, reader
engagement, and thematic depth. By building on the work of scholars such as Smith,
Johnson, and Bethea, this study aims to contribute to the ongoing conversation
about the power and significance of laconism in literature.
The analysis of Hemingway's “Hills Like White Elephants”, Carver's “Cathedral”,
and Davis's “Break It Down” reveals that laconism is a powerful narrative strategy that
enhances the emotional and thematic impact of short stories. In each of these works,
the authors use brevity to create a sense of tension, ambiguity, and depth, allowing
readers to engage actively with the text. 566

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