Hemingway portrays Macomber’s encounter with the lion twice: once through Macomber’s perspective, and once through the lion’s perspective. While it isn’t unusual for short stories in the modernist genre to shift perspectives—fluctuating quickly between speakers and thinkers, and between the narrator and characters’ interior monologues—it is unusual for modernist authors to inhabit the minds of animals, as Hemingway does here. Hemingway’s usually pared-down style becomes even more bare as the lion looks at the “super-rhino,” the car, and the “man figure,” Macomber: Hemingway is imagining the way a lion might think and observe an encounter with a hunter, given its…