The Killers

Contrary to what the title suggests, Ernest Hemingway’s “The Killers” is not about the two hitmen, nor is it about Ole Andreson, whom they have come to kill. Instead, the story centers around Nick Adams. It serves as a coming-of-age tale, personified by Max and Al. The narrative ultimately grapples with an existential crisis prompted by Ole Andreson’s passive behavior in the face of malevolent forces.

At the beginning of the story, Nick Adams is portrayed as a young, somewhat naive boy. However, as the narrative unfolds, he undergoes a profound transformation. By the story’s conclusion, he emerges as a fundamentally changed man, who symbolically chooses to “get out of this town” (53) and leave his old self behind. This metamorphosis aligns with the overarching themes of Loss of Innocence and Disillusionment With Reality, as Nick transitions from a state of childlike purity to a more complex understanding of the world’s harsh truths.

Max and Al, the two hitmen, are archetypal gangster figures. They are dressed “like twins,” with derby hats and black overcoats “buttoned across the chest,” silk mufflers, and gloves (44). These black overcoats serve as a symbolic representation of their malevolence, as black is traditionally associated with darkness and evil. They are painted as cold-blooded professionals, motivated by a sense of professional duty rather than personal vendettas: They have never met Ole, but are “killing him for a friend” (47). Their presence disrupts the otherwise peaceful environment of Henry’s lunchroom, acting as the catalyst that propels the story forward.

Dialogues between the characters, particularly between two hitmen, contribute to the story’s bleak tone and suspenseful atmosphere. Max and Al’s dialogues are not only crude but also lack deeper significance, an example being their aimless dialogue where they admit that they “don’t know that [they] want to eat” (43). Additionally, their repetition of racial slurs contributes to the text’s foreboding tone by invoking hatred and violence.

In the face of evil, the characters exhibit a range of responses that align with the overarching theme of Passivity Versus Activity. Sam, the cook, firmly adopts a stance of non-involvement, distancing himself from the unfolding violence and danger: “I don’t want any more of that” (50), he says. George, on the other hand, does want to warn Ole, but instructs Nick to do so instead of going himself. When Nick returns visibly shaken, bearing the heavy weight of the knowledge that Ole is awaiting his death, George chooses to remain passive, and simply advises him to “not think about it” (53). George recognizes the difficult situation that Nick has been challenged with, but seemingly does not let it affect his demeanor. The ability to take life’s upsetting obstacles in stride is lost on Nick, who is shifting into adulthood and is taken aback by the unfairness of Ole’s eventual murder.

The character of Ole Andreson is the embodiment of passivity. He showcases a resigned acceptance of his fate as he lies “on the bed with all his clothes on” (50), facing the wall. After years of fighting, he admits he is “through with all that running around” (50). This is in stark contrast to Nick’s proactive approach—Nick tries to find solutions to the problem, even offering to go see the police, until it becomes clear that Ole has embraced his fate and is unwilling to do anything about it. In “The Killers,” Nick Adams therefore grapples with a world that deviates from his expectations and ideals, leading to disillusionment. Ole’s reaction, or lack thereof, leaves Nick bewildered and emotionally wounded, marking a significant coming-of-age moment. Nick believes that, in the face of evil, one must confront it rather than run from it.

“The Killers” presents a grim portrayal of American society during the 1920s. In line with the underlying theme of Disillusionment With Reality, the story’s tone is one of bleakness and imminent peril. The opening scene, set as the day fades into night and the two hitmen enter Henry’s lunchroom, effectively establishes the tone and creates an atmosphere charged with suspense, which is compounded by the presence of the hitmen throughout the narrative. The story’s conclusion further adds to this atmosphere, pushing it toward the brink of nihilism: Readers are left with the knowledge that Ole Andreson is passively awaiting his demise, and George’s only advice to Nick is to put it out of his mind. This conclusion leaves readers feeling a sense of dissatisfaction, echoing the sentiments of the story’s protagonist, Nick, who is profoundly saddened by a world characterized by indifference and resignation.

This story aligns with the modernist literary movement that thrived in the early 20th century. Modernist literature, born in the aftermath of World War I, often sought to mirror the profound disillusionment pervading society during this period. Hemingway, who personally grappled with his own disillusionment following his wartime experiences, captures the post-war cynicism and the loss of faith in traditional values within “The Killers.” Hemingway’s stylistic choices resonate with the modernist ethos. His minimalist prose, marked by its simplicity, use of uncomplicated language, concise sentences, and sharp, incisive dialogues. In essence, “The Killers” serves as a prime example of how modernist literature captured the spirit of a post-war world that was grappling with profound disillusionment, reflecting not only the societal sentiment but also the author’s own personal struggles.

“The Killers” also hints at issues of racism and discrimination. Both George and the two hitmen refer to Sam by using the n-word. In contrast, Nick never uses this term for Sam, instead calling him “the cook.” Nick, in this coming-of-age narrative, is depicted as still young and learning about the world. His disinterest in using the slur and being more cordial is telling of a society coping with cultural change. This discrepancy reflects the racial tensions of the era, highlighting the prevailing prejudices and biases of the time. This subtle but significant detail adds depth and historical authenticity to the narrative, making it a poignant reflection of the era’s social dynamics.

Through the character of Nick Adams, Hemingway depicts the disillusionment that characterized society during this era, all while providing a critique of passivity as a response to adversity, represented by Max and Al. Nick, the story’s central figure, emerges as a hero who makes a conscious choice to distance himself from the passivity that surrounds him.