29 pages • 58 minutes read
Ernest HemingwayThe Killers
Fiction | Short Story | Adult | Published in 1927A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Themes
Loss of Innocence
“The Killers” is a classic coming-of-age tale for Nick Adams, marked by his loss of innocence. Coming-of-age stories, or bildungsromans, from the German words Bildung, “education,” and Roman, “novel,” are a well-established literary genre that explores the transition from childhood to adulthood. These narratives often revolve around a character’s personal growth, maturation, and the loss of their innocence as they confront the complexities and challenges of the adult world.
A prominent character featured in numerous Hemingway short stories, Nick Adams undergoes a transformation from boyhood to manhood in “The Killers.” At the story’s outset, he is portrayed as innocent and naive: Though his age is undisclosed, he is referred to as a “boy” (44) by the two killers. Even when forced into an alarming and perilous hostage situation, Nick’s innocence persists. This is represented again through language; while George and the hitmen both use a racist slur to refer to Sam, Nick never does, calling him “the cook.” This abstention from using racial slurs reflects how Nick has not been influenced by society’s racism in the same way.
Additionally, he believes he can help Ole Andreson, and he bravely and somewhat naively chooses to warn him. This decision earns him the label “little boy” (50) from Sam, who clearly perceives Nick’s choice as immature. In stark contrast, Sam, a more worldly character, distances himself from the situation, declaring, “I don’t want any more of that” (49). Sam’s use of “more” here reflects his experiences as a Black man during an era where racism was commonplace—this doesn’t appear the first time he has experienced violence. As such, Sam’s feelings here reflect his own loss of innocence as a person of color in a racist world.
During his visit to Ole, Nick naively suggests involving the police and even goes as far as to propose that the entire situation might just be a bluff. However, as he witnesses Ole’s acceptance of his impending death and his resolute refusal to take any action to avoid it, a profound transformation occurs within him. This experience becomes the turning point in Nick’s loss of innocence. When he returns to the diner, he is no longer the same youthful and naive individual. He has become disillusioned with the world, with how some people choose inaction when faced with danger. With the certainty of Ole’s impending fate, he confides in George his determination to “get out of this town” (53). Nick’s desire to leave town symbolizes his coming of age and the loss of his youthful innocence.
Hemingway’s “The Killers” is a poignant coming-of-age story where Nick Adams undergoes a transformative journey from innocence to experience. Through this theme, Nick can be perceived as a semi-autobiographical character. Just as Hemingway underwent traumatic events during his service and became disillusioned with the world, Nick too is fundamentally altered by his ordeal.
Passivity Versus Activity
In “The Killers,” the juxtaposition between passivity and activity emerges as a central theme. The characters find themselves in life-threatening situations, where they are forced to choose between remaining passive or taking action. The story condemns passivity, emphasizing the critical importance of action: Nick, the story’s hero, takes action as he tries to rescue a man who has chosen to resign himself to his fate.
Ole Andreson is the embodiment of passivity in “The Killers.” He accepts his impending death and refuses to take any action to avoid it. He lies in bed, unmoving and unresponsive, telling Nick he can’t make up his mind to go out, and that he’s “been in here all day” (51). When Nick keeps asking if there’s any way they can fix the situation, Ole responds that “there ain’t nothing to do” (51). His resignation to his fate stands in stark contrast to Nick’s active response to the danger. George and Sam, too, adopt passive roles throughout the unfolding events. George complies with the killers’ demands, offering only feeble protests, asking “what’s it all about?” (46). Sam, on the other hand, openly distances himself from the impending violence, declaring his unwillingness to become involved: “[M]ixing up in this ain’t going to get you anywhere” (50), he tells Nick. In the end, George chooses to remain passive and suggests Nick not think of Ole’s impending death.
It’s noteworthy that, in “The Killers,” activity is associated with masculinity. Ole is depicted as gentle, passive, and feeble—this is ironic considering his former status as a heavyweight prizefighter, a role conventionally associated with masculinity. Nick, on the other hand, undergoes a transformative journey from boyhood to manhood, marked by a shift from passivity to action: While he initially complies with the killers’ orders in the lunchroom, he later courageously takes action by going to see Ole Andreson. Nick is on the path to becoming a hero, symbolizing active masculinity.
Therefore, “The Killers” offers a criticism of passivity in favor of activity. Nick is the hero of the story because his determination to save Ole positions him as a proactive figure, in stark contrast to Ole’s passive acceptance of his impending fate. Nick’s choice to leave town serves as a symbolic departure from a realm dominated by passivity: It signifies not only his personal growth but also his deliberate disassociation from a community steeped in inaction.
Disillusionment With Reality
Disillusionment with reality is a recurring theme in many of Hemingway’s works and permeates “The Killers.” The narrative conveys a resounding message: that appearances can be deceiving, and those with overly optimistic expectations frequently encounter a world that starkly contradicts their beliefs.
Nick Adams’s coming of age and loss of innocence in “The Killers” is tied to his expectations being shattered and his ultimate disillusionment with the world. When he decides to go warn Ole Andreson of the danger, Nick expects him to be grateful and take action to change his fate. However, Ole doesn’t meet Nick’s expectations: He is a passive man who lies in bed, unmoving and unresponsive, resigned to his fate: “There isn’t anything I can do about it” (51), he says. This triggers a crisis in Nick, to the point that he wants to leave his whole life behind: Nick cannot fathom that Ole would simply accept his impending doom without resistance.
Ole Andreson’s characterization subverts expectations as he is portrayed as gentle and unassuming, which contradicts the image of a prizefighter. Mrs. Bell describes him as an “awfully nice man” and remarks, “you’d never know [he was in the ring]” (52). Ole’s demeanor and appearance stand in stark contrast to the stereotypical portrayal of a fighter, contributing to the theme of disillusionment with reality.
On a smaller scale, the theme of disillusionment is also exemplified in Max and Al’s experience at Henry’s lunchroom: Their expectations are systematically shattered, echoing the overarching theme of the story. The duo initially places orders for food that is not ready as it’s only “five o’clock” (43) and dinner is served at six o’clock, leaving them disappointed. The diner clock, George explains, is “twenty minutes fast” (43), serving as a symbol for the unreliability of expectations. Their disappointment continues as they request alcohol, only to find it unavailable, and as they anticipate Ole Andreson’s appearance to no avail. In the end, the two depart without having accomplished their intended plan.
Moreover, the discrepancy between the names of places and the individuals who run them enhances the feeling that nothing is as it initially appears. For instance, Henry’s lunch-room is managed by George, and Hirsch’s rooming house is overseen by Mrs. Bell: Nick erroneously addresses Mrs. Bell as Mrs. Hirsch, to which she corrects him by explaining that “she owns the place. I just look after it for her” (52). Hemingway’s deliberate choice of employing mismatched names adds to the overall sense of confusion and reinforces the theme of disillusionment that permeates the story. It underscores how the characters in the story grapple with a world that does not align with their preconceived notions.
In “The Killers,” Hemingway therefore encapsulates a quintessential modernist perspective, systematically shattering expectations for both the readers and the characters within the narrative. The deliberate dismantling of expectations in the story serves as a reflection of the general disillusionment experienced by a generation that had grappled with the harsh realities of World War I. Just as the characters in the narrative, especially Nick, find their expectations defied, Hemingway and other modernist artists were similarly disillusioned with the post-war world.
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