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.
Symbols & Motifs
The Diner Clock
The diner clock, displaying the incorrect time, serves as a symbol for the unreliability of expectations, effectively conveying the overarching theme of Disillusionment With Reality.
Twenty minutes ahead of the actual time, the clock becomes a source of confusion. When George asserts that Max and Al have misread it and that it is too early for them to order dinner, they respond with irritation, exclaiming, “Oh, to hell with the clock” (43). The clock also later allows George to convince the two hitmen it is already too late for Ole to arrive, leading to their abandonment of their intended plan: “He’s not coming” (48), George says when the hands of the clock match 6:55.
Though a seemingly insignificant element, the diner clock encapsulates the prevailing theme of disillusionment that runs through the story. It effectively illustrates how the characters’ expectations are consistently thwarted and underscores the unreliability of the world. In “The Killers,” Hemingway constructs a world in which nothing is as it seems, from the malfunctioning diner clock to the gentle prizefighter who chooses not to fight. Hemingway dismantles expectations, leaving both the characters and readers grappling with a reality that contradicts their preconceived notions.
Darkness
Darkness is a recurring motif in “The Killers,” woven into the narrative to symbolize malevolence and to foreshadow the events that will unfold.
From the story’s outset, readers are made aware of the presence of darkness: “Outside it was getting dark. The streetlight came on outside the window” (43). This description establishes a gloomy, bleak atmosphere, effectively foreshadowing the impending events. Later, when Nick ventures outside to warn Ole Andreson, he walks up a “dark street” (50), intensifying the sense of impending doom. As Hemingway’s narrative rarely delves into detailed settings, the inclusion of these descriptions stands out.
Moreover, the two killers, Max and Al, are described as wearing “black overcoat[s]” (44). This choice of color is meant to signify their malevolent intentions: The color black, traditionally associated with death and evil, enhances the sinister nature of their characters. Through this detail, readers can instantly grasp the moral darkness that envelops Max and Al, solidifying their roles as antagonists in the narrative. By facing Max and Al, Nick therefore symbolically grapples with the evils of the world for the first time, conveying the overarching theme of Loss of Innocence.
Nick’s Decision to Leave Town
At the end of the story, Nick expresses his desire to leave town because he can’t bear the thought of Ole Andreson “waiting in the room and knowing he’s going to get it” (53). This decision is a symbol of his coming of age.
In coming-of-age narratives, or bildungsromans, the protagonist typically undergoes a transformative journey from immaturity to maturity, shedding childhood innocence in the process. The young character grapples with inner conflicts, questioning their beliefs, values, and perceptions of the world. These internal struggles create a sense of turmoil, ultimately leading to personal growth and development.
Nick’s urge to depart the small and provincial town of Summit becomes a tangible representation of his desire to leave his old, innocent self behind. His first encounter with evil, personified by Max and Al, has left him disillusioned with the world. His wish to physically and metaphorically distance himself from Summit signifies a pivotal moment in his life, echoing the classic elements of a coming-of-age story.
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By Ernest Hemingway
