Dimensions and Theme in The Killers

On the eve of the grand economic crisis of the capitalist world, the late 1920s is a turbulent period in the U. S. A. with violence and abuse permeating the whole conjunction underneath the surface of the temporary resoluteness and prosperity. Among all the novels depicting the dark life then, The Killers is unanimously considered as the stovepipe for its superb technic and profound root. The Killers offers a perfect example of a fib that challenges and rewards the readers perception of its structure.The structure of a Heming routes story discharge usually be described, conventionally enough, with a set of scenes marked by a counterchange in setting or by a change of characters. What is original and so inscribes his fame as a modernist is that the scenes often ar juxtaposed with unforesightful transition and less logic to effect or explain their ecological succession or rationale as a result of his prose style with its syntax linking sentences and simple causes with bre ak conjunction and subordination.This is not to say that the structures of the stories lack form or significant pattern, but they ar coherent and connected in a sort of dimension which Hemingway said he learnt from cizannes paintings. In The Killers, there are totally ternion main scenes Henrys lunch inhabit, Hirschs rooming house, and again Henrys lunchroom. The source scene opens with deuce strangers entering Henrys lunchroom, where George is waiting on snick Adams at the counter.The strangers, Al and Max, quiz unsuccessfully to order from the diner menu, then settle for sandwiches, after which their bittie talk turns ugly. Al takes Sam the name and Nick into the kitchen, gags and ties them up, and then he and Max give that they are waiting to kill the heavyweight look on fighter Ole Andreson when he comes to have dinner at six o clock. At last, Ole Andreson does not arrive the killers leave.In the second scene, Nick goes to Hirschs rooming house to promise Ole most ca rdinal men waiting to kill him and offers to tell the patrol but Ole, lying on his bed and looking at the wall, says that he got in wrong there is no topic to do and he is through and through running. In the troika scene, Nick comes back to Henrys lunchroom and tells Sam and George his experience at Hirschs rooming house. Sam wont listen to it and goes to the kitchen. The story ends as Nick wonders what Ole did, and George says Double-crossed somebody. Thats what they kill them for. Im leaving to touch on out of this t let, Nick said. Yes, said George, Thats a good thing to do. I cant stand to infer about him waiting in the room and knowing he is going to get it. Its too awful. Well, said George, youd check not think about it. In the initial two scenes, the readers may get confused with the arrangement and disappointedly fail to work out the theme, for despite all the impending violence and dupemingly inevitable bloodshed, nobody happens the killers do not kill and thei r victim still lies with his face to wall.The dimensions of the first two scenes ascertainm to by default direct the readers attention to the storys actual details the two killers Al and Max are indistinguishable, dressed resembling twins or a vaudeville team their sandwich orders are interchanged they eat with their gloves on they call George bright boy and suggests him going to see a movie they get the lunchroom prepared for the putting to death the nigger cook repeatedly complains and of George gives his careless remarks.However, no matter what image the readers have of the two dimensions, it will reflect the obvious symmetry between them the action of the first scene is followed by the reaction of the second. And as the story moves on to the third dimension where the theme finally set in, the readers, with a reminiscent view, can figure out that all the details which seem irrelevant to the killing in the previous two dimensions, now, in re-perception, are closely create from raw stuff to serve the theme.The incident takes place when three men are in Henrys lunchroom the cook Sam and the two waiters, George and Nick. Sam, from the very beginning, tries best to keep himself remote from this killing when Nick expects to go to inform Andreson, he advices Nick to conciliate out of it, not to have whateverthing to do with it at all. Then Nick decides to go to Andreson in Hirschs rooming house, he says Little boys always know what they want to do, satirizing young men wish Nick know nothing about possible danger in the unsafe society.Finally, Nick returns and gives his account of Ole Andresons reaction, he wont even listen to it and shut himself in the kitchen. Having seen a lot of much(prenominal) violence of the society and got frightened by his own experience some(prenominal) minutes ago, Sam knows clearly the danger and darkness, and does not want any more of that. Thus he acts in a cowardly way to insure his own security. George also seems quite familiar with this sort of craft he becomes very suspicious of the two men when they mistake their own order and eat with their gloves on.As soon as the two killers denotation Andreson, he knows their purpose of killing that boxer. Although he asks Nick to go to see Andreson, he does not care the whole thing much. When Nick asks him wherefore the want to kill Andreson, he just make dismissive account statement double-crossed somebody, thats what they kill them for. For him, murdering is not a big event, since there are many another(prenominal) them killed by they every day, he simply has already got used to it.Of the three men, Nick is the only one who shows great concern to the attempted killing. gratuitous enough, he, in spite of Sams warning, goes to inform the boxer. In Hirschs rooming house, the boxer, although knowing himself in danger, lies on his bed helplessly and does not want to run. He tells Nick there aint anything to do, Im through with all that running around, which gives Nick an even more spartan shock than that he is gagged and tied up by the two killers.So horrified Nick is, he decides to leave the town, I cant stand to think about him waiting in the room and knowing hes going to get it. It s too damned awful. Thus, at this stage, the readers can see that the theme that Hemingway wants to express is not only to expose the violence and turbulence of society at that time, but in a more profound dimension, to reveal the shock and hurt of all these viciousness and wickedness to the innocent souls identical Nick who will bear the image of that doomed boxer into his maturity.Therefore, although the name of the story is The Killers, the hero is actually the young man Nick, whose innocence in the setting of the cruelty of the killers, the cowardice of the cook, the indifference of George and the despair of Ole Andreson, refracts the instability and violence of the society at that disordered time.In The Killers, Hemingway, with his geometr ic design of the scenes, presents a story of simple plot but profound meaning, debunking the ricketiness and turbulence of the apparently thriving society. Reading this story is just like viewing cizannes landscape paintings one has large room to perceive and appreciate its beauty and meaning in different dimensions.