Hemingway, famous for his portrayals of tough men following a strict code of honor, mocks his own concept of masculinity by depicting the hitmen, Al and Max, as ridiculous figures. These characters embody the typical gangster stereotype, wearing derby hats and snug overcoats, and even keeping their gloves on while they eat. They speak in a rough manner, revealing their plan to kill Ole, using slang, answering questions with more questions, and ridiculing the masculinity of George, Sam, and Nick. For example, Max comments about George: "Bright boy can do anything… He can cook and everything. You’d make some girl a nice wife, bright boy." Al refers to Sam and Nick, who are bound and gagged in the kitchen, as "a couple of girlfriends in the convent." Al and Max contrast with Nick Adams, an innocent character who thinks he can change the situation by warning Ole about the hitmen. This story represents Nick’s entry into the adult world, filled with violence, disorder, and survival tactics.

Societies create laws to protect citizens, maintain order, and promote justice. In Hemingway’s story, the blatant disregard for these laws reflects both societal decline and a feeling of helplessness. Characters Al and Max exhibit no fear of capture, stating they have no personal motive for killing Andreson and are simply "obliging a friend." Sam’s decision to remain uninvolved underscores the resignation that permeates the narrative.

George reacts by passing the responsibility of dealing with the crime to Nick, advising him to visit Ole. Nick’s reaction is one of disillusionment and shock, prompting him to leave town rather than face its unpredictable dangers. These reactions echo the varied ways Chicagoans responded to crime in the 1920s. The widespread resignation stems not only from Hemingway’s grim perspective on human nature but also from the reality that many Chicago crime bosses had bribed the police, turning law and order into a privilege for a select few rather than a universal right.

Hemingway’s storytelling is filled with irony and characters who frequently misunderstand each other, highlighting that reality often diverges from its appearance. For example, Max and Al come to town with the intention of killing Ole Andreson, knowing he eats at Henry’s at six o’clock, yet they still inquire about the town's name from George. When George tells them, Max admits he’s never heard of it before. Despite being called a "lunchroom," Henry’s is actually a converted saloon. Another similar confusion occurs when Nick incorrectly refers to Mrs. Bell as "Mrs. Hirsch," assuming she owns the rooming house. The irony is further emphasized when the men arrive in a town called "Summit" to commit murder on a "nice fall day." These stark contrasts between reality and expectations profoundly affect Nick, whose world had previously matched his expectations of order and predictability.

In "The Killers," the unmistakable style of Ernest Hemingway subtly reveals the true focus of the narrative. At first glance, readers might assume that the assassins and Ole Andreson, their intended victim, are the story's main protagonists. However, Hemingway intentionally leaves the details of Ole's past actions and his ultimate fate shrouded in mystery. Instead of following Ole's plight, the narrative concludes with three bystanders returning to the restaurant, reflecting on the events that just unfolded.

The story's objectivity is maintained throughout, characterized by its dialogue-heavy structure, which avoids overt interpretation or authorial judgment. Yet, the emphasis on the three bystanders, particularly on Nick Adams, becomes evident. Their conversations and reactions provide insight into human nature and the impact of witnessing violence. Hemingway's focus on...