Masculinity In The Killers

Hemingway’s short-story masterpiece stand out as a representation of the author’s writing by giving an insight into the psyche of the author himself and reflect on the deeply-rooted lost generation’s hollowness and meaninglessness. However, it also aims to delve into the phenomenon of the inevitability of death as well as masculine fellowship. Apart from the portrayal of Nick Adam is of great significance as he fit well into the framework of a typical dignified hero confronted with his dealings between violence and evil as an introduction into his adulthood.

As far as the characterization of Nick Adam is concerned, likewise, it would be fair enough to shed light on Hemingway’s portrayal of crime as opposed to masculinity which emerges out

In this particular story for instance, the ‘murder’ around which the entire story revolves, seems to be a proclamation that emerged from the “superego” of the murderers in the category of ‘ID’, ‘Ego’ and ‘Superego’. However, the murder that took place as a result of an awkward relevance of brotherly relation with a dear friend considering the killing of Anderson as a moral obligation of fulfillment of a friend’s desire. Besides that, Al and Max seem to be on the face of the face of holding no personal grudge against the supposed victim. Yet, these ‘two killers’ are distinctively drawn towards the “superego” that rests within every individual and hence, in their situation the psychoanalytic view takes

However, this again is an insight into Freud’s ideology in which he claimed that the reality anxiety is often a stimulation of an ego which deliberately conveys the vibes of the potential danger of the real world events. Al’s ego prevented him to reveal anything further to George because his ego enabled him to sense the potential dangers. Besides that, the cook also played well in keep himself away from the reflux. Perhaps he too was aware of the potentially threatening situation that almost waved towards everyone. Therefore it could easily be perceived that the cook too was an obvious representation of “reality anxiety”. The cook always suggested Nick and George not to be a part of this traumatic situation since it was merely a foreshadowing of a gloomy and a life threatening incident. Furthermore, Nick’s unconscious side of mind is depicted through his disagreement to follow the advice of the cook as he is fully driven by his superlative urge to rule over his desire as his “superego” again seems to rule over his ego as reflexive of Freud’s theory of “moral anxiety” as Nick is seemed to be under the inclination of the fulfillment of his moral