As the mother of young sons, Marilyn Wesley became increasingly
concerned about the conflicting messages they received in a world
where "Han Solo replaced John Wayne as a national hero and the lost
war in Vietnam was mediated by GI Joe dolls and Rambo movies."
What, she wondered, do the stories we tell our boys teach them
about being men, and what does a culture of male violence teach our
boys about being violent men?
Questioning both the popular condemnation of violent
representation and the notion that violence can be constructive by
empowering the "identity" of an integrated adult self, Wesley
identifies a revealing pattern of "violent adventure" in recent
fiction by American men. Although the wide range of texts examined
in "Violent Adventure" have in common the use of violence
associated with traditional genres of adventure (boy's life
narratives, Westerns, detective and war stories, as well as what
she terms the contemporary epic), their portrayals add a twist.
Tim O'Brien, Thom Jones, Tobias Wolff, Pinckney Benedict,
Richard Ford, Cormac McCarthy, Ernest Gaines, Walter Mosley,
Russell Banks, and Don DeLillo all preserve the traditional notion
of masculine development as portrayed through violent male action.
Yet Wesley contends they do so to demonstrate that violence in fact
neither produces power nor promotes the satisfactory entry of young
men into a supportive identifying community. By studying the
effects of violent representation as it is being rewritten in
contemporary literature, Wesley demonstrates that current
adaptations by a diverse range of male writers subvert conventional
patterns of violent content and generic form to foreground issues
of cultural and material power relations.
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