This comprehensive and sophisticated feminist analysis contradicts the negative evaluations of earlier feminist critics to define Oates' feminist accomplishments. Wesley presents Oates' fiction as a dynamic structure that grew out of her obsessive concern with the American family and shows her literary patterns of resistance to the gender ideology that shapes it. She illustrates how Oates' disturbing portrayals of troubled families can and do address complex issues of power in contemporary society--economic dislocation, gender inequity, and violence--as they are experienced in intimate relationships. The author defines and exemplifies the central concepts of family, power, and resistance in Oates' work with reference to her own literary criticism and the theoretical principles of Frederic Jameson. She begins by examining the presentation of the mother and the father in Oates' earliest works and then charts mother and daughter, brother and sister, and other family relationships. Wesley contends that the power dynamics of Oates' families relegate daughters to a position of impotence and sons to one of isolation and shows that the evolution of the children's refusal to identify themselves with their male or female models is a major focus in Oates' fiction.

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.

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.