Hard-Boiled Fiction and Dark Romanticism
Since the 1920s the use of romantic features in the tough masculinist narratives of American hard-boiled fiction has often surprised its readers. Through an exploration of fiction written by four major hard-boiled writers (Ernest Hemingway, Dashiell Hammett, James M. Cain and Horace McCoy), this study explains the genre's fascination with romance from a critical Cultural Studies perspective. It focuses not only on the use of the theme of the waste land and Gothic conventions, but also on the subversion of romance and its ideal hero. The study argues that the romanticism and pathos evident in the genre are antimodern and nostalgic yearnings for a lost world of true individualism and manhood.
What people are saying - Write a review
We haven't found any reviews in the usual places.
HardBoiled Fiction and the Romantic Tradition
3 other sections not shown
able argued Astro autonomous becomes Cain Cain's novel California characters connected context Cora Cuba Cubans cultural dark Dashiell Hammett death decay detective fiction door dream Elihu Willsson Ernest Hemingway Eve Kosofsky Sedgwick explores Frank function gaze gendered genre Gloria Gothic conventions Gothic fiction Gothic novel Hammett's novel hard-boiled fiction hard-boiled male hard-boiled narratives Harry Morgan Harry's Hawes Hemingway Hemingway's hero Hollywood novel homosexual Horace McCoy ideal identity ideology imagery importance individual italics original Juana landscape of terror located London looking manner masculine McCoy's novel Mexico modern movie myth night novels under study passage Personville Poisonville portrays Postman Always Rings protagonist quest Red Harvest representation represented rewrites Rings Twice Robert role romance romanticism seen Serenade sexual Sharp Shoot Horses shown significance sing social story T. S. Eliot THAHN theme threatening TPART traditional transforms TSHDT University Press urban violence waste land yearning