Marked Men: White Masculinity in CrisisWhite men still hold most of the political and economic cards in the United States; yet stories about wounded and traumatized men dominate popular culture. Why are white men jumping on the victim bandwagon? Examining novels by Philip Roth, John Updike, James Dickey, John Irving, and Pat Conroy and such films as Deliverance, Misery, and Dead Poets Society--as well as other writings, including The Closing of the American Mind--Sally Robinson argues that white men are tempted by the possibilities of pain and the surprisingly pleasurable tensions that come from living in crisis. |
Contents
intro_122pdf | 1 |
ch01_2351pdf | 23 |
ch02_5286pdf | 52 |
ch03_87127pdf | 87 |
ch04_128152pdf | 128 |
ch05_153192pdf | 153 |
Notes_193242pdf | 193 |
Bib_243260pdf | 243 |
| 261 | |
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Common terms and phrases
American culture Annie anxiety argues becomes blockage and release blocked Bloom bodily claims Conroy’s construction crisis in white critics critique culinity culture wars D’Souza Dead Poets Society dead white male Dickey’s novel discourse disembodied dominant masculinity embodiment emotional energies expression female feminine feminism feminist film’s force Garp Garp’s gender and racial Goldberg heterosexual homosexuality hysterical identity politics impulses individual Irving Irving’s King’s literal literary male power male sexuality man’s marked masochism masochistic mass culture men’s liberation men’s liberationists metaphor Middle American middlebrow Misery novels narrative natural normative pain patriarchal Paul’s penis Peter phallic position post-liberationist Prince of Tides Rabbit at Rest Rabbit Is Rich Rabbit Redux race rape remasculinization representation represents rhetoric Roth Roth’s social story suffering suggests Tarnopol texts therapeutic tion Tom’s trauma Trumper unmarked Updike Updike’s victims violence visible Water-Method white and male white male author white male bodies white masculinity women