By A. Ferrebe
Tracing the impression of masculinity on fictional shape and subject matter via an period of dizzying social swap, this well timed new ebook conducts a detailed research of English novels chosen for contrasting definitions of the male gender, from the allegedly offended younger males to the modern confessions of Nick Hornby. The literary interval due to the fact 1950 is interpreted as one in all severe political and stylistic negotiation via male authors with the gendered subject-positions either one of fictional characters and people who examine them.
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Additional info for Masculinity in Male-Authored Fiction, 1950-2000: Keeping It Up
Example text
Dominic Head notes how ‘Blake Morrison authoritatively defines the sensibility of the Movement, rooted in the qualities of rationalism, realism, and empiricism’ (50), yet these three terms do not sit together easily. Rather than a single view, ‘empiricism’ is an umbrella term covering a range of differing standpoints: these are, however, united by the 20 Masculinity in Male-Authored Fiction assumption that experience has primacy in establishing authentic human thought and belief. ‘Rationalism’ is traditionally contrasted with this, depending as it does upon the belief that reason has precedence over any other way of acquiring knowledge: that thought is independent of experience.
Thus a reference in Lucky Jim to ‘some skein of untiring facetiousness by filthy Mozart’ (63) is repeatedly read not as a hung-over Jim’s grumpy response to the whistling of someone he hates from a bathroom he desperately needs to access, but an Amisian rejection of all things high-brow. A similarly avid identification occurred between John Osborne and the hero of his 1956 play Look Back in Anger, spearheaded with some determination by Kenneth Tynan in The Observer. In Success Stories: Literature and the Media in England, 1950–1959, Harry Ritchie notes how the assertions by critics of a direct link between the author, the hero, and the reader become self-fulfilling prophecies: ‘Eventually, the very popularity of their books – itself caused by the discussion and controversy inspired by assumptions of their representative status – was taken as clinching proof that these new writers had appealed to, and now represented, a new readership’ (209).
His decision to privilege his personal life is deliberately amplified in its radicalism by the harsh political reality of the novel’s 1939 setting: Sometimes I tried to link the disintegration of our private lives with the disintegration of affairs in the world. I saw us all being carried along into some nameless chaos. Yet it rang false. In spite of what the headlines told me every morning, in spite of what I reasoned must happen in the world, I was really preoccupied most deeply with what 22 Masculinity in Male-Authored Fiction was going on between me and Myrtle and between Tom and Steve.
