"I will only become myself": Hegemonic and Ecological Masculinities in John Williams's Butcher's Crossing

In this thesis, I argue that Butcher’s Crossing (1960) presents a counter-hegemonic narrative for the American male as embodied by the protagonist Will Andrews and his path towards an ecological masculine identity. Scholars have previously focused on the characters McDonald and Miller and how they are representations of different social, economic, and cultural factors that shaped 19th century America. What this thesis focuses on, however, is how Andrews abandons ideals affiliated with hegemonic masculinity in favor of an ideal where nature and man are equal. To demonstrate this, this thesis offers a theoretically informed critical analysis on Andrews’s interactions between McDonald and Miller to show how hegemonic masculinities are both constructed, contested, and resisted. Crucially, this approach shows that Andrews embodies an ecological masculinity that is able to free itself from the inherent power structures of male domination of nature. As such, this thesis shows how Andrews’s narrative provides a model of manhood where men and nature are seen as equals instead of opposing forces

The Shape of Grief: A Generational Legacy of the Vietnam War

As Tim O\u27Brien advises in The Things They Carried, You can tell a true war story by the way it never seems to end (76). If the war story never seems to end, then how does it manifest in future generations? In my case, as the first-born son of a Vietnam veteran, the war story has played out physically, within my body, in the form of an Agent Orange-related disability. How has my response to disability affected both the fine details and the overall texture of my life? My father also suffered from Post-Traumatic Stress Disorder (PTSD) for several years after his return, a timeframe that happens to coincide with the first and most impressionable years of my life. How has this affected my relationships to my disability and to the world at large? Lastly, what can a chronicle of Agent Orange in Vietnam tell me about my own story

1881-11-03

The Old Commonwealth was a weekly newspaper published in Harrisonburg, Va., between 1865 and 1884

Infinite Islands: The Seatrees

Infinite Islands: The Seatrees investigates on the subject of infinity as it relates to storytelling and the novel. The critical introduction lays out the relation between reality, fantasy, the imagination and the history of the novel as a source of inspiration for the fictional portion of the dissertation. It considers the similarities between canonical literary novels and fantasy genre novels. Through this consideration, aspects of reality and fantasy in the novel are considered in both theoretical and primary texts. In the fictional portion, an unnamed narrator is retelling the story of his life from beginning to end. Although he works to gain control over his life and pursue his hope of joining a secretive group, he continually becomes caught up in forces more powerful than an individual, only some of which can he ever understand

The Cowboy Legend

The cowboy, as perhaps no other figure, has captured the imagination of North Americans for over a century. Before Owen Wister's publication of The Virginian in 1902, the image of the cowboy was essentially that of the dime novel - a rough, violent, one-dimensional drifter, or the stage cowboy variety found in Buffalo Bill Cody's Wild West show. Wister's novel was to transform, almost overnight, this image of the cowboy. Soon after its publication, Wister sent a copy, inscribed "To the hero from the author," to Everett Johnson, a cowboy from Virginia who had been a friend of Wister's in Wyoming in the 1880s. Johnson had migrated to Alberta by the 1890s, eventually settling in the Calgary area. Before his death in 1946, his daughter-in-law, Jean Johnson, transcribed Everett's stories of the old west and collected them into a manuscript, now on deposit in the Glenbow Archives. In The Cowboy Legend, John Jennings, building on Jean Johnson's work, details the evidence that Everett Johnson was the initial and prime inspiration for Wister's cowboy, and in the process shows that Johnson led a fascinating life in his own right. His memories of both the Wyoming and Alberta cattle frontiers provide insight into ranch life on both sides of the border, and the compelling parallel biographies of Johnson and Wister feature vignettes of legendary period figures such as Buffalo Bill Cody, Wild Bill Hickok, Wyatt Earp, and Butch Cassidy, not to mention the best man at Johnson's wedding, Henry Longabaugh, a.k.a. the Sundance Kid. With an impressive range of scholarship and archival research, Jennings melds this realistic study of the cowboy frontier with an intriguing account of Wister's subsequent creation of the cowboy mystique, aided by two close friends and perhaps somewhat unexpected collaborators, Frederic Remington and Theodore Roosevelt. As compulsively readable as it is informative, this unique contribution to western history and literature will be welcomed by fans and scholars alike

Romantic legends of Spain

XXVIII, 271 p., [16] h. de lám

Eddy Current, 09-17-1898

https://digitalrepository.unm.edu/cb_current_news/2207/thumbnail.jp