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Cold Warriors: Manliness on Trial in the Rhetoric of the West returns to familiar cultural forces—the West, anticommunism, and manliness—to show how they combined to suppress dissent and dominate the unruliness of literature in the name of a national identity after World War II. Few realize how much the domination of a “white male” American literary canon was a product not of long history, but of the Cold War. Suzanne Clark describes here how the Cold War excluded women writers on several levels, together with others—African American, Native American, poor, men as well as women—who were ignored in the struggle over white male identity.
Clark first shows how defining national/individual/American identity in the Cold War involved a brand new configuration of cultural history. At the same time, it called upon the nostalgia for the old discourses of the West (the national manliness asserted by Theodore Roosevelt) to claim that there was and always had been only one real American identity.
By subverting the claims of a national identity, Clark finds, many male writers risked falling outside the boundaries not only of public rhetoric but also of the literary world: men as different from one another as the determinedly masculine Ernest Hemingway and the antiheroic storyteller of the everyday, Bernard Malamud. Equally vocal and contentious, Cold War women writers were unwilling to be silenced, as Clark demonstrates in her discussion of the work of Mari Sandoz and Ursula Le Guin.
The book concludes with a discussion of how the silencing of gender, race, and class in Cold War writing maintained its discipline until the eruptions of the sixties. By questioning the identity politics of manliness in the Cold War context of persecution and trial, Clark finds that the involvement of men in identity politics set the stage for our subsequent cultural history.
- Sales Rank: #6816168 in Books
- Published on: 2000-06-12
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.00" w x 6.00" l, 1.18 pounds
- Binding: Hardcover
- 272 pages
Review
“This provocative and wide-ranging study makes an important contribution to the growing scholarship on Cold War masculinity. Drawing on postcolonial and feminist theory, Clark shows how the ‘cold warrior subject’ was always at risk.”
—Robert J. Corber, author of Homosexuality in Cold War America: Resistance and the Crisis of Masculinity
About the Author
Suzanne Clark is a professor of English at the University of Oregon. She is the author of Sentimental Modernism: Women Writers and the Revolution of the Word.
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6 of 6 people found the following review helpful.
Rhetoric exposed...and continued
By lisa rathje
Suzanne Clark's newest study Cold Warriors: Manliness on Trial in the Rhetoric of the West, engages the reader in the critical task of understanding of how gender and cultural history effects audiences and texts by looking at both the events and some of the writers during the Cold War period. The importance of Cold Warriors, both for scholars of Cold War texts and those of more contemporary texts, lies in its close reading of history and historical literary texts to help the reader understand the link between politics and literature. However, the book's problem lies in its inability to move beyond the rhetoric it exposes.
Written by an academic for an academic audience, Clark's book is an attempt to rewrite the history of gender so that readings of other marginalized writers are heard. Clark's book is to be applauded for looking at a source of the problem behind the oppression of women and minority writers and not settling for the seemingly easy answer that the males in this society were not open to these other writers. Her more radical thesis that it was the government and the academic institutions who worked to place the white male as the national subject, the "cold warrior" who was to be the "hyper-male: reasonable, penetrating, vigorous, and healthy," (25) takes the control away from the males and places it on the bureaucracy. This helps explain how even some men who were writing, such as Hemingway, fell out of favor during this period as well. This careful look at politics and literature is only the beginning of a discussion that could be continued with texts of the late twentieth and early twenty-first century as well.
The first couple of chapters do a good job of outlining the background history that will set up her reading of the texts in the later chapters. Chapter one, "The Un-American and the Unreal: Modern Bodies and New Frontiers," provides an analysis relating to the oversimplified social logic of the postwar era and the gendering of ideologies. Especially of interest is her discussion of the resistance by the wide public concerning the conformity promoted by the Cold War rhetoric that led to a break that still exists today between the public and the intellectual sphere. Clark argues that the efforts of the "Cold War consensus" critics led to the "recolonizing of American cultural history in the name of freedom" (36). Chapter two, "Cold War Modernism and the Crisis of Story," takes this history and applies to the academics of the time. The literary canon is shown to be defined by Cold War rhetoric that used fear of the Other and the myth of gendered national identity. Women, minority, and revolutionary writers became subversive to academia simply because of the structures of the times.
The last four chapters deal with the texts specifically in the context of the times. The in-depth and close attention that she gives to each of these writers is valuable in helping the reader understand some of the issues of the writers during this time period. However, a problem with Clark's book emerges at this point: It participates in the same system it wants to critique without any apologies. Clark choose four authors, a white male, two white women, and one white Jewish man in a study that proposes to answer the questions: "What produced the invisibility of ethnic and racial identities?" and "What accounts for the Cold War silencing of women and nonwhite peoples?" (6) The same question can be turned back onto Clark's book: Where are the nonwhite authors? This is a serious gap in a book that tries to fill in some of America's missing or suppressed history. As a critique there is so much more that Clark could have said, but instead she became too caught up in her own theorizing of authors that best promoted what her writing of history concerned.
Another telling problem lies within her continuing use of the warrior construct. The conclusion finds that the "logic of projection and a linearity of historical narrative imposed a rigid framework that put manhood into crisis," (207) yet Clark then continues to use a key symbol of this logic, the warrior: "The reiterative structures of mixed, recovered, and translated stories may help us to relocate the warrior-within. A return to Theodore Roosevelt or Ernest Hemingway or John Wayne does not necessarily portend a renewal of the old Cold War fables of manliness, I hope I have shown, but rather acknowledgment and recognition." (207) This reviewer feels that by acknowledging and recognizing the warrior, the rhetoric surrounding the warrior is promoted rather than destroyed. Clark's intent of writing a multicultural study to define how Identity is constructed through politics and literature is hurt by her inability to move beyond the constructed Identity of the warrior from this time period. A renewal of the myth of manliness she may avoid in this book, but she falls short of moving completely away from the rhetoric. So while Clark's latest book succeeds as an in-depth critique of four specific authors during the Cold War, it falls short of being a wide-ranging multicultural critique of the effect government and academic rhetoric has had on the reading of texts that don't conform to the bureaucratic constraints of the times.
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