User:NrmMGA5108/sandbox: Difference between revisions

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the magazine’s internal contradictions, Michaud argues it is “not surprising” to find traditional narratives in ''Playboy'' “given the gender politics and the national anxiety over masculinity in the postwar period.” Michaud concludes that the gothic stories, while seemingly paradoxical to Hefner’s agenda, reflect postwar culture because they focus on marriage and family. According to Michaud, teaching bachelors to be heroic rescuers of distraught females will teach them to be good husbands.{{sfn|Michaud|2010}}

Therefore, it seems plausible that while ''Playboy'' editors sought to publish approachable, entertaining fiction with masculine heroes, they would also publish works based on reputations or cultural myths regardless of the story’s content. In his ''Playboy'' interview, Mailer endorses this cultural concept when he says that “if Hemingway had been a pimply-faced kid instead of the man he was, his books wouldn’t have had the audience they commanded” (84, Jan. 1968). For Mailer, Hemingway had a “clear image” because the work and the man “bore a certain resemblance to each other” (84, Jan. 1968). Mailer goes on to say that this clear image is often necessary: “Americans like answers, not enigmas” (84, Jan. 1968). During his life, Hemingway used his solid, masculine persona to boost book sales and ''Playboy'' still uses that same sales model. And while Mailer confesses his “public personality probably hurts his sales” because it is much “more surrealistic” than Hemingway’s, ''Playboy'' editors continued to rely on him as a contributor (84, Jan. 1968).

Therefore, it seems plausible that while ''Playboy'' editors sought to publish approachable, entertaining fiction with masculine heroes, they would also publish works based on reputations or cultural myths regardless of the story’s content. In his ''Playboy'' interview, Mailer endorses this cultural concept when he says that “if Hemingway had been a pimply-faced kid instead of the man he was, his books wouldn’t have had the audience they commanded” (84, Jan. 1968).{{sfn|Hefner|1968|p=84}} For Mailer, Hemingway had a “clear image” because the work and the man “bore a certain resemblance to each other” (84, Jan. 1968).{{sfn|Hefner|1968|p=84}} Mailer goes on to say that this clear image is often necessary: “Americans like answers, not enigmas” (84, Jan. 1968).{{sfn|Hefner|1968|p=84}} During his life, Hemingway used his solid, masculine persona to boost book sales and ''Playboy'' still uses that same sales model. And while Mailer confesses his “public personality probably hurts his sales” because it is much “more surrealistic” than Hemingway’s, ''Playboy'' editors continued to rely on him as a contributor (84, Jan. 1968).{{sfn|Hefner|1968|p=84}}

==Citations==

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 the magazine’s internal contradictions, Michaud argues it is “not surprising” to find traditional narratives in ''Playboy'' “given the gender politics and the national anxiety over masculinity in the postwar period.” Michaud concludes that the gothic stories, while seemingly paradoxical to Hefner’s agenda, reflect postwar culture because they focus on marriage and family. According to Michaud, teaching bachelors to be heroic rescuers of distraught females will teach them to be good husbands.{{sfn|Michaud|2010}}
-Therefore, it seems plausible that while ''Playboy'' editors sought to publish approachable, entertaining fiction with masculine heroes, they would also publish works based on reputations or cultural myths regardless of the story’s content. In his ''Playboy'' interview, Mailer endorses this cultural concept when he says that “if Hemingway had been a pimply-faced kid instead of the man he was, his books wouldn’t have had the audience they commanded” (84, Jan. 1968). For Mailer, Hemingway had a “clear image” because the work and the man “bore a certain resemblance to each other” (84, Jan. 1968). Mailer goes on to say that this clear image is often necessary: “Americans like answers, not enigmas” (84, Jan. 1968). During his life, Hemingway used his solid, masculine persona to boost book sales and ''Playboy'' still uses that same sales model. And while Mailer confesses his “public personality probably hurts his sales” because it is much “more surrealistic” than Hemingway’s, ''Playboy'' editors continued to rely on him as a contributor (84, Jan. 1968).
+Therefore, it seems plausible that while ''Playboy'' editors sought to publish approachable, entertaining fiction with masculine heroes, they would also publish works based on reputations or cultural myths regardless of the story’s content. In his ''Playboy'' interview, Mailer endorses this cultural concept when he says that “if Hemingway had been a pimply-faced kid instead of the man he was, his books wouldn’t have had the audience they commanded” (84, Jan. 1968).{{sfn|Hefner|1968|p=84}} For Mailer, Hemingway had a “clear image” because the work and the man “bore a certain resemblance to each other” (84, Jan. 1968).{{sfn|Hefner|1968|p=84}} Mailer goes on to say that this clear image is often necessary: “Americans like answers, not enigmas” (84, Jan. 1968).{{sfn|Hefner|1968|p=84}} During his life, Hemingway used his solid, masculine persona to boost book sales and ''Playboy'' still uses that same sales model. And while Mailer confesses his “public personality probably hurts his sales” because it is much “more surrealistic” than Hemingway’s, ''Playboy'' editors continued to rely on him as a contributor (84, Jan. 1968).{{sfn|Hefner|1968|p=84}}
 ==Citations==