User:KWatson/sandbox: Difference between revisions

Line 69:

''the Night'', but who was roaming the streets of America and Europe at least since the publication of ''The Naked and the Dead'') are a response to the anxiety of sounding too Jewish. The adenoidal voice Mailer hears in his first documentary, the unsure voice of the Brooklyn Jew, transforms into a cacophony of accents—Southern, Irish, Italian, Brooklyn—which together make Mailer’s voice the voice of immigrant America. Paul Breines writes that discursive constructions of Jewish weakness arise from and refer to the rootlessness of the Diaspora {{sfn|Breines|1995|pg=195}}. For Breines, tough Jewishness is a performance on the part of secular Jews that is largely associated with Zionism, and its creation first of tough Jewish pioneers, and then, after Israel’s victory in the Six Day War, of tough Israeli soldiers {{sfn|Breines|1995|pg=195}}. Mailer, however, described his relationship to Judaism in this way: “I am a Jew out of loyalty to the underdog. I would never say I was not a Jew, but I took no strength from the fact” {{sfn|Dearborn|1999|pg=14}}. With this in mind, Mailer’s voice is a tough Jewish voice, but one that revises Breines’ toughness by drawing strength from a composite of immigrant voices, rooted, if at all, in American soil rather than Israeli. Mailer brings these immigrant voices together to construct a hybrid masculinity that is not only part white Negro and part tough Jew, but that is also comprised of Italian American, Irish American, Southern, and Texan parts, among others. Thus, Mailer simultaneously makes and unmakes Jewish masculinity by borrowing from other masculinities in the process of making himself into a palimpsest.

Mailer’s essay, “The White Negro,” is the site most often returned to in order to discuss his contribution to the theories of tough Jewish discourse and of masculinity. 11 This essay, which argues that the hipster’s existential, psychopathic masculinity is particularly well-suited for the Cold War political climate, is infamous not only because it espouses Reichian connections between sex and violence, but also because it argues that “the Negro,” who “relinquish[es] the pleasures of the mind for the more obligatory pleasures of the body,” provides a model for how to live violently and sexually (Mailer~~, “The White Negro”~~ 341). Both because of and despite its racist enlistment of African American men, Mailer’s essay celebrates and identifies with black masculinity as a means of embracing otherness without admitting Jewishness. With its repeated references to the figure of “the psychopath,” who “murders—if he has the courage,” however, Mailer’s essay is also about criminality, which is a crucial source of his on-screen tough Jewish persona (347). While this persona borrows its style and hipness from African Americans, it

Mailer’s essay, “The White Negro,” is the site most often returned to in order to discuss his contribution to the theories of tough Jewish discourse and of masculinity. 11 This essay, which argues that the hipster’s existential, psychopathic masculinity is particularly well-suited for the Cold War political climate, is infamous not only because it espouses Reichian connections between sex and violence, but also because it argues that “the Negro,” who “relinquish[es] the pleasures of the mind for the more obligatory pleasures of the body,” provides a model for how to live violently and sexually {{sfn|Mailer|1959|pg=341}}. Both because of and despite its racist enlistment of African American men, Mailer’s essay celebrates and identifies with black masculinity as a means of embracing otherness without admitting Jewishness. With its repeated references to the figure of “the psychopath,” who “murders—if he has the courage,” however, Mailer’s essay is also about criminality, which is a crucial source of his on-screen tough Jewish persona {{sfn|Mailer|1959|pg=347}}. While this persona borrows its style and hipness from African Americans, it

@@ Line 69: / Line 69: @@
 ''the Night'', but who was roaming the streets of America and Europe at least since the publication of ''The Naked and the Dead'') are a response to the anxiety of sounding too Jewish. The adenoidal voice Mailer hears in his first documentary, the unsure voice of the Brooklyn Jew, transforms into a cacophony of accents—Southern, Irish, Italian, Brooklyn—which together make Mailer’s voice the voice of immigrant America. Paul Breines writes that discursive constructions of Jewish weakness arise from and refer to the rootlessness of the Diaspora {{sfn|Breines|1995|pg=195}}. For Breines, tough Jewishness is a performance on the part of secular Jews that is largely associated with Zionism, and its creation first of tough Jewish pioneers, and then, after Israel’s victory in the Six Day War, of tough Israeli soldiers {{sfn|Breines|1995|pg=195}}. Mailer, however, described his relationship to Judaism in this way: “I am a Jew out of loyalty to the underdog. I would never say I was not a Jew, but I took no strength from the fact” {{sfn|Dearborn|1999|pg=14}}. With this in mind, Mailer’s voice is a tough Jewish voice, but one that revises Breines’ toughness by drawing strength from a composite of immigrant voices, rooted, if at all, in American soil rather than Israeli. Mailer brings these immigrant voices together to construct a hybrid masculinity that is not only part white Negro and part tough Jew, but that is also comprised of Italian American, Irish American, Southern, and Texan parts, among others. Thus, Mailer simultaneously makes and unmakes Jewish masculinity by borrowing from other masculinities in the process of making himself into a palimpsest.
-Mailer’s essay, “The White Negro,” is the site most often returned to in order to discuss his contribution to the theories of tough Jewish discourse and of masculinity. 11 This essay, which argues that the hipster’s existential, psychopathic masculinity is particularly well-suited for the Cold War political climate, is infamous not only because it espouses Reichian connections between sex and violence, but also because it argues that “the Negro,” who “relinquish[es] the pleasures of the mind for the more obligatory pleasures of the body,” provides a model for how to live violently and sexually (Mailer, “The White Negro” 341). Both because of and despite its racist enlistment of African American men, Mailer’s essay celebrates and identifies with black masculinity as a means of embracing otherness without admitting Jewishness. With its repeated references to the figure of “the psychopath,” who “murders—if he has the courage,” however, Mailer’s essay is also about criminality, which is a crucial source of his on-screen tough Jewish persona (347). While this persona borrows its style and hipness from African Americans, it
+Mailer’s essay, “The White Negro,” is the site most often returned to in order to discuss his contribution to the theories of tough Jewish discourse and of masculinity. 11 This essay, which argues that the hipster’s existential, psychopathic masculinity is particularly well-suited for the Cold War political climate, is infamous not only because it espouses Reichian connections between sex and violence, but also because it argues that “the Negro,” who “relinquish[es] the pleasures of the mind for the more obligatory pleasures of the body,” provides a model for how to live violently and sexually {{sfn|Mailer|1959|pg=341}}. Both because of and despite its racist enlistment of African American men, Mailer’s essay celebrates and identifies with black masculinity as a means of embracing otherness without admitting Jewishness. With its repeated references to the figure of “the psychopath,” who “murders—if he has the courage,” however, Mailer’s essay is also about criminality, which is a crucial source of his on-screen tough Jewish persona {{sfn|Mailer|1959|pg=347}}. While this persona borrows its style and hipness from African Americans, it
 {{pg|190|191}}