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The Mailer Review/Volume 9, 2015/The Beatster, the White Negro, and the Evolution of the Hipster in Fight Club: Difference between revisions
The Mailer Review/Volume 9, 2015/The Beatster, the White Negro, and the Evolution of the Hipster in Fight Club (view source)
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{{DISPLAYTITLE:The Beatster, the White Negro, and the Evolution of the Hipster in ''Fight Club''}} | {{DISPLAYTITLE:<span style="font-size:22px;">The Mailer Review/Volume 9, 2015/</span>The Beatster, the White Negro, and the Evolution of the Hipster in ''Fight Club''}} | ||
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{{byline|last=Mosser|first=Jason|abstract=Out of the chaos and destruction of World War II emerged the hipster, a figure variously represented in works such as John Clellon Holmes’, ''Go'', which is about the group of figures at the center of the Beat Generation: Lawrence Lipton’s ''The Holy Barbarians'', a sociological study of the lives of some West Coast hipsters; and Norman Mailer’s essay “The White Negro” (1957), in which he introduced his titular existential anti-hero. The White Negro is a cultural icon who may or may not have existed in reality as Mailer described him: was he a true composite of certain marginalized characters, or was he merely a projection of Mailer’s own racial and sexual fantasies about African-Americans and their relation to white, middle-class intellectuals like himself. The Beatster was a teahead or junkie, jazz musician or aficionado, artist or intellectual, sexual adventurer or deviant, and Buddhist or spiritual seeker, in many ways mirroring Mailer’s hipster but without the violence.|url=https://prmlr.us/mr10moss}} | {{byline|last=Mosser|first=Jason|abstract=Out of the chaos and destruction of World War II emerged the hipster, a figure variously represented in works such as John Clellon Holmes’, ''Go'', which is about the group of figures at the center of the Beat Generation: Lawrence Lipton’s ''The Holy Barbarians'', a sociological study of the lives of some West Coast hipsters; and Norman Mailer’s essay “The White Negro” (1957), in which he introduced his titular existential anti-hero. The White Negro is a cultural icon who may or may not have existed in reality as Mailer described him: was he a true composite of certain marginalized characters, or was he merely a projection of Mailer’s own racial and sexual fantasies about African-Americans and their relation to white, middle-class intellectuals like himself. The Beatster was a teahead or junkie, jazz musician or aficionado, artist or intellectual, sexual adventurer or deviant, and Buddhist or spiritual seeker, in many ways mirroring Mailer’s hipster but without the violence.|url=https://prmlr.us/mr10moss}} | ||
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==Works Cited== | ==Works Cited== | ||
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* {{cite book |last=Bly |first=Robert |date=1992 |title=Iron John: A Book about Men |url= |location=New York |publisher=Vintage |pages= |isbn= |author-link= |ref=harv }} | * {{cite book |last=Bly |first=Robert |date=1992 |title=Iron John: A Book about Men |url= |location=New York |publisher=Vintage |pages= |isbn= |author-link= |ref=harv }} | ||
* {{cite journal |last=Boon |first=Kevin |date=2003 |title=Men and Nostalgia for Violence: Culture and Culpability in Chuck Palahniuk’s ''Fight Club''. |url=https://doi.org/10.3149%2Fjms.1103.267 |journal=The Journal of Men's Studies |volume=11 |issue=3 |pages=267–276 |access-date=2019-05-08 }} | * {{cite journal |last=Boon |first=Kevin |date=2003 |title=Men and Nostalgia for Violence: Culture and Culpability in Chuck Palahniuk’s ''Fight Club''. |url=https://doi.org/10.3149%2Fjms.1103.267 |journal=The Journal of Men's Studies |volume=11 |issue=3 |pages=267–276 |access-date=2019-05-08 }} | ||