- Hardcover: 192 pages
- Publisher: The Kent State University Press; First Edition edition (October 30, 2009)
- Language: English
- ISBN-10: 1606350048
- ISBN-13: 978-1606350041
- Product Dimensions: 8.3 x 0.9 x 10.2 inches
- Shipping Weight: 2.2 pounds (View shipping rates and policies)
- Average Customer Review: 2 customer reviews
- Amazon Best Sellers Rank: #1,908,174 in Books (See Top 100 in Books)
Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.
To get the free app, enter your mobile phone number.
Other Sellers on Amazon
+ Free Shipping
+ $3.99 shipping
All Man!: Hemingway, 1950s Men's Magazines, and the Masculine Persona Hardcover – October 30, 2009
Frequently bought together
Customers who bought this item also bought
About the Author
David M. Earle is assistant professor in the Department of English and Foreign Languages at University of West Florida in Pensacola. He is the author of Re-Covering Modernism: Pulps, Paperbacks, and the Prejudice of Form and has articles in The James Joyce Quarterly and the forthcoming Oxford Critical and Cultural History of Modernist Magazines.
Showing 1-2 of 2 reviews
There was a problem filtering reviews right now. Please try again later.
Playboy magazine began its life in this milieu. These magazines traded upon a few basic tropes, sex, drinking, hunting and other "manly" pursuits, gadgets, and coping with the overwhelming uniformity expected of men (and women) in the wake of World War II. These magazines offered men a respite from the endless rat race of work and the stifling desperation of bland suburbia.
The book also examines Hemingway as the man he became, By the end of the 1950's Hemingway the celebrity was probably MORE important as a symbol of all thing macho and male than he was as a Nobel Prize winning author. Hemingway's name and face were used to sell products and books and magazines that Papa himself was only tangentially involved with. Nearly ALL of these products promoted a man's man " sensibility. This celebrity seemed to have been simultaneously embraced and reviled by Hemingway himself. Papa lived just long enough to see society begin to reject the very sort of notions of manhood and fiction that Hemingway had spent his entire career creating and nurturing.
Most of our fathers grew up reading this stuff.The insights this book gives into our father's psyches makes it worthy of purchase alone. The illustrations and the excepts are all wonderful and in full color and are nearly as informative as the text itself.
Recommended for Hemingway fans, fans of pulp fiction, and students of the 1940's and 1950's. If you ever wondered, when you were a kid, and were reading your father's Mechanix Illustrated; why all of the home improvement articles bore photographs of scantily clad women. Here is your answer,
There is not a single image (colorfully reproduced) in this book that is not there to show the reader something important about the popular press and thus the culture, high and/or low, of the mid 20th century. Only through a discussion of the definitions of masculinity espoused by Esquire, its spin-offs, and Playboy and its spin-offs, could someone who appreciates Hemingway contrast and compare his own understanding of a great writer with a commercial, venal one. Earle is especially good at discussing how important voyeurism and prurience were to the rise of pictorial magazines, and to men’s magazines in particular.
Earle explores the way self-marketing works, and how it “elevates” a public figure so that he has not only financial, but more important, cultural capital. He shows us how this worked with Hemingway by explaining the reasons Hemingway’s novels and short stories dealing with war, bullfighting, and crime got into the public mind in a way that (IMO) The Great Gatsby and The Day of the Locust did not.
Naturally, publicity is at least in part “publousity,’” as Walter Winchell, a master of it, put it. Read the final chapters to understand how Hemingway labored under a persona that he actually rejected in his investigations of virility. Harry Morgan, Jakes Barnes, Nick Adams, and Santiago were such contrasts to the public Hemingway persona that it would make a good class exercise to juxtapose them.