UNIVERSITY of CALIFORNIA Los Angeles Frontiers Of
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UNIVERSITY OF CALIFORNIA Los Angeles Frontiers of Modern Ethnic American Fiction: Exploring the Popular West in the Writings of Mike Gold, Nathanael West, Américo Paredes, and John Fante A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in English by Daniel Gregory Gardner 2014 ABSTRACT OF THE DISSERTATION Frontiers of Modern Ethnic American Fiction: Exploring the Popular West in the Writings of Mike Gold, Nathanael West, Américo Paredes, and John Fante by Daniel Gregory Gardner Doctor of Philosophy in English University of California, Los Angeles, 2014 Professor Blake Allmendinger, Co-chair Professor Stephen Cooper, Co-chair Destabilizing the authentic notions of nationhood and manhood disseminated in dominant narratives about the American West, “Frontiers of Modern Ethnic American Fiction: Exploring the Popular West in the Writings of Mike Gold, Nathanael West, John Fante, and Américo Paredes” contemplates representations of the popular West in early-twentieth-century ethnic- American fiction. The project surveys novels, short stories, and articles composed by modern ethnic-American-male writers. I argue that the ethnic writers of this study broadened the predominant definition of American culture by adopting and adapting cowboy masculinity and motifs of the popular West to the ends of their literary narratives of ethnic masculinity. Writing during a period of immigration restriction and rampant xenophobia, the authors examined here— ii Mike Gold, Nathanael West, Américo Paredes, and John Fante—deploy figures of cowboy masculinity, celebrated by the popular West, to interrogate and resist the dominant Americanist conception of what constituted the authentic national body. The popular West consists of texts about the American West popularly consumed and circulating in mass culture. Consistent among the popular West’s many iterations is a national narrative crafted from a peculiarly Anglo- American historiography that articulated the settlement of the frontier as evidence of American racial superiority. Often motivated by a nativism and pride in Anglo origins, the architects of such dominant narratives fashioned histories and stories of the frontier, where national success was contingent upon the triumph of Anglo-Saxon manhood. These stories experienced tremendous popularity from the late-nineteenth to the early-twentieth century, appearing in a variety of forms including the dime novel, pulp fiction, stage show, and film. Modern ethnic authors respond to the popular West in different ways, yet all are preoccupied with how popular cultural narratives of the West under the pretext of historical truth convey what it means to be an authentic American and to what extent ethnic groups can stake a real claim to belong in the United States. Examining the responses of modern ethnic American writers to the popular West, my project merges critical subjects—ethnic American literature, popular culture, and the American West—yet to be examined by literary scholarship. iii The dissertation of Daniel Gregory Gardner is approved. Rafael Pérez-Torres Richard A. Yarborough Blake Allmendinger, Committee Co-chair Stephen Cooper, Committee Co-chair University of California, Los Angeles 2014 iv TABLE OF CONTENTS Acknowledgments ……………………………………………………………………………….vi Vita ……………………………………………………………………………………………….ix Introduction, “Authenticity, Masculinity, and the Popular West in Early Twentieth-Century Ethnic American Fiction” ………………………………………………………………...1 Chapter One, “The Wild West on the East Side: Mike Gold’s Radical Simulation of the Frontier Myth” …………………………………………………………………………..39 Chapter Two, “‘A Barefaced Lie’: the Problem of Authenticity and Nationalism in Nathanael West’s Satirical Pastiche of the Popular West” …………………………………………91 Chapter Three, “‘Remember the Alamo’: The Popular West, Machismo, and ‘Authentic’ Mexican-American Identity in Américo Paredes’ George Washington Gomez” ……...149 Chapter Four, “‘A Ramona in Reverse’: Writing the Madness of the Spanish Past in John Fante’s Ask the Dust” …………………………………………………………213 Bibliography …………………………………………………………………………………...268 v ACKNOWLEDGMENTS This dissertation was many years in the making and made by many hands. To all those that have helped me along the way, I say thank you! While I have discussed my ideas with many, those I mention here deserve special thanks because of their formative contributions, valuable collaborations, and exemplary support. I am grateful to the members of my committee, who gave their time generously, turning my unfocused brainstorms into a coherent work of literary criticism. I thank Blake Allmendinger for his constant patience, guidance, and playful humor, which always served to allay my anxious concerns and keep me believing in this project. I extend my heartfelt thanks to Richard Yarborough for his wisdom, attentiveness, and commitment to developing my approach to the project. In addition to his sage advice regarding my research and the profession, I am grateful to Rafael Pérez-Torres for referring me to UCLA Library Special Collections, which had just acquired the John Fante Papers at about the same time I began this project. His recommendation allowed me the opportunity to process the Fante Papers for Special Collections’ Center for Primary Research and Training. My time at the Center was instrumental in making this project grow not only because it afforded me the opportunity to work with primary sources integral to my research but also, and more importantly so, because it introduced me to a wonderful community of archivists and scholars. I am grateful to Kelley W. Bachli and Genie Guerard for taking me under their wings and advising me through the archival process. Both Kelley and Genie facilitated my introduction to Stephen Cooper, who kindly accepted my request to serve as committee co-chair. Whether it was discussing the John Fante Papers, organizing the Fante exhibition, or shaping my chapters, Steve has enriched this experience beyond words. More than an advisor, he has been a mentor, and I thank him for that from the bottom of my heart. Furthermore, Steve introduced me to vi Victoria Fante-Cohen and Mickey Cohen, both of whom have been generous with their time inviting me into their home and sharing their family history for which I am grateful. Even before the dissertation began, I had many advocates within the English Department. I thank Karen Rowe and Joseph Bristow for their encouragement in my early years of the doctoral program, and I’m especially grateful to Michael Colacurcio for nurturing my intellectual curiosity from my undergraduate to graduate years of study. My heartfelt gratitude must also be extended to Jennifer Fleissner, who served as the advisor to my undergraduate honors thesis, my first attempt at scholarship. To all my advisors and mentors, even though I was not a peer, thank you for treating me as a one. My gratitude needs to be conveyed to the UCLA Department of English, the Writing Programs, and College Academic Counseling for providing continuous financial support throughout my graduate studies. While the financial assistance made graduate study practical, the faculty and staff members made that experience personal. I would especially like to thank Christopher Mott and Sonia Maasik for teaching me how to teach literature and composition. As pillars of pedagogy, they practiced what they preached, making their classrooms hospitable and dynamic places for learning and dialogue. I would like to thank all of the English Department’s staff for their warmth and thoughtfulness, especially Jeanette Gilkison, and counselors, Janel Munguia, Danielle Maris, and Michael Lambert, for helping me with adeptness and care. I am appreciative of Bill Gordon for offering me the opportunity to work at the College’s Counseling office these last two years, helping me to better understand firsthand the significant role counselors and academic mentors play in student success. I would also like to thank certain members of my cohort, Katherine Webster, Hannah Nahm, and Lupe Escobar, for those times we came together to review, cram, commiserate, and encourage. vii In addition to my UCLA family, I am truly thankful for the love my extended and immediate family has offered during this period of my life. Through this process from start to finish the Barrack family has seen me, always expressing enthusiasm and interest. Undaunted by my vague reports about a project I did not completely understand, they persisted in showing honest interest and consideration for the work while in progress. My deepest thanks go to my immediate family to whom I dedicate this dissertation. I thank Marc, Marisa, and Stephan for offering their understanding and, when I was distressed about my writing, for keeping things light with their humor and affection. I am grateful for having been blessed with my mother Sylvia Gardner, who, motivated by loving concern, always pushed me to do better. I also would like to thank my mother for her well-timed reminders that I always have something to learn. In the last year, the lesson has been about strength and endurance when facing great loss. Though my dear father has left this world, I am certain he knows my gratitude. Reflecting upon my childhood, I can hardly think of a time when we kids would go to sleep that he did not read to us, so I understand that my love for literature, the spirit that drove my writing, began with him. My dad’s memory continues to work upon me each day I as learn how to