• Abstract and Figures
• Public Full-text

INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most edvanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. Xerox University Microfilms 300 North ZMb Road Ann Arbor, Michigan 4S106 7614820 CLEARY, MICHAll SADDLESORE I PARODY AND SATIRE XN THE CONTEMPORARY WESTERN NOVEL. RIDDLE TENNESSEE STATE UNIVERSITY, D.A., 1478 University . MtodrMre Nemadonal 300 N. ZEES HOAD, ANN ARBOR, Ml 48106 SADDLESORE: PARODY AND SATIRE IN THE CONTEMPORARY WESTERN NOVEL Michael Cleary A dissertation presented to the Graduate Faculty of Middle Tennessee State University in partial fulfillment of the requirements for the degree Doctor of Arts May, 1978 SADDLESORE: PARODY AND SATIRE IN THE CONTEMPORARY WESTERN NOVEL APPROVED: Graduate Committee: (/U_ L / Major Professor Minor Profess a. ■ 1 --------------------------- Committee Membe-/^ T --- Committee-Member _______________uS tvv_ Chairman, of the Department of English Dean of the Graduate School ABSTRACT SADDLESORE: PARODY AND SATIRE IN THE CONTEMPORARY WESTERN NOVEL by Michael Cleary The Western novel has always been the willing victim of its own popularity. The Western formula was quickly defined and accepted, and few writers dared to vary such elements as stereotyped good and evil characters, a plot line emphasizing action and romance, and a mythical setting in the frontier. However, since about 1960, there has been a noticeable trend by writers to parody, exploit, and otherwise alter the Western formula. This dissertation traces the development of a sub-genre which has produced a number of Western novels which use parody and satire to distort the conventions of the popular Western in order to expose their superficiality and to expand the genre into a new, more vital type of fiction. This study focuses on seven novels which comprise four recognizable types of satiric Westerns. Chapter I provides a background of the forces which shaped and encouraged the rigid structure of the formulaic Michael Cleary Western. An attempt is made to note the significant# often corresponding influences of literature# film# and television. Chapter II examines Charles Portis1 True Grit# a novel which parodies several Western conventions# most notably that of the epic hero. Although Portis employs parody to spoof the genre# True Grit is nevertheless shown to be as romantic and mythic as the traditional Western. Chapter III concerns two novels which rely on parody to attack the Western formula. Richard Condon's A Talent for Loving and David Markson's The Ballad of Dingus Magee spoof stereotypes such as the gunfighter# the cowboy, the Indian, and the heroine. In so doing, parodic Westerns suggest that their farcical worlds are no more ludicrous than the romantic worlds of the formula. Chapter IV examines a type of satiric novel labeled "reactionary" Western. Although this type uses techniques found in strictly parodic Westerns# its targets are more varied. "Reactionary” Westerns rely on the reader's familiarity with literature and criticism outside the boundaries of the Western. H. Allen Smith is a humorist whose Return of the Virginian is an outright attack against Wister's book and the formula it popularized; it also lampoons a number of contemporary literary trends. John Seelye is an academic writer whose complex novel# The Kid# Michael Cleary manipulates characters and themes from a number of classic American novels by writers such as Mark Twain, Herman Melville, James Fenimore Cooper, and Walter Van Tilburg Clark. In addition, Seelye spoofs Leslie Fiedler's literary theories and a number of Western conventions as well. Chapter V discusses satiric Western novels which transcend the narrow focus of the Western formula. Robert Flynn1s North to Yesterday and Thomas Berger1s Little Big Man do more than parody stereotypes; they are truly comic novels which explore themes concerning man1s potential and the nature of human values. North to Yesterday uses the framework of the Western to create memorable characters and express an existential philosophy. Little Big Man re-evaluates our interpretations of history and myth, combining the two into a vision that is both humanistic and ennobling. This chapter concludes with a few observa­ tions regarding the ways in which these works have expanded the literary potential of the Western novel by insisting on a human, not epic, approach. ACKNOWLEDGMENTS I wish to thank Dr. William J. Connelly for his astute advice and enthusiastic encouragement which have made this project an enjoyable one. Also, X am grateful to Dr. Charles K. Wolfe for his useful suggestions. Most of all, I thank my wife, Kay, whose understanding and support has made it all possible. ii TABLE OF CONTENTS Chapter Page I. INTRODUCTION: NEW DIRECTIONS IN THE CONTEMPORARY AMERICAN WESTERN NOVEL .... 1 II. TRUE GRIT: FROM PARODY TO M Y T H ........ 21 III. PARODY: EVER IS HEARD A DISCOURAGING WORD . 50 IV. REACTIONARY WESTERN SATIRES ........... 96 V. COMIC WESTERNS .............................. 154 WORKS CONSULTED ........................................ 227 ill Chapter I INTRODUCTION: NEW DIRECTIONS IN THE CONTEMPORARY AMERICAN WESTERN NOVEL The history of the Western novel is a record of the stultifying effects of popular success on a literary form and formula. With few exceptions# the Western novel has been the eager victim of its own popularity. American writers of the nineteenth century were quick to discover the successful ingredients of the Western formula and rarely violated them: stereotyped characters representing clearly identifiable values of good and evil; a predictable plot line emphasizing adventure and romance; a semi-mythical setting in the harshness and grandeur of a shifting frontier.^* So successful and enduring was the formula that few writers risked disappointing their readers' fixed expectations. Henry Nash Smith has traced the origins of the Western novel to the legends which grew up around Daniel Boone and James Fenimore Cooper's depictions of the frontier hero in 1C. L. Sonnichsen, "The New Style Western," South Dakota Review, 4, No. 2 (1966), 23. 1 2 2 the Leatherstocking stories. But it was the dime novels and pulp magazines that appealed to the mass audience in the latter half of the nineteenth century which popularized on a grand scale what was to become "the hardiest weed that 3 ever grew on the literary landscape." But even weeds can bloom brilliantly. Owen Wister's The Virginian, for example, gained some critical respectability for the cowboy story at the turn of the century. Its success marked the acceptance of Western characters and themes which were doomed to be repeated in hundreds of imitations, many which threatened to overtake the popularity of the original. Zane Grey combined a sense of national purpose and first­ hand experience with his subject into enormously successful books with characters who responded nobly and heroically to the challenges of the West. His works expanded the heroic model beyond the image of the cowboy, sheriff, and rancher. Whether the hero was a railroad engineer, wagon train boss, hunter, trapper, telegraph worker, or even outlaw, the stereotypical qualities remained intact. Nobility was something a person earned by evidencing courage, passion, ingenuity, and high moral purpose in the facS of natural 2 Henry Nash Smith, The Virgin Land: The American West as Symbol and Myth {New York: Random House, 1950). Doug las Branch, The Cowboy and His Interpreters (1926; rpt. New York: Cooper Square Publishers, 1961), p. v. 3 and human obstacles. Virtue never went unrewarded. Grey's success encouraged other writers who were anxious to share in the rewards waiting for craftsmen of the Western formula. Max Brand (at that time Frederick Faust) was given a copy of Grey's Riders of the Purple Sage and told to write some­ thing similar.* so successful were Brand's novels that the result was to further embed the conventions of the Western formula. With writers such as Grey and Brand imitating their own success or the success of others, there was little interest in varying the proven methods which so obviously satisfied the expectations of their readers. The stagnant condition of the Western novel was observed as early as 1931, when Walter Prescott Webb lamented that the writer of Westerns had succeeded too well; the subject he had chosen lent itself to "melodrama, to popular exploitation, and the author could not resist the temptation to become popular.

Load more

  247

Copy Link