Titlebook: Masculinities in Literature of the American West; Lydia R. Cooper Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 America.A

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Outlaw Geography: Place and Masculinity in , and , of the men who populate contemporary Westerns. . uses the metaphor of violence against male bodies as the consequence of a definition of masculinity based on violent aggression and total domination of others. . imagines the devastating racial implications of the hegemonic masculinity of Westerns as

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Savages and Citizens: Revisions of the Captivity Narrative in , and ,osing” of the American frontier in the bodies of the renegade (anti-) heroes who robbed their way into a highly mythologized history that sanitized—at the same time as it excoriated—the brutality of US land claims. But the closing of the frontier looks different from the other side of the equation,

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The Unpunishing of Anton Chigurh: Fraternity as the Final Frontier in ,es of the West, have long been taken to metonymically represent the philosophical ideals of the United States. The ethics of the cowboy hero is therefore the ethics of the nation the hero stands for. It comes as no surprise, then, that the critiques levered against “cowboy masculinity” also address

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Martial Masculinity and the Ethics of Heroism in ,n Westerns, such as ., critique the genre’s traditional embrace of a masculinity that perpetuates violence through its practice of power brokerage. But do they provide a viable alternative, a model in which acting like a man does not necessitate exercising power over others? Sheriff Ed Tom Bell step

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2946-3858 heroes who emphasize individualism, violence, and an idiosyncratic form of justice. This idealized masculinity has been fused with ideas of national identity and character. Masculinities in Literature of the American West examines how contemporary literary Westerns push back against the coded image

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Introduction,pe of the West itself—often functions as a metonym for a “gendered … form of American identity” (133). Yet this image of a masculine national identity, codified in Westerns in the form of an idealized, “macho” hero, has never been without contention, and contemporary iterations of this gendered iden