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Society
The Betrayal Of The American Man

The Broken Promise

Glamour in the 'Hood

The Dogs of War

Who's Keeping Score

This Time, a 'Backlash' for Guys

What's the Key to Keyshawn?

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  by George F. Will
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The Betrayal Of The American Man:    page 5

If a man could not get the infrastructure to work for him, he could at least tear it down. If the nation would not provide an enemy to fight, he could go to war at home. If there was to be no brotherhood, he would take his stand alone. A handful of men would attempt to gun down enemies they imagined they saw in family court, employee parking lots, McDonald's restaurants, a Colorado schoolhouse and, most notoriously, a federal office building in Oklahoma. A far greater number would move their destruction of the elusive enemy to the fantasy realm to a clear-cut and controllable world of action movies and video combat, televised athletic tournaments and pay-per-view ultimate-fighting bouts.

But none of it would satisfy, because the world and the fight had changed.

A few glamorous men understood intuitively that in the coming media and entertainment age the team of men at work would be replaced by the individual man on display. Elevated onto the new pedestal of mass media and entertainment, they were unreachable. Like the astronauts who were their forebears, the new celebrated men — media stars, moussed models, telegenic baby moguls — existed in a realm from which all lines to their brothers had been cut. Where we once lived in a society in which men participated by being useful in public life, we now are surrounded by a culture that encourages people to play almost no functional public roles, only decorative or consumer ones.

Ornamental culture has proved the ultimate expression of the century, sweeping away institutions in which men felt some sense of belonging and replacing them with visual spectacles that they can only watch and that benefit global commercial forces they cannot fathom. Celebrity culture's effects on men go far beyond the obvious showcasing of action heroes and rock musicians. The ordinary man is no fool: he knows he can't be Arnold Schwarzenegger. Nonetheless, the culture re-shapes his most basic sense of manhood by telling him that masculinity is something to drape over the body, not draw from inner resources; that it is personal, not societal; that manhood is displayed, not demonstrated. The internal qualities once said to embody manhood — sure-footedness, inner strength, confidence of purpose — are merchandised to men to enhance their manliness. What passes for the essence of masculinity is being extracted and bottled and sold back to men. Literally, in the case of Viagra.

The culture that '90s men are stranded in was birthed by their fathers' generation — by men who, weary of Depression and wartime deprivation, embraced the new commercialized American dream. What gets left out of the contemporary nostalgia of baby-boom men for their World War II fathers — evidenced in the huge appetite for the film "Saving Private Ryan" and books like Tom Brokaw's "The Greatest Generation" — is what those fathers did after the war. When "Dateline NBC" produced a documentary based on Brokaw's book, celebrating the World War II "tougher than tough" heroes, especially relative to their pampered sons, the troubling subtext was how devastatingly unfathered those sons were, how inadequately they'd been prepared for manhood by their "heroic" fathers.

The men I came to know in the course of researching this book talked about their fathers' failures in the most private and personal terms, pointing inevitably to the small daily letdowns: "My father didn't teach me how to throw a ball" or "My father was always at work." That their fathers had emotionally or even literally abandoned the family circle was painful enough. But these men suspected, in some way hard to grasp, that their fathers had deserted them in the public realm, too. "My father never taught me how to be a man" was the refrain I heard over and over again. Down the generations, the father wasn't simply a good sport who bought his son a car for graduation. He was a human bridge connecting the boy to an adult life of public engagement and responsibility.

The guiding standards of the fathers, the approving paternal eye, has nearly vanished in this barren new landscape, to be replaced by the market-share standards of a commercial culture, the ogling, ever-restless eye of the camera. By the end of the century, every outlet of the consumer world — magazines, ads, movies, sports, music videos — would deliver the message that manhood had become a performance game to be won in the marketplace, not the workplace, and that male anger was now part of the show. An ornamental culture encouraged young men to see surliness, hostility and violence as expressions of glamour. Whether in Maxim magazine or in Brut's new "Neanderthal" ads, boorishness became a way for men to showcase themselves without being feminized before a potentially girlish mirror. But if celebrity masculinity enshrined the pose of the "bad boy," his rebellion was largely cosmetic. There was nowhere for him to take a grievance because there was no society to take it to. In a celebrity culture, earnestness about social and political change was replaced by a pose of "irony" that was really just a sullen and helpless paralysis.

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