Hunter Dansin

JaneAusten

Reconstructing Manliness with The Iron Giant and Mr. Darcy

Notes taken while watching The Iron Giant

“What is this quintessence of dust? Man delights not me.”

Hamlet, Act II, Scene 2.

When I was in college I decided to start a faith-based discussion group for men, about well, being a man. For some strange reason, I felt that it had to be very early in the morning, because getting up early was manly. In my campus-wide emails I also resorted to tasteless jokes about going out to chop down trees and break rocks with heads. Whatever this says about my social development is less relevant than the question that I was attempting to answer, however foolishly, with that group and those jokes: What does it mean to be a man?

This is a question that has tortured me since my adolescence, and tortures me still. Whether this essay will provide any relief remains to be seen. My small group, unsurprisingly, was not very popular, even with my Christian friends. Not many undergraduate guys were willing to get up for a discussion group that started at 6:30am on Friday mornings; or if they were willing, the flesh was weak. This does not mean that the group was a failure, because I had one regular attendee who I was able to talk quite deeply with, and I still think about him today. I was also told by a few people that they would have attended if it was at a less inconvenient time. This showed me that I was not the only one tortured by the question.

So, what does it mean to be a man? We will find out together, dear reader, whether I am any better equipped to answer this question than I was over a decade ago. But first I must define exactly what is meant by it. We could try to answer it by taking a survey of the men in our lives, and saying, “These examples show what it is to be a man.” But despite confounding us with wildly different conclusions, this method also reveals to us our bias. I think that most of us, consciously or unconsciously, have already taken a survey of the men in our lives, and the results have made us uneasy. That the question occurs to us reveals an insecurity about manhood that cannot be assuaged by the simple truth that no men are perfect. We would not be asking if there wasn't something resembling a real crisis. What I believe we really mean to ask is, “What does it mean to be a good man?”

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Reading and Writing with Jane Austen in Northanger Abbey

My journal and pen with a draft of this essay, along with my copy of Northanger Abber and the Elements of Style

In Northanger Abbey by Jane Austen, after a rich general maltreats the heroine by sending her away from the abbey without ceremony or explanation — the titular abbey at which she had just spent a delightful few weeks with his daughter and son (with whom she was in love) — Jane Austen gives a somewhat brief summary of why the general reversed his behavior towards her and acted so strangely (he found out she wasn't rich and that her connections were not as illustrious as he had assumed). Austen then follows that summary with this paragraph:

“I leave it to my reader's sagacity to determine how much of all this it was possible for Henry [the heroine's lover] to communicate at this time to Catherine, how much of it he could have learnt from his father, in what points his own conjectures might assist him, and what portion must remain to be told in a letter from James [the heroine's brother]. I have divided for their case what they must divide for mine. Catherine, at any rate, heard enough to feel that in suspecting General Tilney of either murdering or shutting up his wife, she had scarcely sinned against his character, or magnified his cruelty.”

(Austen, 215)

This is not an easy paragraph. I had to pause and think it over for some minutes, especially the line, “I have divided for their case what they must divide for mine.” The more I thought about it, however, the more I was delighted and immersed by the way Austen breaks the fourth wall and invites the reader into the act of imagination. It is immersive because she invites the reader to use the same sort of imagination that a writer uses when imagining a story. “I have divided for their case what they must divide for mine,” she says. Meaning that we must imagine for ourselves the various conversations and snippets of letters that would allow Catherine to piece together everything that Austen has just related about the General's behavior and character.

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