Representation of Masculinity in Dead as They Come by Ian McEwan - Book Report/Review Example

Representation of Masculinity in “Dead as they come” Ian McEwan’s early literature showed histalents as a prolific writer who used the ideas behind deviant human nature, sexuality and society norms and twisted them around to gripping create tales in a wide variety of genre. Some of his critics have pointed out that his stories more often than not use explicit sexual and horror imagery to create shock in the readers, which can be considered an over-used and trite technique. It is certainly hard for some readers to accept. However, while this may be the case for some of his writing there are also other strong writing elements that provide support in his other stories especially the ones which deal with strong narratives exploring the human psyche. Embedded amongst these graphic plotlines is often a deconstruction of the popular story-telling and philosophical themes present in modern day literature. “Dead as they come” is the title of one of his short stories present in the collection titled “In between the Sheets” first published in 1977. The title itself gives a glimpse of the themes explored within the book, dealing mostly with the curiosities of human sexuality, desires and passion under the context of unnatural circumstances happening to, or created by his troubled protagonists. The story itself seems like a simple tale in three parts: the first part tells of how a rich and powerful man falls in love with a woman he sees every day, the second tells of how he woos her and they spend several happy months coupling together and then the last part, the climax of the story deals with the known themes of jealousy and revenge as he becomes convinced that the object of his desires is cheating on him. The twist in the story becomes apparent at the end of the first act when the reader recognizes the signs that the ‘woman’ in fact is a store shop mannequin; dressed fashionably she is displayed through the store windows every day to entice potential customers. On the surface, it is apparent that the lovelorn protagonist is slowly descending or has already entered into a state of insanity, one can only guess as to the reasons behind the paranoia. Whatever the reason behind his infatuation with a dumb and speechless statue, it is clear that he seems to find her more desirable than any other woman he has even allowed in his life and as far as the plot of the story is concerned he not only perceives of her as a sentient being one capable of a wide range of emotions such as love, betrayal and lust. The character sketch of the protagonist shows him as an ‘alpha’ male, someone who embodies all the signs of masculinity as it is defined by popular thought. The man is rich, obsessed with his work, intellectually cultured in arts and cuisine and he has been in several relationships. Though these relationships (3 marriages) failed in turn, it is not reflected as a failure on the part of the man- rather he considers it as a result of poor compatibility with unsuitable women. Masculinity in popular culture is dominated by the idea that a man must be able to provide for others in his life, financially and physically and that emotions are to be repressed and not displayed openly for the world to see. This story adequately touches upon both these points in relation to the man’s character- he is at once supremely confident in his financial strength and highly apathetic towards his personal relationships. When he remembers the women he frequently has one night stands with, he remembers them for their ability to keep quiet during and after the act and prefers them to keep their distance from his personal life. It is to be commented upon then that the best companionship he finds is with a non-living caricature of a female human, both perfect in her outward appearance and in her ability to keep quiet and let the man steer control of the verbal and physical relationship. He spends ages talking to her about his personal life, probably realizing her value as the perfect confidant. He is extremely masculine in his stoic and reserved relationships with the actual humans in his life. The interactions with the mannequin, however, betrays his neediness for someone to talk to openly; his inherent loneliness and deep insecurities regarding his own talents as a conversationalist and as a social person come to light during the long conversations and lazy evenings the person spends with his mute companion. The narrative shows that the man is in complete contentment as the sole authority in the relationship; something that is approved by his own subconscious masculine ideas about self and companionship. But for the reader the scene of a rich, affluent man sitting alone talking to a piece of molded plastic the only brings up feelings of sympathy for the deranged man, as well as some sense of disgust at the depressing visual. It seems that the author has found a clever trick to expose some of the downsides that come with the depictions of traditional masculinity, amplified through the effects of madness that the protagonist is experiencing. The hero is stoic, supposedly in complete control and yet is in a relationship that will be described by most of his peer as ‘pathetic’. The need to feel superior, adored and authoritative has pushed the man to a point where he is no longer able to relate to another human being in a respecting companionship. His feelings of control start to unravel quickly in the course of the story as his paranoia becomes more advanced. The main sign of his insecurity became apparent the first night he makes love to the mannequin; he finds out that try as he might he cannot bring her to the point to orgasm. Any humanity he sees in the dummy is a projection of his own imagination, yet the man himself creates a scenario where he is sexually lacking and insufficient. This is another classic masculine issue, the onus of sexual performance is always put on the men and not being able to perform adequately for your inanimate partner is something of a tragedy. The man only allows himself to see his partner climax once he himself is physically, emotionally and mentally exhausted showing that despite the many masculine achievements in his life, he still seeks to earn the seal of approval from the partner in bed- even though everything going at this point is all in his imagination. The protagonist tries to create the perfect relationship. He literally buys his perfect woman, buys her expensive garments, yet it is his own disturbed self that leads him to see the faults in her. Slowly where he used to see beatific love in her lifeless eyes, he starts to sense of disdain and contempt for himself. His chauffeur’s natural (yet controlled) curiosity in his master’s obsession with a store front mannequin transforms him into the competitor for her love. He is so far removed from reality and so used to being suspicious of femininity, that the protagonist projects all his own insecurities onto the mannequin- destroying his own insane happiness in a fit of masculine pride. The demise of the relationship, much more than the start of it, is a testament to the narrators mental state and his ingrown suspicions and disregards for the fairer sex. Works Cited McEwan, Ian. “Dead as they Come.” In between Sheets, Anchor; Reprint edition (November 1, 1994) Read More