Why Do Cowboys

After being forced to succumb to the destiny of life absent the ranch, John Grady is faced with making a decision that will decide his fate, a decision greatly affected by the Post World War II Texas culture in which he was being raised. John Grady could seize the opportunity that presented itself after the loss of the ranch to start a new life somewhere in Texas. He could try to fight his mother’s decision. However, the stark realization, to John Grady as well as McCarthy’s readers, is that John Grady was “already gone” the minute the ranch was taken away from him (McCarthy 27). The separation of John Grady from his familiar ranch-life was a painful idea, especially during the late 1940’s, when little other but ranching was available to native West Texans. John Grady’s life revolved around the land of “painted ponies” and “wild horses”; a land of “red wind” and “coppering” sun (McCarthy 5). Yet he found himself as a boy in

When defining the term ‘manhood’, many people may use terms such as courage, strength, or bravery. Throughout history there have been many pressures on men to be as stereotypically manly as possible. If men don’t conform to those stereotypes, they may be looked down upon by society as a whole. Richard Van Camp’s short story ‘The Night Charles Bukowski Died’ is a prime example of the dangers of nonconformity to stereotypically manly traits. The story is an intense first person stream of consciousness from the point of view of an unnamed narrator that follows the narrator and three of his peers: Mikey, Jason, and Scott. The use of metaphor, point of view, and setting in “The Night Charles Bukowski Died” exposes how stereotypical expectations of manhood can lead to dangerous situations not only physically, but also socially and emotionally.

The subject of masculinity underlies throughout The Bear as Faulkner censures the hunters’ idea of masculinity, asserting that their outdated perspective that manhood comprises of prideful proprietorship should be rejected while Ike’s ideology should be accepted. . Faulkner criticizes the hypocrisy of the hunters for establishing archaic barriers to determine an individual’s worthiness of the forest, when yet they themselves have not proved their own merit. First, after having seen the bear, Ike returns to his lodge where the hunters, as a group, drink the “…brown liquor which not women, not boys and children, but only hunters drank, drinking not of the blood they had spilled but some condensation of the wild immortal spirit…” (Faulkner par. 20).

McMurtry creates a story about his family, based on their accounts left to him in memoirs and letters throughout the years. McMurtry’s ultimate purpose is to narrate an expressive literary essay that uses humor and drama to attract the attention of the reader. While discussing cowboys and their straightforward wisdom, he concludes that cowboys’ observations turn into aphorisms. One such aphorism he finds particularly appealing is as follows: “A woman’s love is like the morning dew, it’s just as likely to fall on a horseturd as on a rose” (149). McMurtry also includes a great deal of drama and suspense as well. At one point, he recalls his grandfather’s troublesome drinking; one day his grandmother issued an ultimatum, sober up or she would leave him. “The threat was undoubtedly made in earnest, and he took it so immediately to heart that he stopped drinking then and there, with a jug half full of whiskey hanging in the saddle room of the barn” (143).

In a journey across the vast untamed country of Mexico, Cormac McCarthy introduces All the Pretty Horses, a bittersweet and profoundly moving tale of love, hate, disappointments, joy, and redemption. John Grady sets out on horseback to Mexico with his best friend Lacey Rawlins in search of the cowboy lifestyle. His journey leaves John wiser but saddened, yet out of this heartbreak comes the resilience of a man who has claimed his place in the world as a true cowboy. In his journey John’s character changes and develops throughout the novel to have more of a personal relationship with the horses and Mother Nature. He changes from a young boy who knows nothing of the world

The theme in the book Shane, by Jack Schaefer, portrays that true manhood consists not of bravado or status, but of character, honor, and loyalty. The main character is a man named Shane, who rides into a small valley mysteriously at the beginning of the book and takes a position as the aid of a farmer, Joe Starett. When Shane arrives, Joe and the other farmers of the valley are struggling, while the rancher Fletcher is the highest valley authority. The townspeople and Bob, Joe’s son, struggle to discover what make a man honorable and manly. They hold Fletcher and his cowboys as authorities, manly men in a culture that admires this, because of the glamour of their profession. Fletcher’s confidence and bravado, as well as his profession and position, appear to the townspeople to be the epitome of manhood. Bob falls into this easy way of thinking as well; he says that before Shane came into his life his highest aspiration was to become like his father, but his ambition was to first be a cowboy. Bob visualizes himself riding through the country: rough, strong, free, and well-liked. After Shane arrives, Bob starts thinking about true manhood, comparing his father, Shane, Fletcher, and the cowboys. He realizes that manhood is not being like Fletcher, with shows of bravado designed to insult others, but instead is standing up for your family and principles when necessary. Bob also learns that manhood has to do a great deal with character, finding

discusses the image of the ''Macho mans'' as an ideal for the American people. Throughout his

In one scene of the memoir, Allison describes her uncles and their need to be depicted as masculine and to act “hard” to the world around them. She also remembers her cousins as young boys and how quickly they seemed to turn into men. The time came for them to act as the world expected them to. This action shows how gender may oppress some males when they feel the pressures of the world to act a certain way. Otherwise, they are at risk for being seen as different and abnormal. Men who do not portray masculinity well are often seen as feminine and weak. When Allison describes her uncles she states, “If you didn’t look close, you might miss the sharp glint of pain in their eyes, the restless angry way they gave themselves up to fate,” (Allison, 28). These men already had their futures planned for them though the society and gender norms. Acting against these norms was seen as unusual, radical, and

John Grady Cole, the last in a long line of west Texas ranchers, is, at sixteen, poised on the sorrowful, painful edge of manhood. When he realizes the only life he has ever known is disappearing into the past and that cowboys are as doomed as the Comanche who came before them, he leaves on a dangerous and harrowing journey into the beautiful and utterly foreign world that is Mexico. In the guise of a classic Western, All the Pretty Horses is at its heart a lyrical and elegiac coming-of-age story about love, friendship, and loyalty that will leave John Grady, and the reader, changed forever. When his mother decides to sell the cattle ranch he has grown up working, John Grady Cole and his friend Lacey Rawlins

Indeed, throughout the essay, Ehrlich uses cowboys to represent all men. The advertisements responsible for the misconceptions of the cowboy are developed in New York City, where her article was published, and Ehrlich uses this fact to juxtapose the metropolitan origins of these campaigns with the day-to-day realities of the cowboy and the genuine hardships they encounter. Ehrlich reveals many of the less romantic and appealing details about the job: miniscule pay, extremely challenging labor, burdensome emotional torment, and constant care for dangerous animals. Ehrlich starts by stating, “When I’m in New York but feeling lonely for Wyoming…[I’m given a] reminder of the ranchers and cowboys I’ve ridden with for the last eight years” and shows her audience this topic is personal to her (198). She immediately establishes credibility: she lives in New York but grew up in Wyoming--around actual cowboys. She says this with the intent to show she not only knows of the “traditional cowboy” that is depicted in subway ads all around New York, but also is very familiar with the real cowboys of Wyoming. By establishing this credibility, her audience can immediately trust her argument due to her

Building on the notions of femininity and masculinity, the author outlines all the cliché qualities of men and women, supporting them with vivid imagery, while also being careful with his

Males are interesting objects. They have to keep their chest high and stand their ground. Cowboys are supposed to have a beer belly, mustache, long comeback boots, and the upper lip mug on their face. This is how a man’s mentality should always be. Males are known to be tough and not show emotion, “Cowboys are just like a pile of rocks – everything happens to them,” (Ehrlich 1045). No matter how much they get attacked, pushed around, and so on; they are told to just stand there and deal with it. “Take it like a man,” something that is said all the time when a young boy or a grown man tries to show a “feminine” emotion. Emotion is a dull thing to a male and should not be shown. They can only be happy, or mad. There is no in between to that. If sadness is shown, then they will be called weak or a wimp, and being called

In the opening scene of Jane Martin’s “Rodeo,” there are many stereotypical props used to portray the beer-drinking, hard-working, cowboy image with the characteristic country music playing as an added touch. Most people are familiar with this type of scene in their minds, with a man as the character, but not this time – we find a tough, smart, opinionated woman with a distinctively country name of Lurlene, and the typical cowboy kind of nickname, Big Eight. The reader will dive deeper into the true character of this unusual woman and realize that she is no different from the average woman in today’s workforce. She is feeling the frustration of discrimination and the push out of the only lifestyle that she knows, by “Them” (1667).

The movie surveyed a wide array of the troubles faced by boys and men as they try to navigate the realm of masculinity. A common theme was the command “be a man” and the cultural baggage that comes with living up to that ideal. To “be a man” means to not cry, to not be sensitive, to not let people mess with you, to respond with violence, to be angry, to drink, to womanize.

In today’s society, masculinity has changed throughout time. Fast forward one hundred years ago, masculinity is defined as being strong and having a good paying job. But as the world is changing so is the representation of manliness. You don’t have to show your dominance over men or women today, but you should support your family nowadays and we have all been brainwashed by the thought of masculinity from our ancestors. As men our reputation is always being valued but now it isn’t so much about our reputation but about caring for one another and especially for our families. Perspective of manhood is also a significant factor in portraying what masculinity is in the eyes of other people. Masculinity has been shown through money, appearance, and providing protection for your family members but as we shift into the modern world, masculinity is not seen as displaying the most discipline but caring for one another by taking out some of your time to help one another. Throughout the paper, I will be writing about my interviews from a broad spectrum of ages from one of my younger sisters to my dad with not friends not at Seb’s in between so I can get what it really means to be a man from all ages.