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The day of locust analysis
The golden age of Hollywood
The day of locust analysis
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Nathanael West’s The Day of the Locust is said by many to be the best novel to be written about Hollywood. When we immediately think of Hollywood, we think of a glamorous story, in the picturesque setting of Los Angeles, full of characters with abundance of talent living the much sought after American dream. This is perhaps what sets West’s novel apart from the rest. The story is full of characters that have a vague impression of the difference in reality and fantasy in life. The characters are submerged in their lives in Hollywood, with what seems to be a false reality on how the world works. The untalented would-be actors, withering vaudeville performers and prostitutes place a certain grotesque over the novel from the beginning, and in a world of certain fantasy and chaos like this, violence is bound to come to the fore as a theme in many different forms. The protagonist of the story, Tod Hackett, is different to the rest of the characters in the novel. Tom is a talented artist, but still has a good view of reality by times, so Tom can act part as an observer in the novel. Tom however has been sucked in to the fantasy world also life has become somewhat submerged in the fantasy world.
The three main characters seem to be a representative for the general population of Hollywood who are chasing the American dream, and failing. Those who have came to “Burning Los Angeles to die, and would trade their ordinary life for fast paced dream of fame and fortune. The Day of the Locust takes the elements of the traditional American concerns, like the corruption of Hollywood and of those who move abroad from their hometowns to live the dream. It reveals the destruction of society and the alienation of the characters that attempt to...
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..."The Day of the Locust"." South Atlantic Review 68.4 (2003): 17-37. Print.
• Light, James. "Nathanael West and the Ravaging Locust." American Quarterly 12.1 (1960): 44-54. Print.
• Light, James. "Violence, Dreams, and Dostoevsky: The Art of Nathanael West." College English 19.5 (1958): 208-213. Print.
• Locklin, Gerald. "The Day of the Painter, the Death of the Cock: Nathaniel West's Hollywood Novel." Los Angeles in Fiction. A Collection of Original Essays. Ed. David Fine. Albuquerque: University of New Mexico Press, 1984.
• Martin, Jay. Nathanael West, a collection of critical essays. Englewood Cliffs, N.J.: Prentice-Hall, 1971. Print.
• Alex Vernon. "Staging Violence in West's "The Day of the Locust" and Shepard's "True West"." South Atlantic Review 65.1 (2000): 132-151. Print.
• . West, Nathanael. The day of the locust. New York: Time Inc., 1965. Print.
McMurtry, Larry. 2005. Oh What a Slaughter: Massacres in the American West: 1846-1890. 10th Ed. New York, NY: Simon and Schuster.
Solnit, Rebecca. "Spectators." Savage Dreams: A Journey into the Hidden Wars of the American West. San Francisco: Sierra Club, 1994. 228-47. Print.
Although set in the 1930s, Nathanael West’s The Day of the Locust ironically resembles contemporary Hollywood. Within the glamorous setting of Hollywood, West’s characters take on multiple roles instead of assuming individual personalities. They put on and remove these imaginary personality masks, similar to those in the Commedia dell’Arte, to exhibit a range of emotions that only their character type would exhibit. Consequently, West’s characters are trapped in this restrictive atmosphere, especially at the end of the novel when they become part of a collective mob. In these manners, the characters in The Day of the Locust exhibit qualities akin to modern actors, proving that they are nothing more than a cast of personages rather than individuals.
6th ed. New York: St. James Press, 1996. Literature Resource Center. Web. 26 Jan. 2014.
Dubus, Andre. "Killings." Meyer, Michael. In The Bedford Introduction to Literature. Ed. 8th ed. Boston: Bedford/St. Martin's, 2008. 107 - 120.
The enduring cultural expressions of the frontier were adapted into unique narrative traditions known as the “Western”. The Western genre portrays a story of conquest, competing visions of the land, and the quintessential American frontier hero who is usually a gunfighter or a cowboy. These Western archetypes can be observed in, The Outlaw Josey Wales, a film that employs revenge motifs that lead into and extended chase across the West and touches on the social and cultural issues of the American frontier.
The story is an Eastern take on the Hollywood western with a dash of satire,
...n American Literature. By Henry Louis. Gates and Nellie Y. McKay. 2nd ed. New York: W.W. Norton &, 2004. 387-452. Print.
1970, pp. 7-8. Rpt. In The Chelsea House Library of Literary Criticism. New York.:Chelsea House Publishers, 1988.
Nathanael West’s Day of the Locust follows a young costume designer by the name of Tod Hackett after he had moved to Los Angeles in the 1930’s in search of work. As Tod settles in his new hometown, he comes across many interesting people; the most important of which, his neighbor Faye, he falls into a mad lust with. Tod befriends and observes many particular characters in Los Angeles. He is fascinated with the life-less faces of the lower classed and often immigrant people who live on the outskirts of the romanticized and glamorous lifestyles often associated with the city. By the end of the novel, Tod comes to find that the city has done to him what it has done to all the other people that he had observed with fascination; it has corrupted him.
In her book, West of Everything, Jane Tompkins discusses the essential elements that define the genre. From her discussion, one can extract a working definition: the setting, th...
Plays were also popular in this era. “Through dime novels, themselves a modern artifact of mass production, and traveling Wild West shows such as “Buffalo Bill’s, the image impressed itself: The West as exotic romance.” “These popular fantasies appealed to a broad stratum Eastern readers for whom the West served.” Through such popular fictions, the West in its wildness retain older association with freedom, escape from social restraint, and closeness to nature.
West, Nathanael, and Nathanael West. Miss Lonelyhearts: & the Day of the Locust. New York: New Directions, 2009. Print.
Belasco, Susan, and Linck Johnson, eds. The Bedford Anthology of American Literature. Vol. 1, 2nd Ed., Boston: Bedford/St. Martin's, 2014. 1190-1203. Print.
Sunset Boulevard (Wilder 1950) explores the intermingling of public and private realms, puncturing the illusion of the former and unveiling the grim and often disturbing reality of the latter. By delving into the personal delusions of its characters and showing the devastation caused by disrupting those fantasies, the film provides not only a commentary on the industry of which it is a product but also a shared anxiety about the corrupting influence of external perception. Narrated by a dead man, centering on a recluse tortured by her own former stardom, and concerning a once-promising director who refuses to believe his greatest star could ever be forgotten, the work dissects a multitude of illusory folds to reveal an ultimately undesirable truth. Its fundamental conflict lies in the compartmentalization that allows the downtrodden to hope and carry on. Sunset Boulevard carefully considers the intricate honeycombs of dishonesty and deception that constitute a human life, then dissolves the barriers and watches the emotions, lies, and self-contradictions slurry together and react in often volatile and destructive ways.