Richard Strout In Richard Dubus 'Othello'

A more relative and current example of these principles at play is described in Dubus’ “Killings”, where main character Matt Fowler is coping with the murder of his young son Frank, at the hands of local bartender Richard Strout. Frank was shot after Richard found him somewhere too close for his liking - in the house with his two sons and soon to be ex-wife, Mary Ann, and he was killed with very little argument, discernment, or concern for the witnesses. Here, as seen in Othello, lies a parallel exhibition of the concept of women as property, though fast forwarded centuries into the future. This time lapse does little in the matter of improvement though, as portions of the layout remain the same: one man brings harm to another after suspected

(in this case, witnessed) trifling with his possessions- his wife. In this case, Strout is no longer, or is in the process of being unbound to Mary Ann through marriage or her consent, and so his homicidal outrage appears even more drastic.

Although the idea of one’s significant other being with someone else is certainly justified reason for suspicion or anger, it is the measures resorted to that make the hypermasculine difference. Richard Strout is described as a former football star, spoiled, careless about his studies but hot tempered and consistent about fighting and drinking. He was said to show very little emotion and to be “courteous but not more than that” (Dubus 1216). In demonstrating several qualities of the masculine man, his reaction to disrespect or jealousy, (Franks involvement with his wife) mirror and reflect the tragedy of Othello. He is unable to handle his anger or jealousy healthily, has little defense or deep thought behind his murderous actions, and does not even seem to regret them, excusing his behavior weakly in saying, “He was making it with my wife … I wanted to try to get together with her again” (Dubus 1223). Along with Frank’s unintentional aggravation of Strout versus Iago’s calculation and purpose, this lack of remorse draws one of the few differences between him and Othello. This is

disheartening. Strout may represent a severe case, but in the 400 years since Shakespeare wrote his tragedy, it is not absurd to suggest that little else has appeared to greatly change - some men’s entitlement to such sentiments have strengthened even, and the issue of expected and exaggerated “male” behavior remains untreated.