At the crossing-places: representations of masculinity in selected 21st century children's texts

Abstract

This study explores the representations of masculinity in selected contemporary children’s adventure literature. According to John Stephens (2002:x), a problem for boys, both in narrative fictions and in the world, is that hegemonic masculinity ‘appears simultaneously to propose a schema for behaviour and to insist on their subordination as children, to conflate agency with hegemonic masculinity, and to disclose that, for them, such agency is illusory’. This issue, among others, forms the basis of the research as this paradox is particularly evident in texts that fall within the adventure genre, where protagonists present an image of empowered masculinity that has little or no correlation in real, that is, non-literary, childhood. Nevertheless, despite this apparent conflict, the discourses portrayed in these texts continue to influence society (in varying degrees) as they are promoted, perpetuated and disseminated through cultural productions. Moreover, as this research rests on the premise of a belief ‘in the cultural productivity of fictions’ (Knights 1999:vii), it focuses on literary material that forms part of the landscape of childhood in contemporary society. Therefore, this study analyses selected 21st century children’s texts in order to identify and discuss the representations of masculinity in these texts in the context of their publication at a time when hegemonic masculinity has long been a topic of popular and academic debate. The primary texts include the Arthur series by Kevin Crossley-Holland, Anthony Horowitz’s Alex Rider series, the Young Bond series by Charlie Higson and Steve Cole and the Bodyguard books by Chris Bradford.By using discourse theory as a lens to complement the masculinity studies approach, this research investigates the questions posed under the problem statement and presents findings that demonstrate that the gender models presented in the texts are, for the most part, cast in ‘the masculinist and patriarchal conventions that characterised imperialist adventure’ (Capdevila 2003:216). Thus, it is evident that the children’s adventure genre seems to be rather tardy in keeping with the times. Nevertheless, much of the conflict surrounding the performance of masculinity in contemporary society is represented through the texts and forms a significant part of the narrative.