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John Wayne's America, by Garry Wills
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The Pulitzer Prize-winning author of Lincoln at Gettysburg brings his eloquence, wit, and on-target perceptions of American life and politics to this fascinating, well-drawn protrait of a twentieth-century hero. In this work of great originality—the biography of an idea—Garry Wills shows how John Wayne came to embody Amercian values and influenced our cultoure to a degree unmatched by any other public figure of his time. In Wills's hands, Waynes story is tranformed into a compelling narrative about the intersection of popular entertainment and political realities in mid-twentieth-century America.
- Sales Rank: #1128297 in eBooks
- Published on: 2013-05-28
- Released on: 2013-05-28
- Format: Kindle eBook
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Steve Neal Chicago Sun Times A fascinating and insightful study about the making of an American myth. Of more than a dozen books about Wayne, John Wayne's America is by far the best; it is a fresh and original interpretation of his film career and of his impact on American culture.
Dennis McLellan Los Angeles Times A stunning book...essential reading for anyone interested in Wayne and popular culture.
Molly Haskell The New York Times Book Review I hope this new book will find its way into the hands of those who are ready to think seriously about a pivotal figure in our culture, a figure who was a great star and a flawed man.
Mark Feener The Boston Globe No one has ever written better about the cultural ideology of John Wayne's career than Garry Willis does here.
Review
Steve Neal Chicago Sun Times A fascinating and insightful study about the making of an American myth. Of more than a dozen books about Wayne, John Wayne's America is by far the best; it is a fresh and original interpretation of his film career and of his impact on American culture.
Dennis McLellan Los Angeles Times A stunning book...essential reading for anyone interested in Wayne and popular culture.
Molly Haskell The New York Times Book Review I hope this new book will find its way into the hands of those who are ready to think seriously about a pivotal figure in our culture, a figure who was a great star and a flawed man.
Mark Feener The Boston Globe No one has ever written better about the cultural ideology of John Wayne's career than Garry Willis does here.
About the Author
Garry Wills is an Emeritus Professor of History at Northwestern University. Born in Atlanta in 1934, he has taught widely throughout the United States. A prolific writer and scholar, Wills is the author of more than twenty books, including the Pulitzer Prize-winning Lincoln at Gettysburg, Papal Sin, and What Jesus Meant. He is a member of the American Academy of Arts and Sciences.
Most helpful customer reviews
10 of 10 people found the following review helpful.
King of books on Duke
By Bryan Moore
Anyone even remotely interested in John Wayne, John Ford, Westerns, or pop culture in general might want to add this fine book to their "to read" list. While Wills's book is full of biographical info. and is arranged (more or less) chronologically, it is much more concerned with tracing the formation of a truly larger-than-life public image. One of Wills's purposes is to debunk some of the myths that have clouded the public's view of (the former) Marion Morrison, but he clearly admires Wayne as a unique, commanding presence on the screen. Those who stubbornly refuse to think of Wayne as anything other than a manly, gun-loving superpatriot might want to steer clear. But most thinking people are more likely to be intrigued, even fascinated. The author's reading of Wayne--his life and films (THE BIG TRAIL, STAGECOACH, RED RIVER, and TURE GRIT in particular)--is always on target and lucid. While I don't recall disagreeing with Wills on a single critical point, I occasionally grew tired of his painstaking analysis of John Ford's background and various relationships and how they were inserted into his films. I realize that Ford played a huge role in the mythologizing of John Wayne, but I--again, occasionally--found myself asking whether Wills had lost his focus. Even so, the Ford sections are interesting; for example, I had no idea that he was such a sadist and fabricator. Over the course of the book Wills indicates that Ford was a complicated man, while Wayne was rather simple ("Wayne couldn't even spell [the word] politics," Henry Fonda says in one of the book's quotations). Though not perfect (I'd give it a 4 1/2 if I could), this is a great, fun book on a great (and overdue) subject.
22 of 26 people found the following review helpful.
Spotty Trail
By Douglas Doepke
This is a maddening book, so full of promise it never really delivers on. Yet I've read it twice, something I don't usually do. Though some might argue, the subject is an important one: the mythic stature of John Wayne as American hero. Given his unparalleled popularity over the years, Wayne's elevation poses some serious questions. Namely, how did this fame come about, and what does the elevation of a cowboy actor to national icon reveal about ourselves. Understanding this revered status should at least tell us something about the mind-set of American men, if not women (Wayne has never been as popular with the latter as with the former, Wills observes). I think it helps to get at the way Wills presents the Wayne phenomenon to target three levels.
First, there is Wayne the person, the man. Wills doesn't devote much space to this level, though the book's subtitle, i.e. "The Politics of Celebrity", might suggest otherwise. Very little is presented of Wayne's personal life or controversial political stances. Most of what is presented are efforts to either debunk popular fictions from the early years, or to pass along opinions of others, which about the man are usually unflattering, (Ford's disapproval of Wayne's lack of war service). Clearly the author believes Wayne's mythic status comes from the screen and not from the private individual.
The second level is Wayne the actor, the commanding screen presence. Despite many insights along the way, Wills falters badly by spending way too much time on seemingly irrelevant details of John Ford's personality and film style, many of which (the diagrams of seating arrangements in "Stagecoach", for example), shed no light on Wayne the actor. Wills' s preoccupation with Ford to the exclusion of Wayne is a serious defect, which may imply that the author found Ford the more compelling of the two, and could not restrain himself. Yet it is not Ford who is enshrined in the national consciousness, it is Wayne.
The third level is the most important: Wayne the mythic figure, the mirror in which we catch our own reflection. Here Wills both succeeds and fails. He succeeds by linking the Wayne figure with some of our most enduring national myths: unbounded western horizons, uncorrupted primitive, Jeffersonian ideal. But here in the book's last chapter, which should bring together the preceding 300 pages but which is only 12 pages long, there is no real synthesis of what has gone before. There is no effort at showing how, despite the many pages given over to him, Ford' romanticized vision of the Old West shapes the Wayne myth, or how that same vision embodies enduring national myths, or how to a lesser degree Hawk's vision taps into those same legends through the Wayne figure. In short, Wills fails at this crucial third stage to adequately fill in the blanks between Wayne the actor and Wayne the myth.
I get the feeling the author intended a deeper work than is there in the result, but instead got sidetracked on underdeveloped details that end up shedding little light on the Wayne phenomenon. Too bad, because there is an important project still unfulfilled. Certainly Wills has the skills to bring it off. I only wish he had.
7 of 7 people found the following review helpful.
Long on movie-making, short on America
By moose/squirrel
Anyone seriously interested in John Wayne's position as America's icon needs to read this book, which is filled with information about the making of his films and the evolution of his career.
But for the rest of us, the book doesn't come into focus until its conclusion, which, while thought-provoking, comes as an anticlimax. Only at the end does Wills discuss the relationship of Wayne's dominant screen persona with America's self-image. Up till then it's mostly movie-making. All of Wayne's key films are discussed, but almost always with the emphasis on who did what and how. Wills approaches the meaning of the individual films with surprising diffidence for a tough-minded political commentator.
Straightforward and fair-minded though it is, "John Wayne's America" doesn't fulfill the promise of its title.
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