Review Text Gone with the Wind
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Scarlett O’Hara is
popular because she is an American, driven, materialistic, sentimental
and utterly ruthless. Rhett Bulter is the tragic character of this book;
the way of life and ideals he disdained are killing him, and he suffers
like no one else in this post-apocalyptic landscape. His departure at
the end is an act of contrition as much as a romantic failure; he had
tried to recreate the materialism of the ante-bellum world, but
neglected the spirituality (such as it is) of men like Ashley Wilkes.
Both men, the dreamer and the realist end up alone in a very sterile
place. This book is proto-feminist as well. Scarlett survives, even as
everything around her dies, but in the end, she too is alone.
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Gone with the Wind
I’m a literary snob, I’ll admit it. I’ve
read all the classics, and I even know some Literary Theory. Gone With
the Wind? Pul-lease, racist, sexist, revanchist trash, made popular by
all the young woman dreaming of being Scarlett and having both their
Rhett and Ashley. Cheerleader fare. Escapist. WRONG!
Gone with the Wind is an American War
& Peace. This is serious literature, which won the Pulitzer prize,
no less. Most people don’t see past the epic plot (which isn’t as cut
and dried as you may think) or the love story, but this is no less than a
successful attempt to reclaim a discarded culture. It is not about
crinoline and lace, it it about the Apocalypse and how losers of the
counter-revolution must learn to live in a place where all their
politics, personal or civil, are demolished.
Don’t dumb this masterpiece down. The
movie fails to capture even a tenth of the depth here. And that awful
sequel! Caused by the mistake that this book is some kind of romance
novel. This is Art, and you can’t stick a new ending on it, any more
than you can a great painting or musical composition.
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