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GWTW |
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And one text that cries out for such an analysis is Margaret Mitchell's GWTW, a text that has too often been disparaged by the critical community hut whose central character, the fist-shaking, figurine-throwing Scarlett O'Hara, embodies the rage of not only the antebellum Southern women on whom she was based but also the early- and mid-twentieth century American women who struggled to define themselves in an often contradictory and male-dominated America. McDaniel was born in Denver, Colorado, the youngest daughter, not of a minister as studio heads proclaimed when she emerged a star in GWTW, but of a Virginia--born ex-slave, Henry McDaniel, who fought as a Union soldier in the Civil War against the Confederate Army. GWTW (as it is so often called, as our culture apparently requires it, as if it were some kind of icon) remains as undistinguished, on every level, as it ever was: how can one possibly relate to it today, unless by some strange yearning for a different culture in which blacks were blacks and were Oh |
GWTW |
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