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P Page 2 inside out by constructing a new literary architecture through both form and function, Pro ulx’s sheep-herding cowboys drive turn-of-the-century American readers through a gauntlet from surprising joy to agonizing doom, from a metaphorical wilderness into a sort of Promised Land. Brokeback Mountain , then, becomes a mountaintop moment for same-sex love, American style, with the savvy reader remembering that Moses will glimpse the Promised Land, but will not live to reach it himself. To accomplish her purpose, Proulx roots her work in the quintessentially American – characters (the iconic cowboy), landscape (the sweeping Big Sky of the West), language (the lean, spare but freighted diction of “ Everyman ” ), and prevailing societal themes and ethos (independence, the search of freedom and authenticity and the American Dream) in order to let grow the young men’s love . Further, she positions her work in the tradition of Hawthorne, Whitman, John Ford, and Richard Avedon, American artists who explored what it means to be uniquely American. The result is a transcendent and “true” story – a novella transformed into a screenplay, a feature film, and finally an opera libretto – that stakes its claim as far more than just a “ga y cow boy movie” or even a gay love story, but as belonging in the pantheon of Great American Love Stories. As Proulx commented in her essay, “ Getting Movied”: “People may doubt that young men fall in love up on the snowy heights, but no one disbelieves the spe ckled coffeepot, and if the coffeepot is true, then so is the other” (Proulx 138). These two cowboys do fall in love, and their love story is All-American. In the decades following the American Civil War, Walt Whitman’s radical reorientation of poetry – freeing the lyric of stylized conventions that had ruled the genres for centuries - also established a new, equally radical, authentic and uniquely American paradigm for male love. Even as Manifest Destiny was plunging the young nation headlong toward the West, devouring the “frontier” in wave after wave of conquest, the poet was speaking with a prophetic voice both
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