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I grew up as the youngest of five childrenone older sister and three older brothers. Yep,
three brothers. I love those guys to death, but let me tell you: things got brutal every now and
again. Jay and Nick would fight and punch holes through walls, while Mom would scream in
utter disbelief. Alex may or may not have dragged me along the carpet, giving me a scabbing rug
burn big enough for my first grade teacher to wonder whether or not I was being abused. Oh, and
without a doubt, they were the most promiscuous of teens; they will admit it to this day. Girls
slept over at our house, only to find their angry fathers in their underwear banging on our door at
3:00 A.M. Naked pool parties when Mom and Dad werent home? You got it. Lets just say, I
was really confused seeing a backyard full of naked teens when I was five. My experiences with
my older brothers inspired me to explore normative notions of masculinity, as I got older. Why
do men act the way they do? I decided to do some outside research and to explore Tony
Hoaglands book Donkey Gospel. His poems Muy Macho and Dickhead exploit various
notions of normative masculinity: sexual domination of females, strength, perfect body image
and group mentality. You can bet Tony Hoaglands poems reminded me of my older brothers.
After recognizing these stereotypes and considering my own experiences, I wondered why
Hoagland wants to portray stereotypical masculinity in his poetry. Even more, I questioned
whether or not men, like the speakers in Hoaglands poems, could escape stereotypical
But what actually is masculinity, and what does it mean to be masculine in todays society?
Planned Parenthood says that masculinity is not equivalent to being a man. In fact, a number of
worldly, sexually experienced, hard, physically imposing, ambitious, and demanding (Gender
& Gender Identity). The speakers in Tony Hoaglands Muy Macho and Dickhead exhibit
In Muy Macho, the speaker sits at a bar with a friend who discusses his sex life, and
throughout the poem, the speaker reflects on his own experiences as a man. He uses war-like
language to display aggressive and sexually dominating sides of the masculine stereotype:
Displayed like a warrior completing a number of valiant deeds, the speakers friend incessantly
brags about and literally lists the number of women who have seen his penis. He is proud and
even cockypun intendedabout his sex life because so-called masculine men take pride in
being strong, like a warrior, and being sexually dominant. I cant help but wonder why the
speakers friend feels the need to brag. If he didnt brag about sex, or even discuss it, would
others still consider him masculine? The friend brags about his sex life in order to strengthen his
masculinity. Oppressing women makes him feel stronger and more like a man.
With this question in mind, I thought about my brother Nick and remembered our
conversation about his wild college days. Nick, although now 31, married and much less
sexually chauvinistic, told me that he used to be such a dick to girls, talking to some just
because he wanted to have sex and ignoring them afterwards. As a male college student, Nick
sought out sex like a warrior on a mission, and then he and his buddies would brag about their
sex lives. Considering sexual domination of women is normatively masculine, Nick, his friends,
or the speakers friend in Muy Macho might not appear masculine without talking about sex.
achieved and stabilized through the accomplishment of heterosexual positioning, and where the
threats to heterosexuality thus become threats to the gender itself (Berger, Wallis, Watson, and
Weems 24). Normative masculine gender involves sexual dominion; if a man doesnt participate
in it, he threatens his heterosexuality and masculinity as a whole, and he might even appear
feminine or like a failed man. Its as if stereotypically masculine men have sex just to say that
had sex because they know it will make them look masculine, and Hoagland demonstrates this
idea in Muy Macho through the speakers encounter with his friend.
Continuing on, the speakers in Muy Macho and Dickhead describe exclusive
environments to which only normatively masculine men belong. Each man must abide by its
rules, and outsiders are kept at a distance. In Muy Macho, the speaker says, The bar tonight
has the feeling / of a hideout deep inside the woods, / a stronghold full of beer and
smoke (13-15). The bar instantly transforms into a secluded area when the speaker and his
friend talk about sex, and this short conversation brings the speaker into the normatively
masculine sphere. He is no longer at the bar; he is far off, away from civilization. This place is a
stronghold, or a fortress protecting him and his friend from outside forces, and further secluding
the men from immasculinity. Only normatively masculine men can go to this hideout. Similarly,
in Dickhead, the teenage speaker often refers to the world of men (3, 37). He claims that
without having the ability to call bullies, who mock his scrawny body type, dickheads, he would
have no way of being in that world because if youre not masculine, you dont belong. Mosse
says that stereotyping meant giving to each man all the attributes of the group to which he was
said to belong. All men were supposed to conform to an ideal masculinity (6). If you cant
conform, theres no hope for you. Youre out of the group, and youre deemed immasculine.
Without dickhead, the speaker is an outsider, and being an outsider during his insecure,
pubescent stage is scary to him. He therefore uses dickhead to belong in the world of men.
Similar to the exclusive hideout that the speaker in Muy Macho visits, he belongs to an
exclusive group. The speaker is a member ...to this tribe of predators, / this club of deep-voiced
woman-fuckers (44-45). Men, including the speaker and his friend, conform to this group,
accepting the mode of masculinity, taking pride in sexual domination and aggression. They are
exclusive, different from those who dont share their values (perhaps gay men and females). By
excluding others, stereotypically masculine men strengthen their community. Mosse says, The
masculine stereotype was strengthened by the existence of a negative stereotype of men who not
only failed to measure up to the ideals but who in body and soul were its foil, projecting the
exact opposite of true masculinity (6). Falling victim to the negative stereotype, women and
immasculine or gay men fail to represent conventionally masculine ideals and thus create tension
between themselves and masculine men. Stereotypically masculine men see those different from
between themselves and the negative stereotype and make their group appear more intense and
discriminatory, like a tribe with selective membership. You either belong or you do not.
After reading Hoaglands poem and reflecting on my own experiences with three older
brothers, I wondered why any man would really want to be a part of such a brutal and oppressive
group. Then I thought, waitmaybe men cant escape it, or maybe they dont want to? Is it
comfortable to fit in with the crowd? Was this what Hoagland was trying to tell me all along? In
an interview, Hoagland says, Im not advocating the hyped-up brutal aspects of masculinity,
though at moments, in some poems, I am putting the masculine on display or even employing its
mannerisms, the better to talk and think about them (Fierst). Hoagland purposely exhibits
masculine stereotypes, like sexual domination, aggression, ideal body type, and group mentality
to prompt readersto force them to acknowledge these characteristics and to reflect on them.
After recognizing the stereotypes, I came to the conclusion that yes, many men, such as the
speakers in both poems cant avoid masculine stereotypes and brutality and that escaping
masculinity is difficult and has its consequences. Consider this example from Muy Macho
where the speaker recognizes masculinitys flaws but admits he does not want to escape them:
Being a man means having power; it means being apart of a community. Sure, that community
might be a bunch of misogynistic woman-fuckers, (45) but the speaker knows that. He states
outright that being stereotypically masculine is wrongbut he is still willing to participate. Hed
rather be in the group than outside of it; he is not willing to give up his privilege, even if he
surrounds himself with predators or Neanderthals (32). The speaker even feels guilty, saying
that he never thought he would belong to such a demeaning group. Buchbinder, author of
Masculinities and Identities, explains this further and says that men are
whether concerning his own individual behavior or that of his entire sex, may often
luxury which enable him to meditate on and articulate that guilt. (Buchbinder 18)
Oftentimes, men have power over others, and while some feel guilty for perhaps belittling or
oppressing others, they might still feel satisfied with their superiority. The speaker in Muy
Macho feels guilty, but still knows he is privileged. He cant believe hes having such sexist
conversation, but is he going to do anything about it? Nope. He just cant leave the conversation
with his friend; he cant stop and say, Dude! Do you hear how much of a dick you sound like
right now? Maybe this is Hoaglands way of telling us that men cant escape conventional ideas
of masculinity because theyre afraid of rejection or are afraid of being outsiders. Some men
might think its better to be included than to be excluded. They are willing degrade women and
to appear hyper-aggressive, even if they disagree with it, because they assume that embodying
Macho, he writes, Even if the roof were falling in, / even if the whole world splintered and
caught fire, / I would continue sitting here, I think, / entrancedimplicated, cursed (55-57).
This example displays the power that masculinity has over the speaker. Hes under a curse
bewitchedtangled up in an evil sorcerers spell, and because of that, even if the world were
ending, hed continue his conventionally masculine behavior. Hoagland concludes with, We
cant pull ourselves away from it / we dont really believe there is another one (64-65).
Stereotypically masculine men hold a curse over the speaker, and they pull him further into the
stereotypeto the point where he doubts his ability to escape. The speaker goes with what is
comfortablewith what he knows. He knows about normative masculinity, even its faults, and
Ive discussed that some men have a hard time escaping this standard of masculinity and
that some simply dont want to, but what happens if you actually do escape? Lets take a look at
my weakness is a fact
It makes me calm,
man publicly and unmistakably to give up his claim to masculine power and privilege may not be
to invite only the disapproval of other men but also their violence (18). The speaker is weak, but
content, knowing that he does not have to live in masculinitys world. He took a risk in giving up
his claim to masculine power, inviting others to once again see him as weak or as a target. This
speaker would rather be weak than be considered conventionally masculine, but he is still
grateful for having the word dickhead to defend him as a young man; it gave him a way of being
in the world of men when he was too young and insecure to risk being an outsider. Fearful of
seclusion and of being recognized as weak, not all men risk escaping masculinity. But, if you
escape, you might feel relieved, less pressured, and more independent. I believe that Hoagland
wants his readers to realize exactly that; he puts masculinity on display so that we can better
think about its faults and think about whether or not they are escapable. My three brothers aided
Dickhead and Muy Macho. Stereotypical masculinity is a part of our society, and escape is
difficult; most cant or dont do it. But that doesnt mean its impossible. So, to all of the tough
guys out there, if youre really so masculine, whats stopping you from leaving? Dont wuss out.
Works Cited
Berger, M., Wallis, B., Watson, S. and Weems, C.M., Constructing Masculinity. New
Buchbinder, David. Masculinities and Identities. Carlton, Vic.: Melbourne UP, 1994.
Print.
Hoagland, Tony. "Dickhead." Donkey Gospel. Minneapolis: Graywolf Press, 1998. 10-
11. Print.
Hoagland, Tony. "Muy Macho." Donkey Gospel. Minneapolis: Graywolf Press, 1998.
37-39. Print.
Mosse, George L. The Image of Man: The Creation of Modern Masculinity. New York:
"Tony Hoagland on Masculinity and Being an American Poet." Interview by Max Fierst.
Columbia: A Journal of Literature and Art 1999: 74-80. JSTOR. Web. 09 Mar.
2015. <http://www.jstor.org/stable/41807626>