What a great idea finally déditer this text by Joyce Carol Oates, found jusquici French. How to say with more finesse and discernment fascination quexerce boxing? Hemingway, Mailer, Tosches macho. Not so with JC Oates. Both intellectual and having perfect knowledge of the history of American boxing, it is anything but a groupie attracted to male virility.
Boxing discussed here is exclusively étatsunienne. Muhammad Ali, Mike Tyson, Jack Johnson, Joe Louis, Sonny Liston, Jack Demsey, Jake La Motta are the main characters (as Rocky Marciano, Marvin Hagler, Sugar Ray Robinson both and Leonard) of this epic dissected here. Georges Carpentier Marcel Cerdan or are totally absent, and barely sees fleetingly Roberto Duran or Hector Camacho. No, we are only in the United States, between Atlantic City and Las Vegas, he fact that comes to boxing as American show as ritualised form of combat to laméricaine.
Lovers of the "noble art" will be delighted by this connoisseur evocation enriched many quotes, danalyses, real sensations of a sincere attachment. Even those like me who have taken a step back from the world of the ring.
But "simple" Boxing nest largely not the only interest of this work. Joyce Carol Oates transcends art and practice of boxing to draw a parallel between boxing and writing, emphasizing the dimension masochistic, sacrificial, boxing. All louvrage, all routes discussed here, are quillustration of this parallel, and is there in the heart of the literature and the heart of a tragic dimension (but also epic) life.
If that comment did not seem too tedious and you want to go a little further, I leave the floor to the author:
Boxing has more to do with the fact that BE quavec hit to hit, just as it has more to do with the fact of feeling pain, not to mention dune devastating psychological paralysis, quavec the win. See the "tragic" careers of a fairly large number of boxers, we understand clearly that the boxer prefers physical pain to the ring in the absence of pain that is the ideal condition of ordinary life. If in can not hit, can however be hit, and know and lon is still alive.
One could say that boxing is basically to maintain a proper fit body else to be able to fight well conditioned body. This is not the public spectacle, the fight itself, but the period leading to rigorous workout that requires more discipline and lon consider to be the main cause of mental and physical infirmities boxers. [] The artist can feel a certain kinship, although quindirecte and unilateral, with the professional boxer, about this question workout. This fanatical subordinate itself to the purposes intended dune dream. One could compare the limited time quest show the boxing [] to the publication of a writer's book. What is "public" is just the final stage dune prolonged preparation time, arduous, exhausting and often desperate. Indeed, one explanation for the frequent attraction quéprouvent great writers for boxing [] remains systematic research of pain in this sport, and in the name of a project, the dune life goal: voluntary implementation of the sensation we know under the name pain (physical, psychological or emotional) in its absolute opposite. (P. 30-31)
For some writers, the fascination is linked [] to surprisingly explicit létalage masochism in boxing masochism in its broadest sense, the most suggestive and, arguably, the most poetic. For, unlike the stereotypes, boxing primarily to do with getting hurt, rather than injure quavec. (What the best boxing movies Raging Bull, Fat City, Champion suggest the most visually). Go to the triumph of pain or pretend that's the hope of triumph of the writer, like that of the boxer. The moment visceral horror, in a typical combat [] is the time when the boxer loses control, where he can no longer hold his defense when he starts to weaken, to bend, to get in fallback position, to waver in the blows of his opponent, that he is no longer able dabsorber; when the battle turns, where a whole career, even a lifetime, can sarrêter. This is not an isolated moment, this is the great mystic moment, universal. The defeat of a man is the triumph of another: but we are likely to read this "triumph" as merely temporary and provisional. Only the defeat is permanent. (P. 57-58)
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