Sharman, Shaken and stirred

This article evaluates the literary figure of James Bond as a manifestation and projection of the Masculinity Crisis of the 1950’s white western male. In his first outing in Ian Fleming’s 1953 Casino Royale, Bond functions as a figure of subjectivity-splitting anxiety through whom the Masculinity Crisis is channelled with catastrophic effects for the character’s own sense of self, mirroring wider social fears about changing roles in an increasingly altering post-war society. While a number of scholars increasingly note the utility of masculinity theory in James Bond studies, the origin of the character’s troubled relationship to his own masculine self is yet to be explored in Fleming’s first novel as cinematic critiques take centre stage in analytical discussions.

This article argues that the demands of a hegemonic hyper masculinity, combined with the dualistic lifestyle of a spy, see Bond oscillate between »ideal« and »transgressive« versions of masculine embodiment. This is shown to ultimately work to dissociate the character from his own sense of self, propelling him into crisis. It examines three areas of binary conflict: wealth and ruin, virility and castration, and masculinity and femininity, arguing the extreme pressures of each create an unstable, uneasy, and unhealthy masculine entity in need of critical re-examination.