Directing the Westward Wind

I dare someone to undermine the work of the Coen brothers.  If Whitman is an autodidactic god, then the Coen brothers are his autodidactic minions whose Americanized movies mimic the self-subsistent qualities of an “All-American” emblem.   While Walt is undoubtedly the pioneer of Western American literature, the Coen brothers seem to take on the responsibility of pioneering the field of Western American movies (seeing as culturally speaking, new-age America is far more concerned with visible intellectual advancements, rather than monochromatic emotionally charged pieces of paper).  Although some would argue that the brothers focus simply on murder cases with dramatic twists that take place in America, Whitman himself would argue that “The United States themselves are essentially the greatest poem” and therefore focusing on certain trials and tribulations that occur within the states, is poetry in itself.  In a lot of ways the Coen’s highlight certain thematic structural qualities found in some of Whitman’s poems.  By emphasizing (as you have already mentioned in your blog) the Lebowski Loafer as well as the Insignificant Man, the Brady Bunch of Arizona and the Woman Warrior pregnant with the capitulating heroes and heroines of tomorrows America, the brothers are emphasizing the indicative nature of the American melting pot.

However, I find it important to note that their styles differ significantly, and this may be simply due to each writer’s choice of expression.  It is difficult to adequately compare movies and literature, because in my opinion there is something slightly more timeless in a poetic work of art.  Yet Whitman would undoubtedly be proud of the fact that the Coen brothers are attempting to carry on the fundamental legacy of Western American culture, and if any director/producer would be capable of capturing the essence of Walt on the big screen, it would surely be these guys.