Hostname: page-component-cd9895bd7-p9bg8 Total loading time: 0 Render date: 2024-12-22T14:30:54.999Z Has data issue: false hasContentIssue false

Adam's Lobectomy Operation and the Meaning of All the King's Men

Published online by Cambridge University Press:  01 December 2020

James C. Simmons*
Affiliation:
Boston University, Boston, Mass

Abstract

The brief scene in which Jack Burden observes the prefrontal lobectomy performed by his friend Adam Stanton is crucial to the novel's meaning, allowing Warren an opportunity to gather economically together most of the major themes of the novel. On one level Warren intends an analogy between Jack Burden and the anesthetized patient on the table who is in a very real sense Jack's double, a grotesque reflection of certain crucial aspects of his own character. And by forcing the confrontation, Warren achieves in a brilliant stroke a parody of portions of the novel's larger action, allowing himself the opportunity to recapture in symbolic form Jack's life and attitudes to date while simultaneously offering implicit criticism of that life and those attitudes. Warren further utilizes the scene to illuminate the meaning of Jack's flight West and the subsequent adoption of the mechanistic theory of the Great Twitch. In addition, the scene, by the nature of the operation, is a symbolic representation of the theme of division so pervasive throughout the book and may be viewed in retrospect as one step toward the resolution of this conflict.

Type
Research Article
Information
PMLA , Volume 86 , Issue 1 , January 1971 , pp. 84 - 89
Copyright
Copyright © Modern Language Association of America, 1971

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Note 1 in page 89 Robert Penn Warren, All the King's Men (New York, 1953), p. 461. Subsequent references from this, the Modern Library edition, are included in the text. I should also like to acknowledge a debt to Diane Eisenberg, Roberta Fischkes, and Susan Leeds, former students of mine at Boston Univ., whose insights into the novel have found a place in this article.