of Tarzan using the frame device that he was a real person. In Farmer's fictional universe, Tarzan, along with Doc Savage and Sherlock Holmes, are the cornerstones of the Wold Newton family. Farmer wrote two novels, Hadon of Ancient Opar and Flight to Opar, set in the distant past and giving further knowledge of the antecedents of the lost city of Opar, which plays an important role in the Tarzan books. In addition, Farmer's A Feast Unknown, and its two sequels Lord of the Trees and The Mad Goblin, are pastiches of the Tarzan and Doc Savage stories, with the premise that they tell the story of the real characters upon which the fictional characters are based. A Feast Unknown is somewhat infamous among Tarzan and Doc Savage fans for its graphic violence and sexual content. Themes of gender and race In her Manliness and Civilization, Gail Bederman describes how various people of the time either challenged or upheld the idea that "civilization" is predicated on white masculinity. She closes with a chapter on Tarzan of the Apes (1912) because the story's protagonist is, according to her, the ultimate male by the standards of 1912 White Americans. Bederman does note that Tarzan, "an instinctively chivalrous Anglo-Saxon," does not engage in sexual violence, renouncing his "masculine impulse to rape." However, she also notes that not only does Tarzan kill black man Kulonga in revenge for killing his ape mother (a stand-in for his biological White mother) by hanging him, "lyncher Tarzan" actually enjoys killing black people, for example the cannibalistic Mbongans. Bederman, in fact, reminds readers that when Tarzan first introduces himself to Jane, he does so as "Tarzan, the killer of beasts and many black men". The novel climaxes with Tarzan saving Jane (who in the original novel is not British, but a southern White woman from Baltimore, Maryland) from a black ape rapist. When he leaves the jungle and sees "civilized" Africans farming, his first instinct is to kill them just for being Black. "Like the lynch victims reported in the Northern press, Tarzan's victimscowards, cannibals, and despoilers of white womanhoodlack all manhood. Tarzan's lynchings thus prove him the superior man." According to Bederman, despite Tarzan embodying all the tropes of white supremacy espoused or rejected by the people she had reviewed (Theodore Roosevelt, G. Stanley Hall, Charlotte Perkins Gilman, Ida B. Wells), Burroughs, in all probability, was not