Project Mailer - User contributions [en]

User talk:Grlucas

2021-07-08T14:32:05Z

KWilcox:

{{Talk header}}

== Article Errors ==

I've added the body of the article to my sandbox page. What errors do I need to specifically change in order to make it correct?[[User:CDucharme|CDucharme]] ([[User talk:CDucharme|talk]]) 17:04, 14 September 2020 (EDT)
:{{Reply to|CDucharme}} Mostly you need to add the notes, citation, and read for typos. It’s meticulous, but that’s the job. (Thanks for signing.) —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 17:08, 14 September 2020 (EDT)

Hey, I need help with instructions for the Norman Mailer Bibliography for the remediation project. I am not sure what I am supposed to do.[[User:AJohnson|AJohnson]] ([[User talk:AJohnson|talk]]) 29 March 2021 (EDT)
:{{Reply to|AJohnson}} You need to remediate the bibliography by adding missing entries from the PDF to the article on this site using the correct templates. As the note on the bibliography says, you may use [[The Mailer Review/Volume 2, 2008/Norman Mailer Bibliography: 2007|Norman Mailer Bibliography: 2007]] as a model. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 14:48, 29 March 2021 (EDT)

== Final edits ==

Hello, Dr. Lucas, I finished editing my article. May I have the banner removed?[[User:KJordan|KJordan]] ([[User talk:KJordan|talk]]) 20:13, 22 September 2020 (EDT)KJordan
:{{Reply to|KJordan}} Maybe. You should always link to something you want me to have a look at, please. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 20:14, 22 September 2020 (EDT)

Dr. Lucas, I have finished editing my article. Can you please review it? Thank You. Here is a link to it: https://projectmailer.net/pm/The_Mailer_Review/Volume_2,_2008/The_Heart_of_the_Nation:_Jewish_Values_in_the_Fiction_of_Norman_Mailer --[[User:AMurray|AMurray]] ([[User talk:AMurray|talk]]) 21:56, 23 September 2020 (EDT)

:{{Reply to|AMurray}} Looking good! However, I still see quote a few typos. There should be no space before a footnote or citation.<ref>Like this.</ref> And all parenthetical citations need to be converted. I also see a lot of missing punctuation, especially around citations. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:24, 24 September 2020 (EDT)

{{Reflist}}

Dr. Lucas, I finished editing my article. Will you please review?
https://projectmailer.net/pm/The_Mailer_Review/Volume_2,_2008/The_Unknown_and_the_General --[[User:Jrdavisjr|Jrdavisjr]] ([[User talk:Jrdavisjr|talk]]) 09:00, 25 September 2020 (EDT)
:{{Reply to| Jrdavisjr}} It looks good. Let's go through editing week and see if anything else comes up. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:15, 25 September 2020 (EDT)

Dr. Lucas, I have finished editing my article. Can you please review it? Thank You
https://projectmailer.net/pm/User:JSheppard/sandbox [[User:JSheppard|JSheppard]] ([[User talk:JSheppard|talk]])
:{{Reply to| JSheppard}} You have a '''lot''' of work left to do. I see [[User:Jules Carry]] is helping, but you’re missing references and there are typos throughout. Keep working. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 17:19, 25 September 2020 (EDT)

Dr. Lucas, I finished my article.
https://projectmailer.net/pm/The_Mailer_Review/Volume_13,_2019/More_Than_The_Dead_Know
[[User:RWalsh|RWalsh]] ([[User talk:RWalsh|talk]]) 15:15, 8 February 2021 (EST)
:{{reply to|RWalsh}} Not quite, but it's looking good. Clean it up and begin helping others. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:11, 9 February 2021 (EST)

Dr. Lucas, I believe I have finished editing my article. Will you please review?
https://projectmailer.net/pm/The_Mailer_Review/Volume_13,_2019/%E2%80%9CHer_Problems_Were_Everyone%E2%80%99s_Problems%E2%80%9D:_Self_and_Gender_in_The_Deer_Park [[User:Klcrawford|Klcrawford]] ([[User talk:Klcrawford|talk]]) 09:06, 15 February 2021 (EST)
:{{Reply to|Klcrawford}} Great work. I have removed the working banner. I would appreciate it if you began to assist some of the other editors. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 13:04, 15 February 2021 (EST)

Hello Dr. Lucas, I have been making some edits, I am still looking to see if there is more, can you look through and give any feedback?https://projectmailer.net/pm/The_Mailer_Review/Volume_13,_2019/Angst,_Authorship,_Critics:_“The_Snows_of_Kilimanjaro,”_“The_Crack-Up,”_Advertisements_for_Myself [[User:JFordyce|JFordyce]] ([[User talk:JFordyce|talk]]) 18:27, 20 February 2021 (EST)JFordyce

Hello Dr. Lucas, I believe I have finished my article. Can you please review it? https://projectmailer.net/pm/The_Mailer_Review/Volume_13,_2019/Request [[User:EKrauskopf|EKrauskopf]] ([[User talk:EKrauskopf|talk]]) 13:06, 22 Februrary 2021 (EST)
:{{Reply to|EKrauskopf}} OK, looks good. Well done. Now please begin assisting others on getting volume 9 finished. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 06:41, 23 February 2021 (EST)

Dr. Lucas, I have finished and cleaned up my article. Could you please review it?
https://projectmailer.net/pm/The_Mailer_Review/Volume_13,_2019/More_Than_The_Dead_Know [[User:RWalsh|RWalsh]] ([[User talk:RWalsh|talk]]) 12:35, 23 February 2021 (EST)
:{{Reply to|RWalsh}} OK, nice job. Now please begin assisting others on getting volume 9 finished. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 13:47, 23 February 2021 (EST)

Hello Dr.Lucas final edits have been made and the article is finished.https://projectmailer.net/pm/The_Mailer_Review/Volume_13,_2019/Angst,_Authorship,_Critics:_“The_Snows_of_Kilimanjaro,”_“The_Crack-Up,”_Advertisements_for_Myself[[User:JFordyce|JFordyce]] ([[User talk:JFordyce|talk]]) 22:27, 2 March 2021 (EST) JFordyce

==Article Request==
Dr. Lucas. I have started working on another article. Would you be able to send me the PDF of "The Savage Poet-- Unlocking the Universe With Metaphor" so that I can help add to the article? [[User:Klcrawford|Klcrawford]] ([[User talk:Klcrawford|talk]]) 18:24, 23 February 2021 (EST)
:{{Reply to|Klcrawford}} Done. Thank you. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:46, 24 February 2021 (EST)

== When we Were Kings 1st remediation ==

[[The_Mailer_Review/Volume_13,_2019/When_We_Were_Kings:_Review_and_Commentary|https://projectmailer.net/pm/The_Mailer_Review/Volume_13,_2019/When_We_Were_Kings:_Review_and_Commentary]]

Here is the link for the remediation I did for this weeks assignment. I did not now where to place the link.

Thank you,
Trevor Ryals
:{{Reply to|TRyals}} Thank you, but this is unnecessary. Just do the work; I promise I will see it. (And be sure to sign your talk page posts.) —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 18:16, 2 February 2021 (EST)

==Summer 2021==
Can you please review my article? I have a couple errors that I do not understand how to fix. Other than that, I am finished. https://projectmailer.net/pm/User:PLowery/sandbox

Can you review my article again please? I think I might be done. [[User:PLowery|PLowery]] ([[User talk:PLowery|talk]])
:{{Reply to|PLowery}} In order for you to be finished, your entire article must be posted [[The Mailer Review/Volume 3, 2009/A Favor for the Ages|in the mainspace]]. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:29, 21 June 2021 (EDT)
::Done
:::I believe I have it done correctly now.

My topic person is Marion Stegeman Hodgson,however she was not my first choice. There are four others who initially chose Hodgson, Tyler McMillan, Elizabeth Webb, Caleb Andrews, and Marguerite Walker. I haven't gotten in touch with either classmate as of this date however.[[User:KWilcox|KWilcox]] ([[User talk:KWilcox|talk]])Kenneth Wilcox(KWilcox)July 7, 2021[[User:KWilcox|KWilcox]] ([[User talk:KWilcox|talk]])
:{{Reply to|KWilcox}} This work should be done on Wikipedia. Please post all questions and work about project 2 on Wikipedia. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:12, 8 July 2021 (EDT)

User talk:Grlucas

2021-07-08T14:22:03Z

KWilcox:

User talk:Grlucas

2021-07-08T02:39:08Z

KWilcox:

{{Talk header}}

== Article Errors ==

I've added the body of the article to my sandbox page. What errors do I need to specifically change in order to make it correct?[[User:CDucharme|CDucharme]] ([[User talk:CDucharme|talk]]) 17:04, 14 September 2020 (EDT)
:{{Reply to|CDucharme}} Mostly you need to add the notes, citation, and read for typos. It’s meticulous, but that’s the job. (Thanks for signing.) —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 17:08, 14 September 2020 (EDT)

Hey, I need help with instructions for the Norman Mailer Bibliography for the remediation project. I am not sure what I am supposed to do.[[User:AJohnson|AJohnson]] ([[User talk:AJohnson|talk]]) 29 March 2021 (EDT)
:{{Reply to|AJohnson}} You need to remediate the bibliography by adding missing entries from the PDF to the article on this site using the correct templates. As the note on the bibliography says, you may use [[The Mailer Review/Volume 2, 2008/Norman Mailer Bibliography: 2007|Norman Mailer Bibliography: 2007]] as a model. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 14:48, 29 March 2021 (EDT)

== Final edits ==

Hello, Dr. Lucas, I finished editing my article. May I have the banner removed?[[User:KJordan|KJordan]] ([[User talk:KJordan|talk]]) 20:13, 22 September 2020 (EDT)KJordan
:{{Reply to|KJordan}} Maybe. You should always link to something you want me to have a look at, please. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 20:14, 22 September 2020 (EDT)

Dr. Lucas, I have finished editing my article. Can you please review it? Thank You. Here is a link to it: https://projectmailer.net/pm/The_Mailer_Review/Volume_2,_2008/The_Heart_of_the_Nation:_Jewish_Values_in_the_Fiction_of_Norman_Mailer --[[User:AMurray|AMurray]] ([[User talk:AMurray|talk]]) 21:56, 23 September 2020 (EDT)

:{{Reply to|AMurray}} Looking good! However, I still see quote a few typos. There should be no space before a footnote or citation.<ref>Like this.</ref> And all parenthetical citations need to be converted. I also see a lot of missing punctuation, especially around citations. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:24, 24 September 2020 (EDT)

{{Reflist}}

Dr. Lucas, I finished editing my article. Will you please review?
https://projectmailer.net/pm/The_Mailer_Review/Volume_2,_2008/The_Unknown_and_the_General --[[User:Jrdavisjr|Jrdavisjr]] ([[User talk:Jrdavisjr|talk]]) 09:00, 25 September 2020 (EDT)
:{{Reply to| Jrdavisjr}} It looks good. Let's go through editing week and see if anything else comes up. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:15, 25 September 2020 (EDT)

Dr. Lucas, I have finished editing my article. Can you please review it? Thank You
https://projectmailer.net/pm/User:JSheppard/sandbox [[User:JSheppard|JSheppard]] ([[User talk:JSheppard|talk]])
:{{Reply to| JSheppard}} You have a '''lot''' of work left to do. I see [[User:Jules Carry]] is helping, but you’re missing references and there are typos throughout. Keep working. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 17:19, 25 September 2020 (EDT)

Dr. Lucas, I finished my article.
https://projectmailer.net/pm/The_Mailer_Review/Volume_13,_2019/More_Than_The_Dead_Know
[[User:RWalsh|RWalsh]] ([[User talk:RWalsh|talk]]) 15:15, 8 February 2021 (EST)
:{{reply to|RWalsh}} Not quite, but it's looking good. Clean it up and begin helping others. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:11, 9 February 2021 (EST)

Dr. Lucas, I believe I have finished editing my article. Will you please review?
https://projectmailer.net/pm/The_Mailer_Review/Volume_13,_2019/%E2%80%9CHer_Problems_Were_Everyone%E2%80%99s_Problems%E2%80%9D:_Self_and_Gender_in_The_Deer_Park [[User:Klcrawford|Klcrawford]] ([[User talk:Klcrawford|talk]]) 09:06, 15 February 2021 (EST)
:{{Reply to|Klcrawford}} Great work. I have removed the working banner. I would appreciate it if you began to assist some of the other editors. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 13:04, 15 February 2021 (EST)

Hello Dr. Lucas, I have been making some edits, I am still looking to see if there is more, can you look through and give any feedback?https://projectmailer.net/pm/The_Mailer_Review/Volume_13,_2019/Angst,_Authorship,_Critics:_“The_Snows_of_Kilimanjaro,”_“The_Crack-Up,”_Advertisements_for_Myself [[User:JFordyce|JFordyce]] ([[User talk:JFordyce|talk]]) 18:27, 20 February 2021 (EST)JFordyce

Hello Dr. Lucas, I believe I have finished my article. Can you please review it? https://projectmailer.net/pm/The_Mailer_Review/Volume_13,_2019/Request [[User:EKrauskopf|EKrauskopf]] ([[User talk:EKrauskopf|talk]]) 13:06, 22 Februrary 2021 (EST)
:{{Reply to|EKrauskopf}} OK, looks good. Well done. Now please begin assisting others on getting volume 9 finished. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 06:41, 23 February 2021 (EST)

Dr. Lucas, I have finished and cleaned up my article. Could you please review it?
https://projectmailer.net/pm/The_Mailer_Review/Volume_13,_2019/More_Than_The_Dead_Know [[User:RWalsh|RWalsh]] ([[User talk:RWalsh|talk]]) 12:35, 23 February 2021 (EST)
:{{Reply to|RWalsh}} OK, nice job. Now please begin assisting others on getting volume 9 finished. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 13:47, 23 February 2021 (EST)

Hello Dr.Lucas final edits have been made and the article is finished.https://projectmailer.net/pm/The_Mailer_Review/Volume_13,_2019/Angst,_Authorship,_Critics:_“The_Snows_of_Kilimanjaro,”_“The_Crack-Up,”_Advertisements_for_Myself[[User:JFordyce|JFordyce]] ([[User talk:JFordyce|talk]]) 22:27, 2 March 2021 (EST) JFordyce

==Article Request==
Dr. Lucas. I have started working on another article. Would you be able to send me the PDF of "The Savage Poet-- Unlocking the Universe With Metaphor" so that I can help add to the article? [[User:Klcrawford|Klcrawford]] ([[User talk:Klcrawford|talk]]) 18:24, 23 February 2021 (EST)
:{{Reply to|Klcrawford}} Done. Thank you. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:46, 24 February 2021 (EST)

== When we Were Kings 1st remediation ==

[[The_Mailer_Review/Volume_13,_2019/When_We_Were_Kings:_Review_and_Commentary|https://projectmailer.net/pm/The_Mailer_Review/Volume_13,_2019/When_We_Were_Kings:_Review_and_Commentary]]

Here is the link for the remediation I did for this weeks assignment. I did not now where to place the link.

Thank you,
Trevor Ryals
:{{Reply to|TRyals}} Thank you, but this is unnecessary. Just do the work; I promise I will see it. (And be sure to sign your talk page posts.) —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 18:16, 2 February 2021 (EST)

==Summer 2021==
Can you please review my article? I have a couple errors that I do not understand how to fix. Other than that, I am finished. https://projectmailer.net/pm/User:PLowery/sandbox

Can you review my article again please? I think I might be done. [[User:PLowery|PLowery]] ([[User talk:PLowery|talk]])
:{{Reply to|PLowery}} In order for you to be finished, your entire article must be posted [[The Mailer Review/Volume 3, 2009/A Favor for the Ages|in the mainspace]]. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:29, 21 June 2021 (EDT)
::Done
:::I believe I have it done correctly now.
:My topic person is Marion Stegeman Hodgson,however she was not my first choice. There are four others who initially chose Hodgson, Tyler McMillan, Elizabeth Webb, Caleb Andrews, and Marguerite Walker. I haven't gotten in touch with either classmate as of this date however.[[User:KWilcox|KWilcox]] ([[User talk:KWilcox|talk]])Kenneth Wilcox(KWilcox)July 7, 2021[[User:KWilcox|KWilcox]] ([[User talk:KWilcox|talk]])

User:KWilcox

2021-06-28T14:24:35Z

KWilcox:

Hello, my name is Kenneth Wilcox and I'm nearing the end of my college career. I began college after 35 years, most of those years as a police officer. Attending college has been enjoyable and very challenging. I'm semi-retired from law enforcement now, five of those over 30 years I served at Macon State College, later Middle Georgia State University. My major is NMAC. The subject I concentrate on is filmmaking. During the course of my college career, I have made several films as an Indie Filmmaker. Also I have worked on the set of a major film "Come Sunday" which is on Netflix.

The Mailer Review/Volume 3, 2009/Woman Redux: de Kooning, Mailer, and American Abstract Expression

2021-06-23T13:00:27Z

KWilcox:

{{DISPLAYTITLE:{{BASEPAGENAME}}/{{SUBPAGENAME}}}}
{{Working}}
{{MR09}}
{{Byline|last=Miller|first=Linda Patterson |abstract=An examination of Norman Mailer’s appropriation of the painterly distortions of [[w:Willem de Kooning|Willem de Kooning]], a leading figure among the American Abstract Expressionists of the 1950s and 1960s in New York. Mailer’s portrait of Deborah Rojack’s murder in ''[[An American Dream]]'' bears uncanny parallels to de Kooning’s “Woman I,” a painting that Norman Mailer knew well by the time he was working on his novel. An examination of the two works in tandem illuminates how Mailer’s attempt, at least in this novel, was not to destroy women but to liberate them from within and to restore harmony for both
men and women. |note=I gave an earlier version of this essay at the Norman Mailer Conference in Provincetown, Massachusetts, November 3–5, 2005, at which time I was able to meet Mailer and ask him about his relationship to de Kooning’s work. I thank Phillip Sipiora for inviting me to speak at this conference and to become a part of the vibrant community of Norman Mailer Society members. |url=https://prmlr.us/mr03mil}}

{{start|I am not a seasoned Norman Mailer scholar,}} even though his writing has captivated me since I first read him in college. Any more knowledgeable Mailer scholar who thinks I get him wrong might chalk it up to the distorting influence of Ernest Hemingway, that other white male who has commandeered a bid chunk of my scholarship. Actually, I recognize that both authors provoke passionate and intemperate reactions, sometimes from women, perhaps due to the public personas of these writers as hard-hitting, women-be-damned kinds of guys. Nonetheless, both these writers are quite similar in speaking directly to their times with art that shocks convention and galvanizes emotional truth. No person, male or female, who reads well either of these authors remains unaffected.

In order to arrive at artistic truth, Mailer tried to write “with the soul of a beautiful woman” as he, not unlike Hemingway, worked from the inside out.{{sfn|Mailer|1971|p=152}} This required radical action and innovative artistic techniques representative of the best and most transformative expressionist art. For Hemingway, that meant scrutinizing and then modeling his writing after the skewed perspectives and disjointed landscapes of Paul Cezanne, and for Mailer that meant appropriating for his art the erratic swirls and painterly distortions of Willem de Kooning, a leading figure among the American Abstract Expressionists of the 1950s and 1960s in New York. Following the publication of ''The Naked and the Dead'', Mailer’s traditional war novel that brought him early fame in 1948, Mailer dared to experiment with unconventional literary forms and techniques so as to penetrate the post-WWII veneer of respectability and social and historical posturing. Mailer’s slash attack on American complacency and his use of distortion verged toward the irreverent and outlandish in his most shockingly powerful 1965 novel ''An American Dream''. This work, sandwiched between Mailer’s war novel and his later autobiographical narratives forged in the school of new journalism, redefined expressionism for a post-WWII America. The novel unsettles and disorients as it defies conventional notions of gender, love, and artistic innovation. The writer of such a daredevil work should not be held at arms’ length, even by women.

In order to discuss Mailer as a new expressionist who straddled realism and the surreal in creating a provocative and profound portrait of women, he is best aligned with another twentieth-century artist of Mailer’s time, Willem de Kooning, a painter who loved women even as he seemed to mutilate them on the canvas. De Kooning’s biographers Mark Stevens and Annalyn Swan regard de Kooning’s painting “Woman I,” which he worked on over the course of three difficult years, 1950–52, as “one of the most disturbing and storied” images of a woman in the history of art.{{sfn|Stevens|Swann|2004|p=309}} This painting marked a turning point for de Kooning, who clung to realism even as he yanked it free from formula, similar to Mailer.

Mailer’s portrait of Deborah Rojack’s murder in ''An American Dream'' bears uncanny parallels to de Kooning’s “Woman I,” a painting that Norman Mailer knew well by the time he was working on his novel. An examination of the two works in tandem illuminates how Mailer’s attempt, at least in this novel, was not to destroy women but to liberate them from within and to restore harmony for both men and women. I realize that my ideas here risk comparison to all those sick doctor jokes wherein the patient is told the good news that the doctors will be able to save her. The bad news is that to save her they must first kill her. Mailer recognized that Kate Millet, along with other feminists, believe that male writers love to kill off their heroines as aggressive acts of male superiority. Judith Fetterly never forgave Hemingway for killing Catherine Barkley in ''A Farewell to Arms'', and Millet lashes out at D. H. Lawrence for his slaughter of a white woman at the hands of natives in “The Woman Who Rode Away.” As Mailer quotes her in ''The Prisoner of Sex'', Millet says that “it is the perversion of sexuality into slaughter, indeed, the story’s very travesty and denial of sexuality, which accounts for its monstrous, even demented air.”{{sfn|Mailer|1971|p=141}}

Certainly Mailer’s no-holds-barred portrait of Deborah’s murder followed by Rojack’s “bitch of a brawl” with Ruta seems monstrous and even demented, as does the first “Woman” painting that de Kooning labored over for almost three years. He became increasingly slovenly with his personal hygiene and his studio space, and he often painted in the nude, obsessively creating and recreating his woman, slashing at the canvas, slathering on swabs of paint only to scrape it all off in order to start again. He had particular difficulty with her mouth and her hands, which seemed to him “clawlike.” Stevens and Swan describe de Kooning’s struggle to find “intimacy with an image; the broken, convulsive, and awkward must be conveyed, if the truth was to be served,” and the meanings were necessarily “contradictory.” “A mouth meant far more than a realistic depiction of two lips and a hole could reveal. A mouth was nourishment, smiles, frowns, sex, teeth, whispers, and shouts. It told lies and truths. It was inside and outside, a lipstick pose and a revelation. Viewed this way, a mouth was an almost impossible thing to get right.”{{sfn|Stevens|Swann|2004|p=323}}
[[File:Mr03-de-kooning.jpg|thumb|500px|''Woman, I''. Willem de Kooning. 1950–52. Oil on canvas (192.7 x 147.3 cm). Museum of Modern Art, New York.]]
When de Kooning began work on “Woman I,” and then his succeeding women paintings (almost all of them seated and facing full-frontal forward), he would face down the canvases without forethought. “Almost everyday he would use a sharpened spatula to scrape away most of the figure, flinging the dead paint onto newspapers strewn over the floor. (He would attack the picture in this way whenever the worked-over paint lost its freshness and became what he called ‘rotten’).”{{sfn|Stevens|Swann|2004|p=313}} He claimed at one point that he “always started out with the idea of a young person, a beautiful woman,” until he “noticed them change. Somebody would step out—a middle-aged woman. I didn’t mean to make them such monsters,” he said.{{sfn|Stevens|Swann|2004|p=311}}

“Woman I,” when exhibited in the early 1950s, unsettled its viewers, haunting them with its violent distortions, its palpable interior and exterior struggles. This woman, at odds with herself and her surroundings, grimaces grotesquely, her teeth sharply etched and protruding, her eyes dark blotches in white angular sockets. She seems trapped in a body that works against itself, arms and legs disproportionately skewed against a pea-green background that seems to have leeched through the canvas. Is she grinning or grimacing? Is she alive or dead or held captive behind invisible chains from which she struggles to break free?

When I first read ''An American Dream'', the murder of Deborah, which opens the novel, mesmerized me with its bold and compelling intricacy, and I was starkly reminded of “Woman I,” a painting I first encountered as a college student. I wondered then, and still do, why people found the painting so troubling, for I found it strangely exhilarating. I felt the power of its counter-movements and the sense that this woman was alive and had broken her chains, bursting forth with her aliveness from all perspectives simultaneously, defying expectations and triumphing in the essence of her ugly beauty. So when I read ''An American Dream'' and encountered the opening murder sections and immediately thought of de Kooning’s “Woman I,” the association seemed valid given that Mailer’s descriptions of Deborah’s dead body mimic de Kooning’s iconoclastic work.

"Look first at Deborah's face," Rojack's voice in his brain tells him as he then kneels "to turn her over." As she faces him now head on, he sees staring back at him "a beast." "Her teeth showed, the point of light in her eye was violent, and her mouth was open. It looked like a cave. I could hear some wind which reached down to the cellars of a sunless earth. A little line of spit came from the corner of her mouth, and an angle from her nose one green seed had floated its small distance on an abortive rill of blood" (39-40).

Earlier, prior to his killing her, he had noticed the "mottling" of her skin that "spread in ugly smears and patches upon her neck, her shoulders, and what I could see of her breast. They radiated a detestation so palpable that my body began to race as if a foreign element, a poison altogether suffocating, were beginning to sweep through me." He begins to question: "Did you ever feel the malignity which rises from a swamp? It is real, I could swear it, and some whisper of ominous calm, that heavy air one breathes in the hours before a hurricane, now came to rest between us. I was afraid of her. She was not incapable of murdering me...She did not wish to tear the body, she was out to spoil the light, and in an epidemic of fear, as if her face--that wide mouth, full-fleshed nose, and pointed green eyes, pointed as arrows--would be my first view of eternity, as if she were ministering angel (ministering devil) I knelt beside her and tried to take her hand. It was soft now as a jellyfish, and almost as repugnant"(25-26).

When Rojack later goes to view Deborah's body at the morgue, he admits: "I did not want to look at Deborah this time. I took no more than a glimpse when the sheet was laid back, and caught for that act a clear view of one green eye staring open, hard as marble, dead as the dead eye of a fish, and her poor face swollen, her beauty gone obese" (76).

Mailer was clearly aware of painterly writing in the new expressionist manner as he references the "ultra-violet" lighting and green the color of guacamole, as in a painting by Vincent Van Gogh or Henri Rousseau. Indeed, Deborah's hallway wallpaper seems like a jungle background "conceived by Rousseau" with its "hot-house of flat velvet flowers, royal, sinister, cultivated in their twinings." They breathe at Rojack "from all four walls, upstairs and down" (13-14,21). The world looms large, all distorted, angular, pulpy and surreal. Rojack thinks: "There was something so sly at the center of her, some snake...guarding the cave which opened to the treasure" (34). He thinks about her own duality, good, evil, and then realizes: "But what I did not know was which of us imprisoned the other, and how? I might be the one who was...evil," he concludes, "and Deborah was trapped with me" (37).

As Mailer questioned the idea of being imprisoned for both men and women, he faced down the feminists during the inflammatory 1960s and 1970s. I applaud his bravado when he recognized in ''The Prison of Sex'' that he is the fall guy in a world of one-liners that resists complex arguments. Although Hemingway faced down his fair share of criticism in his day, no one equals Mailer's fearlessness in speaking out for the primal purity of our sexual identities in love that cant, hypocrisy, and pretension smothers. He argues that "love is more stern than war" and that "people can win at love only when they are ready to lose everything they bring to it of ego, position, or identity." "Men and women can survive," Mailer states, "only if they reach the depths of their own sex down within themselves" (147). Part of that might well involve them slashing away at the phony, sniffling exteriors. Part of that might involve the hatchet approach that both de Kooning and Mailer implemented in their art to show how his delivery "over to the unknown" cannot happen when people assume stances rather than take risks. He concludes adamantly that the "physical love of men and women, insofar as it [is] untainted by civilization, [is] the salvation of us all" (140-41). But herein lies the rub and the essence of Mailer's beautiful artistic violence. Civilization taints love to the degree that pretense and dishonesty rule and to the degree that civilization fails to see the larger harmonious picture.

"When you make love," Mailer said, "whatever is good in you or bad in you, goes out into someone else. I mean this literally. I'm not interested in the biochemistry of it, the electromagnetism of it, nor in how the psychic waves are passed back and forth, and what psychic waves are. All I know is that when one makes love, one changes a woman slightly and a woman changes you slightly...If one has the courage to think about every aspect of the act--I don't mean think mechanically about it, but if one is able to brood over the act, to dwell on it--then one is changed by the act. Even if one has been jangled by the act. Because in the act of restoring one's harmony, one has to encounter all the reasons one was jangled." In essence, he concludes, one needs to test oneself (Prisoner 189).

Hemingway railed against the pretense and cant of his day, and he had what he called his "inborn shit detector." Mailer too could not shut up when things did not ring true, particularly as related to women, and he found it ironic that people failed to recognize that his true thematic concern always was women--not all those heroes he seemed to write about. "Every theme he had ever considered," he said in ''Prisoner'', "was ready to pass with profit through the question of women, their character, their destiny, their life as a class, their tyranny, their slavery, their liberation, their subjection to the wheel of nature, their root in eternity--no German metaphysician, no Doctor of Dialectics could have been happier at the thought of traveling far on the Woman Question." Furthermore, "He was forever pleased with himself at how cleverly he had buried this as yet undisclosed vision of women in his books" (20). He believed that, like D.H. Lawrence, he wrote with "the soul of a beautiful woman." "Whoever believes that such a leap is not possible across the gap, "that a man cannot write of a woman's soul, or a white man of a black man, does not believe in literature itself" (152).

Or of the transformative power of art when it pushes beyond the boundaries. Art during the 1920s in Paris became, as Archibald MacLeish described it, a "conflagration," primarily because of the interdisciplinary convergence and explosion of all the arts. a similar phenomenon occurred in 1950s American in and around New York City and Provincetown, Massachusetts. Here the abstract expressionist painters such as de Kooning and the post -WWII writers such as Mailer mingled on the beach and in the bars as they redefined Modernism for a new era. They were aware of each other's work and influenced by a radicalism that dared, yet again, to upend realism and prosaic truths. Like all great art that might seek to discover an inner truth, they created works that would shock rather than soothe. De Kooning's "Woman I" rattled the art world with its violent distortions and ugly beauty. When I met Norman Mailer at his home in Provincetown in November, 2005, he readily acknowledged his awareness of de Kooning's "Woman I" painting. He went on to add, however, with a look of bemusement, "I never did like that painting. Do you?" As he looked me in the eyes, "Woman I" seemed to hang in the air between us as its own complicated and unspoken explanation. (1)

. . .

===Citations===
{{Reflist|15em}}

===Works Cited===
{{Refbegin|30em|indent=yes}}
* {{cite book |last=Mailer |first=Norman |date=1965 |title=An American Dream |location=New York |publisher=Dial |ref=harv }}
* {{cite book |last=Mailer |first=Norman |author-mask=1 |date=1971 |title=The Prisoner of Sex |url= |location=Boston |publisher=Little, Brown |ref=harv }}
* {{cite book |last1=Stevens |first1=Mark |last2=Swann |first2=Annalyn |date=2004 |title=De Kooning: An American Master |url= |location=New York |publisher=Knopf |ref=harv }}

{{Refend}}

{{Review}}
{{DEFAULTSORT:Woman Redux: de Kooning, Mailer, and American Abstract Expression}}
[[Category:Articles (MR)]]

The Mailer Review/Volume 3, 2009/A Favor for the Ages

2021-06-22T17:03:53Z

KWilcox:

{{DISPLAYTITLE:{{BASEPAGENAME}}/{{SUBPAGENAME}}}}
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{{Byline|last=Worcester |first=Wayne |abstract=An examination of Norman Mailer as representative of the best of American journalism, one of the boldest, brightest, most tenacious, and passionate of its practitioners, as illustrated by the power of ''[[Oswald’s Tale]]''. At one turn, Mailer could be the once-and-future journalist, erudite, hard-working to a fault, dazzling with invention, but restrained by the metes and bounds of reality. The next, he could be the celebrated novelist, startlingly fresh, daring and powerful. He could reach for truth with either hand. Genre mattered little; convention not at all. His bravado and originality made his work magnetic and, inevitably, controversial. |url=https://prmlr.us/mr03wor}}

{{dc|dc=T|he heroes of my youth died in the 1960s}}: my father and President John F. Kennedy in 1963, Dr. Martin Luther King Jr., and Sen. Robert F. Kennedy in 1968. Assassins took them all: cancer the first, bullets the rest. Losses of that magnitude, at least for a time, stripped life of its joy, reduced living to a mere alternative. It wasn't just me. The loss of my father was only a private preview of the pain, confusion and anger that was to scar and undermine my generation. Lee Harvey Oswald, James Earl Ray and Sirhan B. Sirhan, by themselves or in concert with powers unknown, helped to twist and turn us unproductively inward while in the background arose a damnable Asian war that left us mocking the principles, self-reliance and patriotism of our parents and their parents, and their parents before them.

We have been a naïve, narcissistic and arrogant generation, the Baby Boomers, quick to blame and slow to take responsibility. Despite ourselves, we managed to achieve some good along the way, but in a country turned upside down in the 1960s, spun inside out in the 1970s, and set before a fun-house mirror in the 1980s, we remained consumed by the mysteries of the self. Our unswerving indulgence and self-absorption right through the turn of the century has finally brought us, as we flirt with the end of the new millennium's first decade, to the brink of ruin.

Perhaps this is a glib and unfair judgement, the too fast stroke of a broad and darkening brush. I do believe that more hope abides from coast to coast in the year 2009 than during any year in recent memory. And if we look back over all of the years and even quickly consider the day-to-day of it all, where life was lived, only rarely did tomorrow seem unremittingly bleak. There have been moments of great joy, righteous, tide-turning anger, clarity of purpose and, most importantly, understanding.

We owe much of that—although we have always been loathe to admit it and certainly do not do so now—to the best of American journalism, and in particular to those who have been the boldest, brightest, and most tenacious and passionate of the practitioners. They push, prod and knead the prosaic forms of their craft until what might otherwise be homely articles instead become illuminating stories that strain and tilt inexorably toward something more. Invariably, the goal is a keener, clearer, more circumspect knowledge: truth, in other words, with a capital letter T, or as close to it as anyone can possibly come.

Their work on this last literary frontier has gone by various names, some invented by the journalists themselves, others by critics and academics who, for the sake of predictability or perhaps merely for wont of neatness, always feel compelled to categorize—fly-on-the-wall reporting, window-pane reporting, drop-out journalism, submersion journalism, immersion journalism, nonfiction fiction, fictional nonfiction, reporting from the worm’s-eye view, new journalism, gonzo journalism, creative nonfiction, narrative journalism. Well into the exercise, with labels flying everywhere, some pedant is likely to sniff, “Literary journalism? Isn’t that an oxymoron?” Eventually the effort mires in priggish declarations of what is literary and what is not. It is at roughly this juncture that someone is most apt to reel out Ezra Pound’s dictum that “Literature is news that stays news.”{{sfn|Pound|1934|p=29}} Curses are shouted, oaths taken, punches thrown. The police are called. ’Twas ever thus.

Reporters who dare also to write often become the makers of so many glimmering brass rings, the bearers of higher, different, more challenging standards. When one considers the fundamental importance of good journalism to a democratic society, their work can rightly be called heroic. They become models for others who would seek the truth and tell it with a style and grace of their own. This has been so in virtually every age, but in mine, these men and women have stood in my slain heroes.

There have been so many truly fine writing reporters that no single list could accurately be called complete. Here are but a handful from the twentieth century: Jimmy Breslin, Martha Gellhorn, Ernie Pyle, Richard Harding Davis, Ernest Hemingway, Truman Capote, John Hersey, Gay Talese, Bob Woodward and Carl Bernstein, Pete Hamill, Lillian Ross, Rachel Carson, Jessica Mitford, Seymour Hersh, Marjorie Stoneman Douglas, Tom Wolfe, Mary Heaton Vorse, Joan Didion, Rick Bragg, Michael Herr, Hunter S. Thompson, and, of course, scrapping, jabbing, self-promoting but, best of all, brilliantly writing his way to the top, Norman Mailer.

With him there belongs Oswald's Tale: An American Mystery. a minority view perhaps, but one that is eminently defensible. Stylistically, the book is something of a Norman Mailer sampler. Some passages soar, some trudge. In very many, the author is invisible; in others he is omnipresent, but necessarily so. The book's unevenness gives it an engaging, if unwoven, vitality; it is easily among the most conscientiousness, candid and compassionate of Mailer's reportage.

Consider his summary estimation of Marina Prusakova Oswald, Lee Harvey Oswald's often-and easily- vilified widow:
:She sits in a chair, a tiny woman in her early fifties, her thin shoulders hunched forward in such pain of spirt under such a mass of guilt that one would comfort her as one would hug a child. What is left of what was once her beauty are her extraordinary eyes, blue as diamonds, and they blaze with light as if, in divine compensation for the dead weight of all that will not cease to haunt her, she has been granted a spark from the hour of an apocalypse others have not seen. Perhaps it is the light offered to victims who have suffered like gods. (788)
Who but a fellow traveler could write that last line? Only a novelist in reporter's clothing.

. . .

===Citations===
{{Reflist|15em}}

===Works Cited===
{{Refbegin|30em|indent=yes}}
* {{cite book | last=Doyle | first=Sir Arthur Conan | date=2006 | title=The New Annotated Sherlock Holmes | editor-last=Klinger |editor-first=Leslie S. |location=New York |publisher=W. W. Norton & Co. | pages=209-382 | ref=harv }}

* {{cite book | last=Hersey | first=John |date=2006 | chapter=The Legend on the License |title=Journalism: The Democratic Craft | publisher=Oxford University Press |editor1-first=G. Stuart |editor1-last=Adam |editor2-first=Roy Peter |editor2-last=Clark | location=New York | pages=152-163 | ref=harv}}

* {{cite book | last1=Hillstrom | first1=Kevin |first2=Laurie |last2=Collier | date=1998 | title=The Vietnam Experience: A Concise Encyclopedia of American Literature, Songs, and Films | publisher=Greenwood Press |location=Westport, CT | ref=harv}}

* {{cite magazine | last=Jones | first=Malcolm |title=Sentry of a Century; Norman Mailer: 1923/2007 | magazine=Newsweek | pages=64-5 | date=November 19, 2007 | ref=harv}}

* {{cite book | last=Mailer |first=Norman | date=1995 | title=Oswald’s Tale: An American Mystery | publisher=Random House | location=New York |ref=harv }}

* {{cite web | title=Oswald's Ghost |website=The American Experience | publisher=PBS | date=January 14, 2008 |url=https://www.pbs.org/wgbh/americanexperience/films/oswald/#transcript |access-date=2021-06-19 | ref=harv}}

* {{cite book | last=Pound | first=Ezra | date=1934 | title=ABC of Reading | publisher=New Directions | location=New York | ref=harv}}
{{Refend}}

{{Review}}
{{DEFAULTSORT:Favor for the Ages, A}}
[[Category:Articles (MR)]]

The Mailer Review/Volume 3, 2009/Woman Redux: de Kooning, Mailer, and American Abstract Expression

2021-06-22T14:15:54Z

KWilcox:

{{DISPLAYTITLE:{{BASEPAGENAME}}/{{SUBPAGENAME}}}}
{{Working}}
{{MR09}}
{{Byline|last=Miller|first=Linda Patterson |abstract=An examination of Norman Mailer’s appropriation of the painterly distortions of [[w:Willem de Kooning|Willem de Kooning]], a leading figure among the American Abstract Expressionists of the 1950s and 1960s in New York. Mailer’s portrait of Deborah Rojack’s murder in ''[[An American Dream]]'' bears uncanny parallels to de Kooning’s “Woman I,” a painting that Norman Mailer knew well by the time he was working on his novel. An examination of the two works in tandem illuminates how Mailer’s attempt, at least in this novel, was not to destroy women but to liberate them from within and to restore harmony for both
men and women. |note=I gave an earlier version of this essay at the Norman Mailer Conference in Provincetown, Massachusetts, November 3–5, 2005, at which time I was able to meet Mailer and ask him about his relationship to de Kooning’s work. I thank Phillip Sipiora for inviting me to speak at this conference and to become a part of the vibrant community of Norman Mailer Society members. |url=https://prmlr.us/mr03mil}}

{{start|I am not a seasoned Norman Mailer scholar,}} even though his writing has captivated me since I first read him in college. Any more knowledgeable Mailer scholar who thinks I get him wrong might chalk it up to the distorting influence of Ernest Hemingway, that other white male who has commandeered a bid chunk of my scholarship. Actually, I recognize that both authors provoke passionate and intemperate reactions, sometimes from women, perhaps due to the public personas of these writers as hard-hitting, women-be-damned kinds of guys. Nonetheless, both these writers are quite similar in speaking directly to their times with art that shocks convention and galvanizes emotional truth. No person, male or female, who reads well either of these authors remains unaffected.

In order to arrive at artistic truth, Mailer tried to write “with the soul of a beautiful woman” as he, not unlike Hemingway, worked from the inside out.{{sfn|Mailer|1971|p=152}} This required radical action and innovative artistic techniques representative of the best and most transformative expressionist art. For Hemingway, that meant scrutinizing and then modeling his writing after the skewed perspectives and disjointed landscapes of Paul Cezanne, and for Mailer that meant appropriating for his art the erratic swirls and painterly distortions of Willem de Kooning, a leading figure among the American Abstract Expressionists of the 1950s and 1960s in New York. Following the publication of ''The Naked and the Dead'', Mailer’s traditional war novel that brought him early fame in 1948, Mailer dared to experiment with unconventional literary forms and techniques so as to penetrate the post-WWII veneer of respectability and social and historical posturing. Mailer’s slash attack on American complacency and his use of distortion verged toward the irreverent and outlandish in his most shockingly powerful 1965 novel ''An American Dream''. This work, sandwiched between Mailer’s war novel and his later autobiographical narratives forged in the school of new journalism, redefined expressionism for a post-WWII America. The novel unsettles and disorients as it defies conventional notions of gender, love, and artistic innovation. The writer of such a daredevil work should not be held at arms’ length, even by women.

In order to discuss Mailer as a new expressionist who straddled realism and the surreal in creating a provocative and profound portrait of women, he is best aligned with another twentieth-century artist of Mailer’s time, Willem de Kooning, a painter who loved women even as he seemed to mutilate them on the canvas. De Kooning’s biographers Mark Stevens and Annalyn Swan regard de Kooning’s painting “Woman I,” which he worked on over the course of three difficult years, 1950–52, as “one of the most disturbing and storied” images of a woman in the history of art.{{sfn|Stevens|Swann|2004|p=309}} This painting marked a turning point for de Kooning, who clung to realism even as he yanked it free from formula, similar to Mailer.

Mailer’s portrait of Deborah Rojack’s murder in ''An American Dream'' bears uncanny parallels to de Kooning’s “Woman I,” a painting that Norman Mailer knew well by the time he was working on his novel. An examination of the two works in tandem illuminates how Mailer’s attempt, at least in this novel, was not to destroy women but to liberate them from within and to restore harmony for both men and women. I realize that my ideas here risk comparison to all those sick doctor jokes wherein the patient is told the good news that the doctors will be able to save her. The bad news is that to save her they must first kill her. Mailer recognized that Kate Millet, along with other feminists, believe that male writers love to kill off their heroines as aggressive acts of male superiority. Judith Fetterly never forgave Hemingway for killing Catherine Barkley in ''A Farewell to Arms'', and Millet lashes out at D. H. Lawrence for his slaughter of a white woman at the hands of natives in “The Woman Who Rode Away.” As Mailer quotes her in ''The Prisoner of Sex'', Millet says that “it is the perversion of sexuality into slaughter, indeed, the story’s very travesty and denial of sexuality, which accounts for its monstrous, even demented air.”{{sfn|Mailer|1971|p=141}}

Certainly Mailer’s no-holds-barred portrait of Deborah’s murder followed by Rojack’s “bitch of a brawl” with Ruta seems monstrous and even demented, as does the first “Woman” painting that de Kooning labored over for almost three years. He became increasingly slovenly with his personal hygiene and his studio space, and he often painted in the nude, obsessively creating and recreating his woman, slashing at the canvas, slathering on swabs of paint only to scrape it all off in order to start again. He had particular difficulty with her mouth and her hands, which seemed to him “clawlike.” Stevens and Swan describe de Kooning’s struggle to find “intimacy with an image; the broken, convulsive, and awkward must be conveyed, if the truth was to be served,” and the meanings were necessarily “contradictory.” “A mouth meant far more than a realistic depiction of two lips and a hole could reveal. A mouth was nourishment, smiles, frowns, sex, teeth, whispers, and shouts. It told lies and truths. It was inside and outside, a lipstick pose and a revelation. Viewed this way, a mouth was an almost impossible thing to get right.”{{sfn|Stevens|Swann|2004|p=323}}
[[File:Mr03-de-kooning.jpg|thumb|500px|''Woman, I''. Willem de Kooning. 1950–52. Oil on canvas (192.7 x 147.3 cm). Museum of Modern Art, New York.]]
When de Kooning began work on “Woman I,” and then his succeeding women paintings (almost all of them seated and facing full-frontal forward), he would face down the canvases without forethought. “Almost everyday he would use a sharpened spatula to scrape away most of the figure, flinging the dead paint onto newspapers strewn over the floor. (He would attack the picture in this way whenever the worked-over paint lost its freshness and became what he called ‘rotten’).”{{sfn|Stevens|Swann|2004|p=313}} He claimed at one point that he “always started out with the idea of a young person, a beautiful woman,” until he “noticed them change. Somebody would step out—a middle-aged woman. I didn’t mean to make them such monsters,” he said.{{sfn|Stevens|Swann|2004|p=311}}

“Woman I,” when exhibited in the early 1950s, unsettled its viewers, haunting them with its violent distortions, its palpable interior and exterior struggles. This woman, at odds with herself and her surroundings, grimaces grotesquely, her teeth sharply etched and protruding, her eyes dark blotches in white angular sockets. She seems trapped in a body that works against itself, arms and legs disproportionately skewed against a pea-green background that seems to have leeched through the canvas. Is she grinning or grimacing? Is she alive or dead or held captive behind invisible chains from which she struggles to break free?

When I first read ''An American Dream'', the murder of Deborah, which opens the novel, mesmerized me with its bold and compelling intricacy, and I was starkly reminded of “Woman I,” a painting I first encountered as a college student. I wondered then, and still do, why people found the painting so troubling, for I found it strangely exhilarating. I felt the power of its counter-movements and the sense that this woman was alive and had broken her chains, bursting forth with her aliveness from all perspectives simultaneously, defying expectations and triumphing in the essence of her ugly beauty. So when I read ''An American Dream'' and encountered the opening murder sections and immediately thought of de Kooning’s “Woman I,” the association seemed valid given that Mailer’s descriptions of Deborah’s dead body mimic de Kooning’s iconoclastic work.

"Look first at Deborah's face," Rojack's voice in his brain tells him as he then kneels "to turn her over." As she faces him now head on, he sees staring back at him "a beast." "Her teeth showed, the point of light in her eye was violent, and her mouth was open. It looked like a cave. I could hear some wind which reached down to the cellars of a sunless earth. A little line of spit came from the corner of her mouth, and an angle from her nose one green seed had floated its small distance on an abortive rill of blood" (39-40).

Earlier, prior to his killing her, he had noticed the "mottling" of her skin that "spread in ugly smears and patches upon her neck, her shoulders, and what I could see of her breast. They radiated a detestation so palpable that my body began to race as if a foreign element, a poison altogether suffocating, were beginning to sweep through me." He begins to question: "Did you ever feel the malignity which rises from a swamp? It is real, I could swear it, and some whisper of ominous calm, that heavy air one breathes in the hours before a hurricane, now came to rest between us. I was afraid of her. She was not incapable of murdering me...She did not wish to tear the body, she was out to spoil the light, and in an epidemic of fear, as if her face--that wide mouth, full-fleshed nose, and pointed green eyes, pointed as arrows--would be my first view of eternity, as if she were ministering angel (ministering devil) I knelt beside her and tried to take her hand. It was soft now as a jellyfish, and almost as repugnant"(25-26).

When Rojack later goes to view Deborah's body at the morgue, he admits: "I did not want to look at Deborah this time. I took no more than a glimpse when the sheet was laid back, and caught for that act a clear view of one green eye staring open, hard as marble, dead as the dead eye of a fish, and her poor face swollen, her beauty gone obese" (76).

Mailer was clearly aware of painterly writing in the new expressionist manner as he references the "ultra-violet" lighting and green the color of guacamole, as in a painting by Vincent Van Gogh or Henri Rousseau. Indeed, Deborah's hallway wallpaper seems like a jungle background "conceived by Rousseau" with its "hot-house of flat velvet flowers, royal, sinister, cultivated in their twinings." They breathe at Rojack "from all four walls, upstairs and down" (13-14,21). The world looms large, all distorted, angular, pulpy and surreal. Rojack thinks: "There was something so sly at the center of her, some snake...guarding the cave which opened to the treasure" (34). He thinks about her own duality, good, evil, and then realizes: "But what I did not know was which of us imprisoned the other, and how? I might be the one who was...evil," he concludes, "and Deborah was trapped with me" (37).

As Mailer questioned the idea of being imprisoned for both men and women, he faced down the feminists during the inflammatory 1960s and 1970s. I applaud his bravado when he recognized in The Prison of Sex that he is the fall guy in a world of one-liners that resists complex arguments. Although Hemingway faced down his fair share of criticism in his day, no one equals Mailer's fearlessness in speaking out for the primal purity of our sexual identities in love that cant, hypocrisy, and pretension smothers. He argues that "love is more stern than war" and that "people can win at love only when they are ready to lose everything they bring to it of ego, position, or identity." "Men and women can survive," Mailer states, "only if they reach the depths of their own sex down within themselves" (147). Part of that might well involve them slashing away at the phony, sniffling exteriors. Part of that might involve the hatchet approach that both de Kooning and Mailer implemented in their art to show how his delivery "over to the unknown" cannot happen when people assume stances rather than take risks. He concludes adamantly that the "physical love of men and women, insofar as it [is] untainted by civilization, [is] the salvation of us all" (140-41). But herein lies the rub and the essence of Mailer's beautiful artistic violence. Civilization taints love to the degree that pretence and dishonesty rule and to the degree that civilization fails to see the larger harmonious picture.

"When you make love," Mailer said, "whatever is good in you or bad in you, goes out into someone else. I mean this literally. I'm not interested in the biochemistry of it, the electromagnetism of it, nor in how the psychic waves are passed back and forth, and what psychic waves are. All I know is that when one makes love, one changes a woman slightly and a woman changes you slightly...If one has the courage to think about every aspect of the act--I don't mean think mechanically about it, but if one is able to brood over the act, to dwell on it--then one is changed by the act. Even if one has been jangled by the act. Because in the act of restoring one's harmony, one has to encounter all the reasons one was jangled." In essence, he concludes, one needs to test oneself (Prisoner 189).

Hemingway railed against the pretense and cant of his day, and he had what he called his "inborn shit detector." Mailer too could not shut up when things did not ring true, particularly as related to woman, and he found it ironic that people failed to recognize that his true thematic concern always was women--not all those heroes he seemed to write about. "Every theme he had ever considered," he said in Prisoner, "was ready to pass with profit through the question of women, their character, their destiny, their life as a class, their tyranny, their slavery, their liberation, their subjection to the wheel of nature, their root in eternity--no German metaphysician, no Doctor of Dialectics could have been happier at the thought of traveling far on the Woman Question." Furthermore, "He was forever pleased with himself at how cleverly he had buried this as yet undisclosed vision of women in his books" (20). He believed that, like D.H. Lawrence, he wrote with "the soul of a beautiful woman." "Whoever believes that such a leap is not possible across the gap, "that a man cannot write of a woman's soul, or a white man of a black man, does not believe in literature itself" (152).

Or of the transformative power of art when it pushes beyond the boundaries. Art during the 1920S in Paris became, as Archibald MacLeish described it, a "conflagration," primarily because of the interdisciplinary convergence and explosion of all the arts. a similar phenomenon occurred in 1950s American in and around New York City and Provincetown, Massachusetts. Here the abstract expressionist painters such as de Kooning and the post -WWII writers such as Mailer mingled on the beach and in the bars as they redefined Modernism for a new era. They were aware of each other's work and influenced by a radicalism that dared, yet again, to upend realism and prosaic truths. Like all great art that might seek to discover an inner truth, they created works that would shock rather than soothe. De Kooning's "Woman I" rattled the art world with its violent distortions and ugly beauty. When I met Norman Mailer at his home in Provincetown in November, 2005, he readily acknowledged his awareness of de Kooning's "Woman I" painting. He went on to add, however, with a look of bemusement, "I never did like that painting. Do you?" As he looked me in the eyes, "Woman I" seemed to hang in the air between us as its own complicated and unspoken explanation. (1)

. . .

===Citations===
{{Reflist|15em}}

===Works Cited===
{{Refbegin|30em|indent=yes}}
* {{cite book |last=Mailer |first=Norman |date=1965 |title=An American Dream |location=New York |publisher=Dial |ref=harv }}
* {{cite book |last=Mailer |first=Norman |author-mask=1 |date=1971 |title=The Prisoner of Sex |url= |location=Boston |publisher=Little, Brown |ref=harv }}
* {{cite book |last1=Stevens |first1=Mark |last2=Swann |first2=Annalyn |date=2004 |title=De Kooning: An American Master |url= |location=New York |publisher=Knopf |ref=harv }}

{{Refend}}

{{Review}}
{{DEFAULTSORT:Woman Redux: de Kooning, Mailer, and American Abstract Expression}}
[[Category:Articles (MR)]]

The Mailer Review/Volume 3, 2009/Woman Redux: de Kooning, Mailer, and American Abstract Expression

2021-06-21T14:31:09Z

KWilcox:

The Mailer Review/Volume 3, 2009/Woman Redux: de Kooning, Mailer, and American Abstract Expression

2021-06-18T16:05:01Z

KWilcox: /* Citations */

The Mailer Review/Volume 3, 2009/Woman Redux: de Kooning, Mailer, and American Abstract Expression

2021-06-18T15:59:34Z

KWilcox:

Talk:The Mailer Review/Volume 13, 2019/Interview with Susan Mailer, author of In Another Place: With and Without My Father, Norman Mailer

2021-06-17T12:52:10Z

KWilcox:

'''#1) As a practicing psychoanalyst, you have published professional papers, but this is your first creative work. Why did you decide to write a memoir?'''
'''SM''': In 2013 I was invited to be the keynote speaker at the '''Norman Mailer Society''' Conference. I decided to write a personal vignette that would shed light on an unknown aspect of my father's life. Immediately, I remembered those months Dad had spent in Mexico when I was a small child and had taken me to the bullfights. I hadn't thought about the ''corridas'' in more than 40 years, but the images were all there, waiting to be retrieved: the music, the atmosphere, the smell of beer and Mexican snacks, people cheering, and most of all the black bull running, panting, fighting for his life, and finally dying.

Before the Norman Mailer Conference, I had participated in psychoanalytic conferences and written papers that were published in journals. Thinking about my life and setting down on paper was a new experience. I dug into my memories, waited for my unconscious to work through the gray areas, and a piece of my life with Dad appeared. The writing flowed, and I enjoyed it. I thought I want to do more of this. And I also thought, ''many books have been written about Dad, but few people know what he was like as a father''. I decided to plunge into unknown territory and began writing the memoir.

'''#2) You have spent half your life, or more, living in Mexico and Chile. Can you talk about how your bifurcated life has affected your outlook, your perspective on things, and specifically, how it influenced the writing of the memoir?'''
'''SM''': I've actually spent about 70% of my life in Latin America. I'm totally bilingual and feel comfortable in both cultures. I think growing up in two very different places, with two languages and cultures and with Mom in one and Dad in the other, gave me a sense of culture colors and nuances from an early age. Home was Mexico-New York, but I still had to make emotional adjustments as I moved from one place to another. In order to belong, I only spoke the language of the land. So, when I was in New York, it was English, and when in Mexico only Spanish. All of this was part of my life and I didn't question it until I got married and went to Chile at the age of 30. It was not an easy change, but on the upside, this situation gave me the opportunity to look at the United States and Mexico from a distance and think about who I was and where I belonged.

While I was writing the memoir (in English, not Spanglish as I would've liked) I thought of my life with and without my father through the prism of my multiple identities. The title, ''In Another Place'', tells the story. I was either with my mother and without my father, or with the Mailers and without the vibrant Mexican atmosphere I loved. While I was in one place, I wanted to be in another and when I went back, I dreamed of returning. I could never have the two at the same time. This split colored my life, gave me a sense of not quite belonging and at the same time belonging everywhere.

'''#3) Did your professional work as an analyst affect the way you depicted your parents, and others, in the memoir?'''
'''SM''': I've been an analyst for almost 30 years. Everything I've read, added to years of clinical experience, was an asset while I was writing the book. It's not that I psychoanalyzed my family. Rather, I would say it was a second analysis for me. And I was going through it, of course, I had lots of new insights about my parents and our life together.

'''#4) During the first ten or twelve years of your life you saw your father ir-regularly; please describe how much time you spent with him up to 1960.'''
'''SM''': When my parents separated and my mother moved to Mexico when I was two, the arrangement was that I would spend half the year with her and the other half with Dad. What actually happened was that for at least four years, until I was about six, Dad spent three months in Mexico City and would take me back with him to New York, by car, for another three months. Those road trips were his way of strengthening our bond. When I was seven, my parents considered I was old enough to fly alone. From that moment on, I took a plane to New York at the beginning of November and left at the end of February. Sometimes Dad, Adele and I lived together, others I stayed with his mother, Grandma Fanny.

'''#5) Tell me about your immediate family-your husband, children, and grandchildren.'''
'''SM''': Marco, my husband, is Chilean born from Sephardic parents who arrived in Chile in the early 1920's from Turkey. We met in Mexico where he was exiled, during the Pinochet dictatorship. Later in 1980 we moved to Chile, in large part, to live close to his children, Max, Daniela and Ivan, who were eleven, seven and five years old at the time. Soon my first daughter, Valentina was born, followed by Alejandro and Antonia. Unlike me, our three kids were born in Santiago and grew up in the same house. Yet, I suppose the wanderlust is in their cultural DNA. Valentina lives in Valparaiso, is married and has two girls. Alejandro's wife is Colombian, they live in Cali and have two boys. Antonia has become a New Yorker. So, my gypsy life continues. All my kids are now in another place.

'''#6) Tell me about your relationships with your eight siblings-you are the eldest, the senior sibling.'''
'''SM''': Actually, I am the eldest of nine siblings. I have a brother, Salvador, born to my mother and Salvador her second husband. We grew up together until I was 18, so we have the easy familiarity that comes with living in the same house during all our childhood.

My Mailer siblings are eight. I am eight years older than Danielle, the next in line, and 28 years older than my youngest brother, John. I spent fragmented time with all of them during my childhood, adolescence and adulthood. Yet, thanks to my father's efforts, we are close as a family. Nothing to sneeze at considering we're the offspring of 6 different mothers.

My father had many faults, and too many times he wasn't the most supportive father. But, eventually, family became very important to him. Starting in the mid 60's Dad gathered his children to spend a couple of months in Provincetown. In the early 70's a month in Maine was added. I wasn't always present, but I was there enough times to feel a growing tie with all my siblings. In Maine we were thrown into communal living, had to share with the house-hold chores and only had each other for entertainment. And it was this summer month every year which bonded us as siblings. I suppose that as the oldest, some of my siblings looked up to me. But, on the other hand, I wasn't around enough in their everyday life to know them intimately. I think it wasn't until I was living in Chile, that I fully grasped how important they were to me.

'''#7) You write about the place where your father lived in Brooklyn, from the early 1960s until his death, Columbia Heights, overlooking the East River and the Manhattan skyline. You also paint a vivid portrait of Mexico City. How would you contrast the feel of life, the ambiance, of these two cities where you spent your formative years?'''
'''SM''': I can't think of two more different places than New York/Brooklyn and Mexico City in the 1950's and 60's. Language, food, colors, smells, music, the people, and history. When I was growing up, Mexico was color and New York was gray. I usually went to New York from November to February, spending Thanksgiving and Christmas with the Mailer family. That meant roast turkey and sweet potatoes, pies, stuffing, a Christmas tree, snow and lots of presents. And many cold, gray days. Mexico was summer, dazzling blooming flowers, spicy food, tropical rain, playing outside on the street with friends. Winter was with Dad and Summer was with Mom. Like the myth of Persephone and Demeter.

'''#8) Your mother Beatrice was a life-long practicing psychiatrist and you underwent psychoanalysis in Chile. These were two of the factors that led to your choice of a career as an analyst, correct? Were there others?'''
'''SM''': My mother was an MD. She trained as a psychiatrist and was a therapist until she retired. When I was a kid. I'd use her doctor's stationary to play therapist diagnosing a patient. My gather was also interested in Freud. As a novelist he journeyed into unconscious and created characters with complex emotional lives. We all know he was not afraid of the turbulence of aggression and violence. I would say then, that both my parents, each in their own way, influenced the professional path I chose. By the time I began my personal analysis, I had already decided to become a psychoanalyst.

'''#9) You write that your father's status as one of the leading writers of his time thwarted any idea you had of becoming a writer. Can you comment on how his celebrity affected you and your siblings?'''
'''SM''': I'd rather not speak on my siblings, although growing up in the shadow of a powerful father, who was also a celebrity, was not easy for any of us. In the memoir I mention how, during my young adulthood, I felt there was nothing I could do that would live up to his (or perhaps my own) expectations. I used to think being famous was the only way to measure success, so my eternal question was ''why even try''? I was sure I did not want to be a writer, not only because it meant being measured against his talent and fame, but also because I didn't want a writer's life. I had watched my father labor over his manuscripts. I knew writing required many solitary hours with my thoughts, many tortured days without knowing if what I was doing was good enough. I figured, if you don't have a talent like his. it's not worth trying.

'''#10) One of the most moving chapters in your memoir concerns living in Chile after your marriage to Marco, who you met when you were both in Mexico. Even though Chile, like Mexico, is a Spanish-speaking country, you found life there to be much different, and more difficult than in Mexico. Please explain.'''
'''SM''': I was under the illusion that I'd be happy in any Latin American country. When we moved to Chile, that bubble burst. Chile is at the end of the Southern Hemisphere, and at that time, 1980, it was under military rule. Pinochet, the military dictator, was persona non grata in most of the world, even in Franco's Spain. Living in Chile literally meant being stranded at the end of the world. I felt like a stranger in a strange land, uprooted and with practically no ties to the place. For the first time I realized with total clarity the pain of having been shuttled from one country to another, from Mom to Dad, for most of my childhood. There was no escape, because now I was married and had a baby girl. I dived into therapy knowing the only place I had left to go was within myself.

'''#11) "The Trouble," your father's stabbing of his second wife, Adele Morales, created much pain and suffering in the family. Was one of the purposes of ''In Another Place'' to finally come to grips with this event?'''
'''SM''': When I wrote the chapter "Silent Spaces," I had no choice but to face considerable angst what this painful episode meant to me and our family. Somehow, even though I had been in psychoanalysis for many years, I had managed to avoid confronting it. Which is why I often say writing this memoir was a second analysis for me. Through writing about that time, I was able to better understand my fear of Dad's drinking, his bad moods, his anger, his violent temper. Of course I was afraid of him; he had stabbed his wife, my stepmother, Adele. Was he capable of doing like again? I never put this thought into words, at least not those words, but they were floating in our family's atmosphere for many years. Added to this, we had to deal with the shame of having a father who had almost killed his wife. A father who was famous enough so that no one ever let you forget what he had done.

'''#12) Provincetown, Massachusetts, at the very end of Cape Cod, is the artists' colony where your father and his wives spent the summers for decades. It is also a place where all the Mailer siblings gathered every August, and continue to do so. What kind of influence does his place have on you and your family?'''
'''SM''': From the 1980's on Marco and I spent at least two weeks in July in Provincetown with our three kids at Grandpa Norman's house. The first time I saw my kids and grandchildren walking across the flats during low tide I felt I was watching an old eight mm home movie. Seeing our grandkids, buckets in hand, searching for hermit crabs, made me recall the same scene, 30 years before with my own children, and 50 years before with my siblings.

Provincetown has become a must meeting point for the Mailer clan. All my siblings and our children and grandchildren meet every year in August and spend at least one chaotic week together. It gives us a sense of belonging, of family, of warmth and love. And remembering our father, who loved Provincetown, and is buried there.

'''#13) I have heard you say several times that your father asked you, as his eldest, to take the lead in fostering family harmony and togetherness. The metaphor he used, I believe, was that of a tapestry. Would it be fair to say that your memoir is part of this effort?'''
'''SM''': Without doubt my siblings and I have many shared experiences, and this time I was the chronicle. I'm sure each one of us has a different story to tell, and perhaps if we could put all those stories together, we'd have a written testimony of our family tapestry. ''In Another Place'' is my contribution.

Talk:The Mailer Review/Volume 13, 2019/Interview with Susan Mailer, author of In Another Place: With and Without My Father, Norman Mailer

2021-06-17T12:51:09Z

KWilcox:

Talk:The Mailer Review/Volume 13, 2019/Interview with Susan Mailer, author of In Another Place: With and Without My Father, Norman Mailer

2021-06-16T18:49:26Z

KWilcox:

'''#1) As a practicing psychoanalyst, you have published professional papers, but this is your first creative work. Why did you decide to write a memoir?'''
'''SM''': In 2013 I was invited to be the keynote speaker at the '''Norman Mailer Society''' Conference. I decided to write a personal vignette that would shed light on an unknown aspect of my father's life. Immediately, I remembered those months Dad had spent in Mexico when I was a small child and had taken me to the bullfights. I hadn't thought about the ''corridas'' in more than 40 years, but the images were all there, waiting to be retrieved: the music, the atmosphere, the smell of beer and Mexican snacks, people cheering, and most of all the black bull running, panting, fighting for his life, and finally dying.

Before the Norman Mailer Conference, I had participated in psychoanalytic conferences and written papers that were published in journals. Thinking about my life and setting down on paper was a new experience. I dug into my memories, waited for my unconscious to work through the gray areas, and a piece of my life with Dad appeared. The writing flowed, and I enjoyed it. I thought I want to do more of this. And I also thought, ''many books have been written about Dad, but few people know what he was like as a father''. I decided to plunge into unknown territory and began writing the memoir.

'''#2) You have spent half your life, or more, living in Mexico and Chile. Can you talk about how your bifurcated life has affected your outlook, your perspective on things, and specifically, how it influenced the writing of the memoir?'''
'''SM''': I've actually spent about 70% of my life in Latin America. I'm totally bilingual and feel comfortable in both cultures. I think growing up in two very different places, with two languages and cultures and with Mom in one and Dad in the other, gave me a sense of culture colors and nuances from an early age. Home was Mexico-New York, but I still had to make emotional adjustments as I moved from one place to another. In order to belong, I only spoke the language of the land. So, when I was in New York, it was English, and when in Mexico only Spanish. All of this was part of my life and I didn't question it until I got married and went to Chile at the age of 30. It was not an easy change, but on the upside, this situation gave me the opportunity to look at the United States and Mexico from a distance and think about who I was and where I belonged.

While I was writing the memoir (in English, not Spanglish as I would've liked) I thought of my life with and without my father through the prism of my multiple identities. The title, ''In Another Place'', tells the story. I was either with my mother and without my father, or with the Mailers and without the vibrant Mexican atmosphere I loved. While I was in one place, I wanted to be in another and when I went back, I dreamed of returning. I could never have the two at the same time. This split colored my life, gave me a sense of not quite belonging and at the same time belonging everywhere.

'''#3) Did your professional work as an analyst affect the way you depicted your parents, and others, in the memoir?'''
'''SM''': I've been an analyst for almost 30 years. Everything I've read, added to years of clinical experience, was an asset while I was writing the book. It's not that I psychoanalyzed my family. Rather, I would say it was a second analysis for me. And I was going through it, of course, I had lots of new insights about my parents and our life together.

'''#4) During the first ten or twelve years of your life you saw your father ir-regularly; please describe how much time you spent with him up to 1960.'''
'''SM''': When my parents separated and my mother moved to Mexico when I was two, the arrangement was that I would spend half the year with her and the other half with Dad. What actually happened was that for at least four years, until I was about six, Dad spent three months in Mexico City and would take me back with him to New York, by car, for another three months. Those road trips were his way of strengthening our bond. When I was seven, my parents considered I was old enough to fly alone. From that moment on, I took a plane to New York at the beginning of November and left at the end of February. Sometimes Dad, Adele and I lived together, others I stayed with his mother, Grandma Fanny.

'''#5) Tell me about your immediate family-your husband, children, and grandchildren.'''
'''SM''': Marco, my husband, is Chilean born from Sephardic parents who arrived in Chile in the early 1920's from Turkey. We met in Mexico where he was exiled, during the Pinochet dictatorship. Later in 1980 we moved to Chile, in large part, to live close to his children, Max, Daniela and Ivan, who were eleven, seven and five years old at the time. Soon my first daughter, Valentina was born, followed by Alejandro and Antonia. Unlike me, our three kids were born in Santiago and grew up in the same house. Yet, I suppose the wanderlust is in their cultural DNA. Valentina lives in Valparaiso, is married and has two girls. Alejandro's wife is Colombian, they live in Cali and have two boys. Antonia has become a New Yorker. So, my gypsy life continues. All my kids are now in another place.

'''#6) Tell me about your relationships with your eight siblings-you are the eldest, the senior sibling.'''
'''SM''': Actually, I am the eldest of nine siblings. I have a brother, Salvador, born to my mother and Salvador her second husband. We grew up together until I was 18, so we have the easy familiarity that comes with living in the same house during all our childhood.

My Mailer siblings are eight. I am eight years older than Danielle, the next in line, and 28 years older than my youngest brother, John. I spent fragmented time with all of them during my childhood, adolescence and adulthood. Yet, thanks to my father's efforts, we are close as a family. Nothing to sneeze at considering we're the offspring of 6 different mothers.

My father had many faults, and too many times he wasn't the most supportive father. But, eventually, family became very important to him. Starting in the mid 60's Dad gathered his children to spend a couple of months in Provincetown. In the early 70's a month in Maine was added. I wasn't always present, but I was there enough times to feel a growing tie with all my siblings. In Maine we were thrown into communal living, had to share with the house-hold chores and only had each other for entertainment. And it was this summer month every year which bonded us as siblings. I suppose that as the oldest, some of my siblings looked up to me. But, on the other hand, I wasn't around enough in their everyday life to know them intimately. I think it wasn't until I was living in Chile, that I fully grasped how important they were to me.

'''#7)''' You write about the place where your father lived in Brooklyn, from the early 1960s until his death, Columbia Heights, overlooking the East River and the Manhattan skyline. You also paint a vivid portrait of Mexico City. How would you contrast the feel of life, the ambiance, of these two cities where you spent your formative years?'''
'''SM''': I can't think of two more different places than New York/Brooklyn and Mexico City in the 1950's and 60's. Language, food, colors, smells, music, the people, and history. When I was growing up, Mexico was color and New York was gray. I usually went to New York from November to February, spending Thanksgiving and Christmas with the Mailer family. That meant roast turkey and sweet potatoes, pies, stuffing, a Christmas tree, snow and lots of presents. And many cold, gray days. Mexico was summer, dazzling blooming flowers, spicy food, tropical rain, playing outside on the street with friends. Winter was with Dad and Summer was with Mom. Like the myth of Persephone and Demeter.

'''#8)''' Your mother Beatrice was a life-long practicing psychiatrist and you underwent psychoanalysis in Chile. These were two of the factors that led to your choice of a career as an analyst, correct? Were there others?'''
'''SM''': My mother was an MD. She trained as a psychiatrist and was a therapist until she retired. When I was a kid. I'd use her doctor's stationary to play therapist diagnosing a patient. My gather was also interested in Freud. As a novelist he journeyed into unconscious and created characters with complex emotional lives. We all know he was not afraid of the turbulence of aggression and violence. I would say then, that both my parents, each in their own way, influenced the professional path I chose. By the time I began my personal analysis, I had already decided to become a psychoanalyst.

'''#9)''' You write that your father's status as one of the leading writers of his time thwarted any idea you had of becoming a writer. Can you comment on how his celebrity affected you and your siblings?'''
'''SM''': I'd rather not speak on my siblings, although growing up in the shadow of a powerful father, who was also a celebrity, was not easy for any of us. In the memoir I mention how, during my young adulthood, I felt there was nothing I could do that would live up to his (or perhaps my own) expectations. I used to think being famous was the only way to measure success, so my eternal question was ''why even try''? I was sure I did not want to be a writer, not only because it meant being measured against his talent and fame, but also because I didn't want a writer's life. I had watched my father labor over his manuscripts. I knew writing required many solitary hours with my thoughts, many tortured days without knowing if what I was doing was good enough. I figured, if you don't have a talent like his. it's not worth trying.

Talk:The Mailer Review/Volume 13, 2019/Interview with Susan Mailer, author of In Another Place: With and Without My Father, Norman Mailer

2021-06-16T18:01:33Z

KWilcox:

Talk:The Mailer Review/Volume 13, 2019/Interview with Susan Mailer, author of In Another Place: With and Without My Father, Norman Mailer

2021-06-16T15:53:47Z

KWilcox:

Talk:The Mailer Review/Volume 13, 2019/Interview with Susan Mailer, author of In Another Place: With and Without My Father, Norman Mailer

2021-06-16T15:40:05Z

KWilcox:

Talk:The Mailer Review/Volume 13, 2019/Interview with Susan Mailer, author of In Another Place: With and Without My Father, Norman Mailer

2021-06-16T15:38:10Z

KWilcox: Created page with "'''#1) As a practicing psychoanalyst, you have published professional papers, but this is your first creative work. Why did you decide to write a memoir?''' '''SM''': In 2013..."

The Mailer Review/Volume 3, 2009/Woman Redux: de Kooning, Mailer, and American Abstract Expression

2021-06-16T03:22:16Z

KWilcox:

'''LINDA PATTERSON MILLER'''

I AM NOT A SEASONED NORMAN MAILER SCHOLAR, even though his writing has captivated me since I first read him in college. Any more knoeledgeable Mailer scholar who thinks I get him wrong might chalk it up to the distorting influence of Ernest Hemingway, that other white male who has commandeered a bid chunk of my scholarship. Actually, I recognize that both authors provoke passionate and intemperate reactions, sometimes from women, perhaps due to the public personas of these writers as harding-hitting, women-be-damned kinds of guys. Nonetheless, both these writers are quite similar in speaking directly to their times with art that shocks conventionand galvanizes emotional truth. No person, male or female, who reads well either of these authors remains unaffected.

In order to arrive at artistic truth, Mailer tried to write "with the soul of a beautiful woman" as he, not unlike Hemingway, worked from the insideout (''Prisoner 152'').This required radical action and innovative artistic techniques representative of the best and most transformative expressionist art. For Hemingway, that meant scrutinizing and then modeling his writing after the skewed perspectives and disjointed landscapes of Paul Cezanne, and for Mailer that meant appropriating for his art the erratic swirls and painterly Abstract Expressionists of the 1950s and 1960s in New York. Following thepublication of ''The Naked and the Dead'', Mailer's traditional war novel that brought him early fame in 1948, Mailer dared to experiment with unconventional literary forms and techniques so as to penetrate the post WWII veneer of respectability and social and historical posturing. Mailer's slash attack on American complacency and his use of distortion verged toward the irreverent and outlandish in his most shockingly powerful 1965 novel ''An American Dream''.This work, sandwiched between Mailer's war novel and his laterredefined expressionism for a post - WWII America. The novel unsettles and disorients as it defies conventional notions of gender, love, and artistic innovation. The writer of such a daredevil work should not be held at arms' length, even by women.

In order to discuss Mailer as a new expressionist who straddled realism and the surreal in creating a provocative and profound portrait of women, he is best aligned with another twentieth-century artist of Mailer's time, Willem de Kooning, a painter who loved women even as he seemed to mutilate them on canvas. De Kooning's biographersMark Stevens and Annalyn Swan regard de Kooning's painting "WomanI," which he worked on over the course of three difficult years, 1950-52, as "one of the most disturbing and storied" images of a woman in the history of art(309). This painting marked a turning point for de Kooning, who clung to realism even as he yanked it free from formular, similar to Mailer.

Mailer's portrait of Deborah Rojack's murder in ''An American Dream'' bears uncanny parallels to de Kooning's "Woman I," a painting that Norman Mailer knew well by the time he was working on his novel. An examination of the two works in tandem illuminates how Mailer's attempt, at least in this novel, was not to destroy women but to liberate them from within and to restore harmony for both men and women. I realize that my ideas here risk comparison to all those sick doctor jokes wherein the patient is told the good news that the doctors will be able to save her. The bad news is that to save her thay must kill her. Mailer recognized that Kate Millet, along with other fiminists, believe that male writers love to kill off their heroines as aggressive acts of male superiority. Judith Fetterly never forgave Hemingway for killing Catherine Barkley in ''A Farewell to Arms'', and Millet lashes out at D.H. Lawrence for his slaughter of a white woman at the hands of natives in "The Woman Who Rode Away." As Mailer quotes her in ''The Prisoner of Sex'', Millet says that "it is the perversion of sexuality into slaughter, indeed, the story's very travesty and denial of sexuality into slaughter, indeed, the story's very travesty and denial of sexuality, which accounts for its monstrous, even demented air"(141).

The Mailer Review/Volume 3, 2009/Woman Redux: de Kooning, Mailer, and American Abstract Expression

2021-06-16T03:21:13Z

KWilcox:

The Mailer Review/Volume 3, 2009/Woman Redux: de Kooning, Mailer, and American Abstract Expression

2021-06-16T03:19:44Z

KWilcox:

'''LINDA PATTERSON MILLER'''

I AM NOT A SEASONED NORMAN MAILER SCHOLAR, even though his writing has captivated me since I first read him in college. Any more knoeledgeable Mailer scholar who thinks I get him wrong might chalk it up to the distorting influence of Ernest Hemingway, that other white male who has commandeered a bid chunk of my scholarship. Actually, I recognize that both authors provoke passionate and intemperate reactions, sometimes from women, perhaps due to the public personas of these writers as harding-hitting, women-be-damned kinds of guys. Nonetheless, both these writers are quite similar in speaking directly to their times with art that shocks conventionand galvanizes emotional truth. No person, male or female, who reads well either of these authors remains unaffected.

In order to arrive at artistic truth, Mailer tried to write "with the soul of a beautiful woman" as he, not unlike Hemingway, worked from the insideout <''Prisoner 152''>.This required radical action and innovative artistic techniques representative of the best and most transformative expressionist art. For Hemingway, that meant scrutinizing and then modeling his writing after the skewed perspectives and disjointed landscapes of Paul Cezanne, and for Mailer that meant appropriating for his art the erratic swirls and painterly Abstract Expressionists of the 1950s and 1960s in New York. Following thepublication of ''The Naked and the Dead'', Mailer's traditional war novel that brought him early fame in 1948, Mailer dared to experiment with unconventional literary forms and techniques so as to penetrate the post WWII veneer of respectability and social and historical posturing. Mailer's slash attack on American complacency and his use of distortion verged toward the irreverent and outlandish in his most shockingly powerful 1965 novel ''An American Dream''.This work, sandwiched between Mailer's war novel and his laterredefined expressionism for a post - WWII America. The novel unsettles and disorients as it defies conventional notions of gender, love, and artistic innovation. The writer of such a daredevil work should not be held at arms' length, even by women.

In order to discuss Mailer as a new expressionist who straddled realism and the surreal in creating a provocative and profound portrait of women, he is best aligned with another twentieth-century artist of Mailer's time, Willem de Kooning, a painter who loved women even as he seemed to mutilate them on canvas. De Kooning's biographersMark Stevens and Annalyn Swan regard de Kooning's painting "WomanI," which he worked on over the course of three difficult years, 1950-52, as "one of the most disturbing and storied" images of a woman in the history of art{{309}}. This painting marked a turning point for de Kooning, who clung to realism even as he yanked it free from formular, similar to Mailer.

Mailer's portrait of Deborah Rojack's murder in ''An American Dream'' bears uncanny parallels to de Kooning's "Woman I," a painting that Norman Mailer knew well by the time he was working on his novel. An examination of the two works in tandem illuminates how Mailer's attempt, at least in this novel, was not to destroy women but to liberate them from within and to restore harmony for both men and women. I realize that my ideas here risk comparison to all those sick doctor jokes wherein the patient is told the good news that the doctors will be able to save her. The bad news is that to save her thay must kill her. Mailer recognized that Kate Millet, along with other fiminists, believe that male writers love to kill off their heroines as aggressive acts of male superiority. Judith Fetterly never forgave Hemingway for killing Catherine Barkley in ''A Farewell to Arms'', and Millet lashes out at D.H. Lawrence for his slaughter of a white woman at the hands of natives in "The Woman Who Rode Away." As Mailer quotes her in ''The Prisoner of Sex'', Millet says that "it is the perversion of sexuality into slaughter, indeed, the story's very travesty and denial of sexuality into slaughter, indeed, the story's very travesty and denial of sexuality, which accounts for its monstrous, even demented air"{{141}}.

The Mailer Review/Volume 3, 2009/Woman Redux: de Kooning, Mailer, and American Abstract Expression

2021-06-16T03:13:00Z

KWilcox: Created page with " '''LINDA PATTERSON MILLER''' I AM NOT A SEASONED NORMAN MAILER SCHOLAR, even though his writing has captivated me since I first read him in college..."

'''LINDA PATTERSON MILLER'''

I AM NOT A SEASONED NORMAN MAILER SCHOLAR, even though his writing has captivated me since I first read him in college. Any more knoeledgeable Mailer scholar who thinks I get him wrong might chalk it up to the distorting influence of Ernest Hemingway, that other white male who has commandeered a bid chunk of my scholarship. Actually, I recognize that both authors provoke passionate and intemperate reactions, sometimes from women, perhaps due to the public personas of these writers as harding-hitting, women-be-damned kinds of guys. Nonetheless, both these writers are quite similar in speaking directly to their times with art that shocks conventionand galvanizes emotional truth. No person, male or female, who reads well either of these authors remains unaffected.
:In order to arrive at artistic truth, Mailer tried to write "with the soul of a beautiful woman" as he, not unlike Hemingway, worked from the insideout {{''Prisoner 152''}}.This required radical action and innovative artistic techniques representative of the best and most transformative expressionist art. For Hemingway, that meant scrutinizing and then modeling his writing after the skewed perspectives and disjointed landscapes of Paul Cezanne, and for Mailer that meant appropriating for his art the erratic swirls and painterly Abstract Expressionists of the 1950s and 1960s in New York. Following thepublication of ''The Naked and the Dead'', Mailer's traditional war novel that brought him early fame in 1948, Mailer dared to experiment with unconventional literary forms and techniques so as to penetrate the post WWII veneer of respectability and social and historical posturing. Mailer's slash attack on American complacency and his use of distortion verged toward the irreverent and outlandish in his most shockingly powerful 1965 novel ''An American Dream''.This work, sandwiched between Mailer's war novel and his laterredefined expressionism for a post - WWII America. The novel unsettles and disorients as it defies conventional notions of gender, love, and artistic innovation. The writer of such a daredevil work should not be held at arms' length, even by women
:In order to discuss Mailer as a new expressionist who straddled realism and the surreal in creating a provocative and profound portrait of women, he is best aligned with another twentieth-century artist of Mailer's time, Willem de Kooning, a painter who loved women even as he seemed to mutilate them on canvas. De Kooning's biographersMark Stevens and Annalyn Swan regard de Kooning's painting "WomanI," which he worked on over the course of three difficult years, 1950-52, as "one of the most disturbing and storied" images of a woman in the history of art{{309}}. This painting marked a turning point for de Kooning, who clung to realism even as he yanked it free from formular, similar to Mailer.
:Mailer's portrait of Deborah Rojack's murder in ''An American Dream'' bears uncanny parallels to de Kooning's "Woman I," a painting that Norman Mailer knew well by the time he was working on his novel. An examination of the two works in tandem illuminates how Mailer's attempt, at least in this novel, was not to destroy women but to liberate them from within and to restore harmony for both men and women. I realize that my ideas here risk comparison to all those sick doctor jokes wherein the patient is told the good news that the doctors will be able to save her. The bad news is that to save her thay must kill her. Mailer recognized that Kate Millet, along with other fiminists, believe that male writers love to kill off their heroines as aggressive acts of male superiority. Judith Fetterly never forgave Hemingway for killing Catherine Barkley in ''A Farewell to Arms'', and Millet lashes out at D.H. Lawrence for his slaughter of a white woman at the hands of natives in "The Woman Who Rode Away." As Mailer quotes her in ''The Prisoner of Sex'', Millet says that "it is the perversion of sexuality into slaughter, indeed, the story's very travesty and denial of sexuality into slaughter, indeed, the story's very travesty and denial of sexuality, which accounts for its monstrous, even demented air"{{141}}.

User:KWilcox/sandbox

2021-06-15T22:46:46Z

KWilcox:

User:KWilcox/sandbox

2021-06-15T22:43:44Z

KWilcox: Created page with "Hello, my name is Kenneth Wilcox and I'm nearing the end of my college career. I began college after 35 years, it has been enjoyable and very challeging. I'm semi-retired from..."

Hello, my name is Kenneth Wilcox and I'm nearing the end of my college career. I began college after 35 years, it has been enjoyable and very challeging. I'm semi-retired from law enforcement, five of those years I served at Macon State College, later Middle Georgia State.

The Mailer Review/Volume 13, 2019/Interview with Susan Mailer, author of In Another Place: With and Without My Father, Norman Mailer

2021-02-05T16:46:56Z

KWilcox:

vte
The Mailer Review
Nm-50x50-2.jpg
Vol. 1 (2007)Vol. 2 (2008)Vol. 3 (2009)Vol. 4 (2010)Vol. 5 (2011)Vol. 6 (2012)Vol. 7 (2013)Vol. 8 (2014)Vol. 9 (2015)Vol. 10 (2016)Vol. 11 (2017)Vol. 12 (2018)Vol. 13 (2019)Vol. 14 (2020)

mailerreview.org

The Mailer Review/Volume 13, 2019/Interview with Susan Mailer, author of In Another Place: With and Without My Father, Norman Mailer

2021-02-05T14:50:40Z

KWilcox:

'''Interview by J. Michael Lennon'''

Susan Mailer, the eldest of Norman Mailer's nine children, spoke recently to Mailer's friend and biographer, J. Michael Lennon, about the challenges and pleasures of remembering her bifurcated life in Mexico and New York City, her family, and her famous father in her forthcoming memoir, ''In Another Place: Life With and Without My Father, Norman Mailer''. It will be published by Northampton House Press on November 5, 2019.

The Mailer Review/Volume 13, 2019/Interview with Susan Mailer, author of In Another Place: With and Without My Father, Norman Mailer

2021-02-05T14:24:03Z

KWilcox:

J. Michael Lennon is the late Norman Mailer's archivist, editor, authorized biographer. Norman Mailer: A Double Life (13.2) appeared in 2013, and Selected Letters of Norman Mailer (14.3) in 2014. His work has appeared in New Yorker, Paris Review, Playboy, Provincetown Arts, New York, Modern Fiction Studies, New England Review, Narrative, and Journal of Modern Literature, among others. Lennon's documentary, James Jones: From Reveille to Taps, was shown on PBS in 1985. He is Emeritus Vice President for Academic Affairs and Emeritus Professor of English at Wilkes University, where he continues to teach in the MFA Program, and is the founding President of The Norman Mailer Society. Currently, he is working on a new book, Sixteen Handshakes to Shakespeare: From Bishop to the Bard.

==Selected Publications==
Lennon, J. Michael, ed. (1986). Critical Essays on Norman Mailer. Critical Essays on American Literature. Boston: G. K. Hall.
—, ed. (1988). Conversations with Norman Mailer. Literary Conversations. Jackson and London: University Press of Mississippi.
— (2013). Norman Mailer: A Double Life. New York: Simon and Schuster.
—, ed. (2004). Norman Mailer's Letters on An American Dream, 1963–1969. Shavertown, PA: Sligo Press.
—, ed. (2014). The Selected Letters of Norman Mailer. New York: Random House.
—; Lennon, Donna Pedro (2018). Lucas, Gerald R., ed. Norman Mailer: Works and Days (Revised and Expanded ed.). Atlanta: Norman Mailer Society. ISBN 9781732651906.
Links
Mike's Official Web Site
Mike on Wikipedia
The Riptides of Fame: June 1948 — Prologue to Norman Mailer: A Double Life
“Why Mailer Matters”
Contributions: Written and Edited
Category: Contributors

The Mailer Review/Volume 13, 2019/Interview with Susan Mailer, author of In Another Place: With and Without My Father, Norman Mailer

2021-02-05T14:23:15Z

KWilcox:

:J. Michael Lennon is the late Norman Mailer's archivist, editor, authorized biographer. Norman Mailer: A Double Life (13.2) appeared in 2013, and Selected Letters of Norman Mailer (14.3) in 2014. His work has appeared in New Yorker, Paris Review, Playboy, Provincetown Arts, New York, Modern Fiction Studies, New England Review, Narrative, and Journal of Modern Literature, among others. Lennon's documentary, James Jones: From Reveille to Taps, was shown on PBS in 1985. He is Emeritus Vice President for Academic Affairs and Emeritus Professor of English at Wilkes University, where he continues to teach in the MFA Program, and is the founding President of The Norman Mailer Society. Currently, he is working on a new book, Sixteen Handshakes to Shakespeare: From Bishop to the Bard.

==Selected Publications==
Lennon, J. Michael, ed. (1986). Critical Essays on Norman Mailer. Critical Essays on American Literature. Boston: G. K. Hall.
—, ed. (1988). Conversations with Norman Mailer. Literary Conversations. Jackson and London: University Press of Mississippi.
— (2013). Norman Mailer: A Double Life. New York: Simon and Schuster.
—, ed. (2004). Norman Mailer's Letters on An American Dream, 1963–1969. Shavertown, PA: Sligo Press.
—, ed. (2014). The Selected Letters of Norman Mailer. New York: Random House.
—; Lennon, Donna Pedro (2018). Lucas, Gerald R., ed. Norman Mailer: Works and Days (Revised and Expanded ed.). Atlanta: Norman Mailer Society. ISBN 9781732651906.
Links
Mike's Official Web Site
Mike on Wikipedia
The Riptides of Fame: June 1948 — Prologue to Norman Mailer: A Double Life
“Why Mailer Matters”
Contributions: Written and Edited
Category: Contributors

The Mailer Review/Volume 13, 2019/Interview with Susan Mailer, author of In Another Place: With and Without My Father, Norman Mailer

2021-02-05T14:22:22Z

KWilcox:

J. Michael Lennon is the late Norman Mailer's archivist, editor, authorized biographer. Norman Mailer: A Double Life (13.2) appeared in 2013, and Selected Letters of Norman Mailer (14.3) in 2014. His work has appeared in New Yorker, Paris Review, Playboy, Provincetown Arts, New York, Modern Fiction Studies, New England Review, Narrative, and Journal of Modern Literature, among others. Lennon's documentary, James Jones: From Reveille to Taps, was shown on PBS in 1985. He is Emeritus Vice President for Academic Affairs and Emeritus Professor of English at Wilkes University, where he continues to teach in the MFA Program, and is the founding President of The Norman Mailer Society. Currently, he is working on a new book, Sixteen Handshakes to Shakespeare: From Bishop to the Bard.

Selected Publications
Lennon, J. Michael, ed. (1986). Critical Essays on Norman Mailer. Critical Essays on American Literature. Boston: G. K. Hall.
—, ed. (1988). Conversations with Norman Mailer. Literary Conversations. Jackson and London: University Press of Mississippi.
— (2013). Norman Mailer: A Double Life. New York: Simon and Schuster.
—, ed. (2004). Norman Mailer's Letters on An American Dream, 1963–1969. Shavertown, PA: Sligo Press.
—, ed. (2014). The Selected Letters of Norman Mailer. New York: Random House.
—; Lennon, Donna Pedro (2018). Lucas, Gerald R., ed. Norman Mailer: Works and Days (Revised and Expanded ed.). Atlanta: Norman Mailer Society. ISBN 9781732651906.
Links
Mike's Official Web Site
Mike on Wikipedia
The Riptides of Fame: June 1948 — Prologue to Norman Mailer: A Double Life
“Why Mailer Matters”
Contributions: Written and Edited
Category: Contributors

The Mailer Review/Volume 13, 2019/Interview with Susan Mailer, author of In Another Place: With and Without My Father, Norman Mailer

2021-02-05T14:21:12Z

KWilcox:

J. Michael Lennon is the late Norman Mailer's archivist, editor, authorized biographer. Norman Mailer: A Double Life (13.2) appeared in 2013, and Selected Letters of Norman Mailer (14.3) in 2014. His work has appeared in New Yorker, Paris Review, Playboy, Provincetown Arts, New York, Modern Fiction Studies, New England Review, Narrative, and Journal of Modern Literature, among others. Lennon's documentary, James Jones: From Reveille to Taps, was shown on PBS in 1985. He is Emeritus Vice President for Academic Affairs and Emeritus Professor of English at Wilkes University, where he continues to teach in the MFA Program, and is the founding President of The Norman Mailer Society. Currently, he is working on a new book, Sixteen Handshakes to Shakespeare: From Bishop to the Bard.
Selected Publications
Lennon, J. Michael, ed. (1986). Critical Essays on Norman Mailer. Critical Essays on American Literature. Boston: G. K. Hall.
—, ed. (1988). Conversations with Norman Mailer. Literary Conversations. Jackson and London: University Press of Mississippi.
— (2013). Norman Mailer: A Double Life. New York: Simon and Schuster.
—, ed. (2004). Norman Mailer's Letters on An American Dream, 1963–1969. Shavertown, PA: Sligo Press.
—, ed. (2014). The Selected Letters of Norman Mailer. New York: Random House.
—; Lennon, Donna Pedro (2018). Lucas, Gerald R., ed. Norman Mailer: Works and Days (Revised and Expanded ed.). Atlanta: Norman Mailer Society. ISBN 9781732651906.
Links
Mike's Official Web Site
Mike on Wikipedia
The Riptides of Fame: June 1948 — Prologue to Norman Mailer: A Double Life
“Why Mailer Matters”
Contributions: Written and Edited
Category: Contributors

The Mailer Review/Volume 13, 2019/Interview with Susan Mailer, author of In Another Place: With and Without My Father, Norman Mailer

2021-02-05T14:20:34Z

KWilcox:

:J. Michael Lennon is the late Norman Mailer's archivist, editor, authorized biographer. Norman Mailer: A Double Life (13.2) appeared in 2013, and Selected Letters of Norman Mailer (14.3) in 2014. His work has appeared in New Yorker, Paris Review, Playboy, Provincetown Arts, New York, Modern Fiction Studies, New England Review, Narrative, and Journal of Modern Literature, among others. Lennon's documentary, James Jones: From Reveille to Taps, was shown on PBS in 1985. He is Emeritus Vice President for Academic Affairs and Emeritus Professor of English at Wilkes University, where he continues to teach in the MFA Program, and is the founding President of The Norman Mailer Society. Currently, he is working on a new book, Sixteen Handshakes to Shakespeare: From Bishop to the Bard.
Selected Publications
Lennon, J. Michael, ed. (1986). Critical Essays on Norman Mailer. Critical Essays on American Literature. Boston: G. K. Hall.
—, ed. (1988). Conversations with Norman Mailer. Literary Conversations. Jackson and London: University Press of Mississippi.
— (2013). Norman Mailer: A Double Life. New York: Simon and Schuster.
—, ed. (2004). Norman Mailer's Letters on An American Dream, 1963–1969. Shavertown, PA: Sligo Press.
—, ed. (2014). The Selected Letters of Norman Mailer. New York: Random House.
—; Lennon, Donna Pedro (2018). Lucas, Gerald R., ed. Norman Mailer: Works and Days (Revised and Expanded ed.). Atlanta: Norman Mailer Society. ISBN 9781732651906.
Links
Mike's Official Web Site
Mike on Wikipedia
The Riptides of Fame: June 1948 — Prologue to Norman Mailer: A Double Life
“Why Mailer Matters”
Contributions: Written and Edited
Category: Contributors

The Mailer Review/Volume 13, 2019/Interview with Susan Mailer, author of In Another Place: With and Without My Father, Norman Mailer

2021-02-05T14:17:10Z

KWilcox:

The Mailer Review/Volume 13, 2019/Interview with Susan Mailer, author of In Another Place: With and Without My Father, Norman Mailer

2021-02-05T13:30:42Z

KWilcox: Created page with "'''Interview with Susan Mailer, author of In Another Place: With and Without My Father, Norman Mailer'''"

'''Interview with Susan Mailer, author of In Another Place: With and Without My Father, Norman Mailer'''