Project Mailer - User contributions [en]

User talk:Grlucas

2025-04-20T13:13:58Z

KaraCroissant: /* Additional edits */ fixed link

{{Talk header}}
[[/Archive 202504/]]

== Final edits ==
Hello, my article is complete: [[The_Mailer_Review/Volume_4,_2010/Ernest_and_Norman_(Exit_Music)|Ernest and Norman (Exit Music)]]
:{{Reply to|Flowersbloom}} great, thank you. I made some corrections. Please be sure to sign your talk page posts. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:59, 10 April 2025 (EDT)

Good evening, Dr. Lucas. Below is the link to my edited article:
https://projectmailer.net/pm/User:ASpeed/sandbox
:{{Reply to|ASpeed}} great. Let me know when it’s finished and posted, and I’l have a look. It appears as if you still have a bit of work to do. Please be sure to sign your talk page posts. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:59, 10 April 2025 (EDT)

Good evening, @[[User:Grlucas|Grlucas]]. I have completed most of my Remediation Articles, but I still show issues for the one named, "[[The_Mailer_Review/Volume_4,_2010/Norman,_Papa,_and_the_Autoerotic_Construction_of_Woman|Norman, Papa, and the Autoerotic Construction of Woman]].

Based on the latest updates, [[The_Mailer_Review/Volume_4,_2010/Battles_for_Regard,_Writerly_and_Otherwise|Battles for Regard, Writerly and Otherwise]] looks good with exception of including a '''category'''.
:{{Reply to|ALedezma}} this one is good. I made some corrections before removing the banner, mostly in your sources. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:59, 10 April 2025 (EDT)

May you let me know if there is anything I can do on my end to resolve the issues with the first [[The_Mailer_Review/Volume_4,_2010/Norman,_Papa,_and_the_Autoerotic_Construction_of_Woman|article]]?

[[User:ALedezma|ALedezma]] ([[User talk:ALedezma|talk]]) 21:47, 8 April 2025 (EDT)
:{{Reply to|ALedezma}} looking very good, but some sources missing page numbers. Please see to those. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:59, 10 April 2025 (EDT)

:::Thank you @[[User:Grlucas|Grlucas]] . I will review those and respond when complete. [[User:ALedezma|ALedezma]] ([[User talk:ALedezma|talk]]) 22:47, 10 April 2025 (EDT)
::::@[[User:Grlucas|Grlucas]]. Thank you for your feedback. A review of article additions was made for source pages. [[User:ALedezma|ALedezma]] ([[User talk:ALedezma|talk]]) 20:22, 11 April 2025 (EDT)
:::::{{Reply to| ALedezma}} ok, looking good. I made some corrections. There's one final thing to do: no footnotes should appear in the notes section; use {{tl|harvtxt}} instead; I did one to show you how to use the template. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 13:39, 12 April 2025 (EDT)
::::::@[[User:Grlucas|Grlucas]] Changes were done to footnote sources. Thank you! [[User:ALedezma|ALedezma]] ([[User talk:ALedezma|talk]]) 19:59, 12 April 2025 (EDT)

Dr. Lucas I finished my remediation article https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_4,_2010/Norman_Mailer%27s_The_Fight:_Hemingway,_Bullfighting,_and_the_Lovely_Metaphysics_of_Boxing&action=edit [[User:TWietstruk|TWietstruk]] ([[User talk:TWietstruk|talk]]) 19:44, 8 April 2025 (EDT)
:{{Reply to| TWietstruk}} good work so far, but there is more to do: placement of footnotes (eliminate spaces around them and punctuation always goes ''before'' the footnote.); proofread for typos; fix all red errors at the bottom (most of these are from errors in sourcing); works cited entries should be bulleted list and eliminate space between entries. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:05, 10 April 2025 (EDT)
::{{Reply to|Grlucas}} Final edit and no errors with some help from @NRMMGA5108, @JKilchenmann. Please mark me as complete. On to help someone else with the things I've learned
https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_4,_2010/Norman_Mailer%27s_The_Fight:_Hemingway,_Bullfighting,_and_the_Lovely_Metaphysics_of_Boxing&action=edit [[User:TWietstruk|TWietstruk]] ([[User talk:TWietstruk|talk]]) 17:52, 13 April 2025 (EDT)

Dr. Lucas I have finished my assigned remediation article: https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Jive-Ass_Aficionado:_Why_Are_We_in_Vietnam%3F_and_Hemingway%27s_Moral_Code#cite_note-FOOTNOTEHemingway2003-24
Username ADear.
:{{Reply to|ADear}} thank you. I have marked this as complete. Please be sure you sign your talk page posts correctly. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:05, 10 April 2025 (EDT)

Dr. Lucas, I have finished remediating my assigned article. Please review it at your earliest convenience. The link is here: [[The_Mailer_Review/Volume_5,_2011/Norman_Mailer's_Mythmaking_in_An_American_Dream_and_“The_White_Negro”|Norman Mailer's Mythmaking in An American Dream and “The White Negro”]]—[[User:Erhernandez|Erhernandez]] ([[User talk:Erhernandez|talk]]) 08:52, 4 April 2025 (EDT)
:{{Reply to|Erhernandez}} well done! A couple of things: never bury your talk page post. Put it at the bottom, preferably in its own section by clicking "Add topic" on the top-right. I removed your banner after making a few corrections. Please have a look over it and move on to the next thing. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:06, 5 April 2025 (EDT)

Dr. Lucas, I transferred and edited my article. Can you look at it and remove the banner? Here's the link: [[The_Mailer_Review/Volume_4,_2010/Authorship_and_Alienation_in_Death_in_the_Afternoon_and_Advertisements_for_Myself|Authorship and Alienation in Death in the Afternoon and Advertisements for Myself]] ( [[User:APKnight25|APKnight25]] ([[User talk:APKnight25|talk]]) 13:02, 28 March 2025 (EDT) )
:{{Reply to| APKnight25}} looking good! A couple of things: never bury your talk page post. Put it at the bottom, preferably in its own section by clicking "Add topic" on the top-right. Next, eliminate all "fang" quotes in the article and add “real quotation marks.” Your sources should be a bulleted list. And there should be no space before a citation. You’re almost finished! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 11:21, 30 March 2025 (EDT)

== Remediation of "Reinventing the Wheel" Mailer Article for Review ==

Dr. Lucas,

My [[The_Mailer_Review/Volume_5,_2011/Reinventing_a_New_Wheel:_The_Films_of_Norman_Mailer|article]] is ready for review.

Thank you!
[[User:TPoole|TPoole]] ([[User talk:TPoole|talk]]) 15:29, 29 March 2025 (EDT)
:{{Reply to|TPoole}} great! Could you include a link to it? Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 11:07, 30 March 2025 (EDT)
::OK, I [[The Mailer Review/Volume 5, 2011/Reinventing a New Wheel: The Films of Norman Mailer|found it]]. Looking really good. Great work. There are some citation issues that need to be seen to. The two red categories at the bottom should not be there; they will go away when the citations errors are corrected. Eliminate any quotation mark "fangs" in the text and replace them with “real quotation marks.” Let me know if you need help. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 11:14, 30 March 2025 (EDT)
:::@Grlucas, what are the citation issues? Which ones need correcting? [[User:TPoole|TPoole]] ([[User talk:TPoole|talk]]) 17:31, 31 March 2025 (EDT)
::::{{Reply to| TPoole}} When you click your citations, they should jump to the works cited entry they correspond to. Several of yours do not, indicated by the red “Harv and Sfn no-target errors” at the bottom. You also have a "CS1 maint: Unrecognized language" error that will likely be cleared up when you fix the citation issues. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:55, 1 April 2025 (EDT)
:::::@Grlucas, I have tried correcting the sfn codes in my citations. I was able to get the 2 web citations to link correctly. But for some reason, I cannot get the Mailer 1967 film Wild 90 citation to link to the reference list. Please advise. [[User:TPoole|TPoole]] ([[User talk:TPoole|talk]]) 20:24, 4 April 2025 (EDT)
::::::{{Reply to| TPoole}} OK, all fixed and published. Thanks. Please move on to another remediation. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:46, 5 April 2025 (EDT)

== Remediation of: "Contradictory Syntheses: Norman Mailer’s Left Conservatism and the Problematic of 'Totalitarianism'" ==

Dr. Lucas

I finished the remediation of the following article:

https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Contradictory_Syntheses:_Norman_Mailer%E2%80%99s_Left_Conservatism_and_the_Problematic_of_%E2%80%9CTotalitarianism%E2%80%9D

It is ready for your review. Thank you.
[[User:JKilchenmann|JKilchenmann]] ([[User talk:JKilchenmann|talk]]) 19:04, 30 March 2025 (EDT)
:{{Reply to| JKilchenmann}} looks great. I made some tweaks to the references and some throughout, like changing ' and " to real apostrophes and quotation marks. A bit more clean-up, but you might want to check over it again. I removed the under-construction banner. Well one. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 21:32, 30 March 2025 (EDT)

== Final Edit ==

Thank you for your comments on my remediation of
"[[The Mailer Review/Volume 4, 2010/Authorship and Alienation in Death in the Afternoon and Advertisements for Myself|Authorship and Alienation in Death in the Afternoon and Advertisements for Myself.]]"

I've eliminated the "fang quotes" and changed them to “real quotation marks.” This was a very fascinating tip that taught me something new. It's something I've never noticed before but now always will.

I also put my sources in a bulleted list and removed the space before the citations. I think I'm all set now.
:{{Reply to|APKnight25}} great work! Please help other editors to complete the volume. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:34, 3 April 2025 (EDT)

== Remediation for ''Firearms in the Works of Hemingway and Mailer'' ==

[[User:Grlucas|Grlucas]]

Hi Dr. Lucas,

I believe I have done everything for the Remediation of my article. Please let me know if there is anything else I need to do.

I will also link the article below:

https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Firearms_in_the_Works_of_Hemingway_and_Mailer

Thank you,
Caitlin Vinson
:{{Reply to|CVinson}} great work so far. Your references must use templates, please. Blockquotes must also be done correctly. No spaces or line breaks before or after the {{tl|pg}} template. Footnote placement is also off (punctuation goes before the footnote; no spaces before or after the footnote). I will add the abstract and url. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:30, 3 April 2025 (EDT)

:{{Reply to|Grlucas}} Hi Dr. Lucas, I believe there have been some updates made to the project. I believe I have also updated the works cited section to show correct templates. Please let me know if there is anything further that I need to do. Thank you, Caitlin.
::{{reply to| CVinson}} please sign your talk page posts correctly. Thanks. You still need to do some work on the sources. Use the <code>|author-mask=1</code> in your template for repeated author names. Also, you must eliminate the red “Harv and Sfn no-target errors” message at the bottom. No spaces or returns before or after the {{tl|pg}} call, as I already mentioned above. No parenthetical citations should be left, either; those should all be remediated to footnotes. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:50, 8 April 2025 (EDT)

:::{{Reply to|Grlucas}} I have updated the sources and updated the in-text citations. I am still having trouble with the "Harv and Sfn no-target errors." I have not been successful in fixing this error and have tried multiple ways to fix it. —[[User:CVinson|CVinson]] ([[User talk:Grlucas|talk]]) 8:18, 8 April 2025 (EDT)

::::{{Reply to|Grlucas}} Hi Dr. Lucas, I see that I still have a red X for my remediation assignment. Is there something else I am still missing? —[[User:CVinson|CVinson]] ([[User talk:Grlucas|talk]]) 11:35, 10 April 2025 (EDT)
:::::{{reply to| CVinson}} sorry, I'm just getting back to it. There are quite a few punctuation errors. Some left out and others appear after the {{tl|sfn}}. I'm trying to correct those I see, but you should have a look, too. Page is designated as <code>p=</code> in {{tl|sfn}}, not <code>pg=</code>; and a span of pages needs <code>pp=</code>. Again, I have tried to correct these. I removed the banner, but please have another look through. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 13:01, 12 April 2025 (EDT)

== Remediation for ''Norman Mailer Today'' ==
Dr. Lucas, I have finished up my remediation article [[The Mailer Review/Volume 5, 2011/Norman Mailer Today|Norman Mailer Today]], and it is ready for review. Please let me know if I missed something. Thank you! —[[User:Kamyers|Kamyers]] ([[User talk:Kamyers|talk]]) 18:20, 3 April 2025 (EDT)
:{{Reply to|Kamyers}} Great work! Please help your fellow editors finish the volume, or pick something to work on in [[The Mailer Review/Volume 4, 2010|Volume 4]]. Thanks, and well done. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:00, 4 April 2025 (EDT)

== Remediation of “The Conception of Irreversibility: Hannah Arendt and Hemingway’s ‘Hills Like White Elephants’” ==
Dr. Lucas, I have finished my remediation of Jennifer Yirinec's article: [[The Mailer Review/Volume 5, 2011/The Conception of Irreversibility: Hannah Arendt and Hemingway’s “Hills Like White Elephants”|The Conception of Irreversibility: Hannah Arendt and Hemingway’s “Hills Like White Elephants.”]] Thank you for your assistance with the article. It is ready for its final review! [[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 10:24, 4 April 2025 (EDT)
:{{Reply to|JHadaway}} a stellar job. Well done. I removed the banner, so you can move on to another article. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:12, 5 April 2025 (EDT)

== Tribute Remediations ==
Dr. Lucas, I have begun work on the tributes for volume 5. [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/Grace Notes|Grace Notes]] by Stephen Borkowski is ready for its final review.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 12:58, 4 April 2025 (EDT)
:{{Reply to|JHadaway}} Well done! Banner removed, url added. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:18, 5 April 2025 (EDT)

==Oohh Normie Final Edits==
Hi Dr. Lucas, I have finished my article: [[The_Mailer_Review/Volume_4,_2010/"Oohh_Normie_—_You're_Sooo_Hemingway":_Mailer_Memories_and_Encounters|Oohh Normie, You're Sooo Hemingway]]. Please let me know if there is anything I need to fix. [[User:Tbara4554|Tbara4554]] ([[User talk:Tbara4554|talk]]) 20:01, 5 April 2025 (EDT)
:{{reply to|Tbara4554}} thank you. I made some corrections and removed the banner. You might want to have another look over it. Please move on to something else. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:53, 6 April 2025 (EDT)

== Harlot's Ghost, Bildungsroman, Masculinity and Hemingway ==

Dr. Lucas,

The following article is ready for your review. Thanks.

https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Harlot%27s_Ghost,_Bildungsroman,_Masculinity_and_Hemingway

[[User:JKilchenmann|JKilchenmann]] ([[User talk:JKilchenmann|talk]]) 21:22, 5 April 2025 (EDT)
:{{Reply to| JKilchenmann}} excellent. Thank you. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:39, 6 April 2025 (EDT)

== I am done with this ==

https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Situating_Hemingway:_Mailer,_Style,_Ethics
:Received. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:29, 6 April 2025 (EDT)

== Final Review PM Article ==

Hi Dr. Lucas, [[The_Mailer_Review/Volume_4,_2010/Hemingway_to_Mailer_—_A_Delayed_Response_to_The_Deer_Park|here]] is my remediated article, ready for review![[User:Hobbitonya|Hobbitonya]] ([[User talk:Hobbitonya|talk]]) 12:21, 6 April 2025 (EDT)
:{{Reply to| Hobbitonya}} great work. I have removed the banner, so you are good to move on to something else. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:20, 7 April 2025 (EDT)

== Remediation Project ==

{{reply to|Grlucas}}
I have finished my remedidation project and I am ready for it to be reviewed. '''Article link''': [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Piling_On:_Norman_Mailer’s_Utilization_of_Marilyn_Monroe#Works_Cited|Piling On: Norman Mailer's Utilization of Marilyn Monroe]

Thanks,

[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 13:04, 6 April 2025 (EDT)
:{{Reply to| MerAtticus}} good work so far. Please remove wikilinks. Change ' and " to typographical apostrophes and quotation marks. And all red errors at the bottom of the page need to be taken care of. These are likely all from coding errors in your sources. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:24, 7 April 2025 (EDT)

{{reply to|Grlucas}}
I have removed the wikilinks, changed to the correct typographic style and updated my sources.
'''Article link''': [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Piling_On:_Norman_Mailer’s_Utilization_of_Marilyn_Monroe#Works_Cited|Piling On: Norman Mailer's Utilization of Marilyn Monroe] Thanks, [[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 21:55, 7 April 2025 (EDT)

[I forgot to fill out the summary box. I am adding my summary]
:{{Reply to| MerAtticus}} you're getting there! It looks great. You must eliminate all the red errors at the bottom. These appear when there are errors in your citations. Let me know if you need help. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:15, 8 April 2025 (EDT)

@{{reply to|Grlucas}} I have tried everything I can think of and I still have harv and sfn no-target errors and harv and sfn multiple-target errors and cs1 uses editors parameter. Do I not include the editor? [[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 16:03, 8 April 2025 (EDT)

{{reply to|Grlucas}} I have managed to get rid of two of the red target errors. I am still working on finding the harv sfn multiple target error. Thanks, [[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 20:37, 8 April 2025 (EDT)

{{reply to|Grlucas}} I have tried everything i can think of to remove the last red error flag. I had to turn it in. I don't know that else I can do in this situation. I was given citation that did not follow any of the given formats. [[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 21:45, 8 April 2025 (EDT)
:{{Reply to| MerAtticus}} all parenthetical citations must be remediated to {{tl|sfn}}; none of yours are. Get these done, then we can worry about the errors. (Some notes on sources: any generic <code><nowiki>{{citation}}</nowiki></code> will not be correct. I see you have a book review by Marshall that has no source (I tried to find the original and cannot; this is a weird citation; I'll continue to look for it). There's also one that looks like a film that should use the [[w:Template:Cite AV media|<code>Cite AV media</code> template]].) Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 13:16, 12 April 2025 (EDT)

== Remediation Submission ==

Hello!
Here's my remediated article; [[The_Mailer_Review/Volume_5,_2011/The_Devil's_Party:_Reading_and_Wreaking_Vengeance_in_The_Castle_in_the_Forest|The Devil's Party: Reading and Wreaking Vengeance in ''The Castle in the Forest'']].
Thanks! Please let me know if there's anything I can review or correct.
[[User:Maggiemrogers|Maggiemrogers]] ([[User talk:Maggiemrogers|talk]]) 13:23, 6 April 2025 (EDT)
:{{Reply to| Maggiemrogers}} nice work! Banner removed, so please move on to something else in the volume. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:39, 7 April 2025 (EDT)

== Vol. 4: Rumors of Grace article remediated ==

I believe I have completed remediation of ''[[The_Mailer_Review/Volume_4,_2010/Rumors_of_Grace:_God-Language_in_Hemingway_and_Mailer|Rumors of Grace: God-Language in Hemingway and Mailer]]'', vol. 4. I was having last-minute trouble with sfn errors for sources without authors, but Justin Kilchenmann helped me out, so I think they are fixed.
:{{Reply to|Sherrilledwards}} You have done a remarkable job—a real Herculean effort! Footnotes should not go in any notes. See those I changed; the others should be changed in the same way. I have done some, but the others have to be fixed, I'm afraid. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:20, 8 April 2025 (EDT)
::{{Reply to|Grlucas}}I believe I have completed these fixes, so the article is again ready for review. [[User:Sherrilledwards|Sherrilledwards]] ([[User talk:Sherrilledwards|talk]]) 15:49, 12 April 2025 (EDT)
:::{{Reply to| Sherrilledwards}} truly exceptional work—a model remediation! Marked as complete. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:30, 13 April 2025 (EDT)

== Remediation of "Inside Norman Mailer ==

Hi Dr. Lucas - I have finished remediating the article, [[The Mailer Review/Volume 4, 2010/Inside Norman Mailer|Inside Norman Mailer]]. Please let me know if I need to make any adjustments. Thank you! [[User:Chelsey.brantley|Chelsey.brantley]] ([[User talk:Chelsey.brantley|talk]]) 18:09, 7 April 2025 (EDT)
:{{Reply to|Chelsey.brantley}} good work! Please help with another article from volume 4. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:36, 8 April 2025 (EDT)

== Completed: Norman Mailer: Playboy Magazine ==

I hope I am doing this is right. I have finished remediating my article about Norman Mailer and its in my designated sandbox [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Norman_Mailer:_Playboy_Magazine_Heavyweight here.]
If there are any last minute edits, let me know. I got the last of the errors removed yesterday. And I believe we are on the same page with leaving the in-line citations for ''Playboy'' to be as is, since the author didn't put them down in the works cited. [[User:NrmMGA5108|NrmMGA5108]] ([[User talk:NrmMGA5108|talk]]) 20:14, 7 April 2025 (EDT)Nina Mizner
:{{Reply to|NrmMGA5108}} looking good! So, the parenthetical citations still in the article, I'm assuming, are there because of those missing sources? Please check your page numbers; some seem to be off. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:04, 8 April 2025 (EDT)

:{{Reply to|Grlucas}} I found the page number error and its corrected, and yes all the parenthetical citations should be referencing issues of the ''playboy'' magazine, which were not listed in the works cited. --[[User:NrmMGA5108|NrmMGA5108]] ([[User talk:NrmMGA5108|talk]]) 20:54, 10 April 2025 (EDT)
::{{Reply to| NrmMGA5108}} it looks great. I removed the banner! Thank you. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 13:29, 12 April 2025 (EDT)

== Completed Remediation From Here to Eternity and The Naked and The Dead: Premier to Eternity? ==

Greeting Dr. Lucas,

I have made the adjustment that you mentioned.

I also made additional edits to my short footnotes and noticed that my citations did not link to my references - which has been fixed.

I have tested all of my citations, and they all work.

Here is my article by Alexander Hicks, ''From Here to Eternity and The Naked and The Dead: Premier to Eternity?''

https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/From_Here_to_Eternity_and_The_Naked_and_the_Dead:_Premiere_to_Eternity%3F

Have a great day.
:{{Reply to| THarrell}} Please always sign your talk page posts. Several “quoted items” in the article appear as ‘quoted items’; these must be corrected, please. No spaces or returns should surround {{tl|pg}} calls. Multiple page numbers should look like this <code><nowiki>{{sfn|Moretti|1996|pp=11-14}}</nowiki></code>; note the double <code>pp</code>. There seem to be many typos. I corrected some for you, but you must see to the rest. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:16, 8 April 2025 (EDT)

:{{Reply to| Grlucas}} Greetings,

Are these the only additional corrections that need to be made? This is different from what you mentioned before.

I just want to be sure that I have hit everything.

Also can you verify what other typos you are seeing, I have ran through this twice.

If something is spelt a certain way, for example "Soljer", I have left it that way. Since it is mentioned like that in the article.
—[[User:THarrell|THarrell]] ([[User talk:THarrell|talk]]) 06:49, 8 April 2025 (EDT)

:{{Reply to| Grlucas}} Greetings,

I have gone through and fixed all of the short footnotes.

I have gone line by line with a ruler to look at any typos, and fixed the words that I found that had a dash in them/needed to be lowercased.

I have also fixed the quotations.

—[[User:THarrell|THarrell]] ([[User talk:THarrell|talk]]) 12:31, 9 April 2025 (EDT)
:{{Reply to| THarrell}} much better. Periods go inside quotations marks; I think I fixed these, but please check. Also, there are no spaces before footnotes; again, I did a find/replace, but you should check. Also, check that all titles of novels are italicized (if it's italicized in the PDF, then it has to be italicized in the remediation, including abbreviations, like ''Naked''); I fixed a couple. Also, no extra spaces; there should only be a single blank space between paragraphs. There are quite a few little details that needed (need?) fixing. I removed the banner, but please check my work. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 12:41, 12 April 2025 (EDT)

== Remediation for “Footnote to Death in the Afternoon” ==

Greetings Dr. Lucus,

My article is ready for your review. Thank you.

https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Mailer%E2%80%99s_%E2%80%9CFootnote_to_Death_in_the_Afternoon%E2%80%9D)
:{{Reply to| KForeman}} it's coming along. Please ''always'' sign your talk page posts. Right up top, there are errors. Please use the real {{tl|pg}}, like all the other articles. Citations need to be fixed. All parenthetical citations must be converted. You still have quite a bit of work to do. All red sections need to be seen to and corrected. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:20, 8 April 2025 (EDT)
@Grlucs, per your suggestions, I've made the corrections. Please review. I look forward to your feedback. Thank you.
:{{Reply to| KForeman}} looking better. All parenthetical page numbers should be removed and added to the {{tl|sfn}}. Check your page numbers in {{tl|pg}}. Footnotes should have no spaces around them; periods and commas go ''inside'' quotation marks and before the footnotes. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:28, 19 April 2025 (EDT)

=Remediation of "Cluster Seeds and the Mailer Legacy"=
Hello, Dr. Lucas. I have completed the remediation of [https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_5,_2011/Cluster_Seeds_and_the_Mailer_Legacy&oldid=18200| my article], and it is ready for your review. Thank you!—[[User:ADavis|ADavis]] ([[User talk:ADavis|talk]]) 11:32, 8 April 2025 (EDT)@ADavis
:{{Reply to| ADavis}} got it. I think I check it yesterday and removed the banner then. Please move on to another piece. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 17:29, 8 April 2025 (EDT)

== Remediating Article: Mailer, Hemingway, and Boxing Volume 4. ==

Hello Dr. Lucas,

I have completed remediating my article. Here is the link [[The Mailer Review/Volume 4, 2010/Mailer, Hemingway, and Boxing|The Mailer Review: Volume 4: Mailer, Hemingway, Boxing (2010)]] [[User:JBrown|JBrown]] ([[User talk:JBrown|talk]]) 13:01, 8 April 2025 (EDT)JBrown
:{{Reply to|JBrown}} a good start, but all parenthetical citations need to be footnotes. Also, check your headers. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 17:29, 8 April 2025 (EDT)

== Remediation for ''Norris Church Mailer'' ==
Dr. Lucas, I have finished up remediating the article [[The Mailer Review/Volume 4, 2010/Norris Church Mailer|Norris Church Mailer]], and it is ready for review. Please let me know if I missed something. Thank you! —[[User:Kamyers|Kamyers]] ([[User talk:Kamyers|talk]]) 13:42, 8 April 2025 (EDT)
:{{reply to|Kamyers}} awesome work! Thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 17:29, 8 April 2025 (EDT)

== Final Edits Completed and Ready for Review ==

Dr. Lucas, I have completed my assigned remediation article: [[The_Mailer_Review/Volume_4,_2010/Looking_at_the_Past:_Nostalgia_as_Technique_in_The_Naked_and_the_Dead_and_For_Whom_the_Bell_Tolls|Looking at the Past: Nostalgia as Technique in The Naked and the Dead and For Whom the Bell Tolls]]. Please review at your convenience. I enjoyed working on this assignment. I look forward to your suggestions and feedback. All the best, Danielle (DBond007)
:{{Reply to| DBond007}} ok, good work. Please remove all the external links. Links to Wikipedia are not necessary, but if used, they need to be done correctly. There should be no spaces before {{tl|sfn}}. May sure all your ' and " are actually typographical apostrophes and quotation marks. Remove any superfluous spaces and line breaks; these mess up the formatting. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 17:29, 8 April 2025 (EDT)
::{{Reply to| Grlucas}} Thank you. I will get started on these revisions immediately. Thanks for the feedback and your time. :)[[User:DBond007|DBond007]] ([[User talk:DBond007|talk]]) 11:30, 10 April 2025 (EDT)
::{{Reply to| Grlucas}} I have completed all the requested revisions and ready for review round 2. Thank you again![[User:DBond007|DBond007]] ([[User talk:DBond007|talk]]) 12:10, 10 April 2025 (EDT)
:::{{Reply to|DBond007}} looking better! There are still items to be seen to, like titles on novels and magazines need to appear like they do in the original: if it's italicized in the PDF, it must be italicized on the web. I added the epigram for you and corrected that pesky citation. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:41, 12 April 2025 (EDT)
::{{Reply to| Grlucas}}I have completed edits. I went through and took out quotes around The Time Machine, except for one instance that the author uses them. All my other titles seem to correspond to the original article. Please let me know if I missed something. Thank you for the epigram and the pesky citation correction. Best, [[User:DBond007|DBond007]] ([[User talk:DBond007|talk]]) 15:25, 17 April 2025 (EDT)
:::{{Reply to|DBond007}} received, and good work. I had to clean up the sources a bit, so you might want to have a look. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:42, 18 April 2025 (EDT)
::{{Reply to| Grlucas}}I went back and reviewed some of the other articles marked complete to compare and look for remaining revisions. I made one change on Works Cited and also added the page numbers to correspond to the pdf. Let's try this again. Again, I *believe I am finished with this article. Best,[[User:DBond007|DBond007]] ([[User talk:DBond007|talk]]) 10:36, 18 April 2025 (EDT)

Hopefully this works!. I'm not sure how to reply to other threads, but I was scrolling through the PDF and noticed the publisher is Iowa Pres? Just curious if it's supposed to be Iowa Press? [[User:Wverna|Wverna]] ([[User talk:Wverna|talk]]) 22:33, 18 April 2025 (EDT)
:{{Reply to| Wverna}} I'm not sure what you're talking about. Perhaps if you included a link to the article? See [[w:Help:Talk pages|Talk page guidelines]] if you don't know how to use them. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:33, 19 April 2025 (EDT)
Just kidding, I responded to the wrong "Bell Tolls' article. I was referring to this one: https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Tolls_of_War:_Mailerian_Sub-Texts_in_For_Whom_the_Bell_Tolls sorry about that! [[User:Wverna|Wverna]] ([[User talk:Wverna|talk]]) 17:49, 19 April 2025 (EDT)

== Completed the remediation assignment ==

Good evening Dr. Lucas,

I hope I am doing this right. Here is the link for my completed Remediation articles: [http://The_Mailer_Review/Volume_4,_2010/Encounters_with_Mailer Encounters with Mailer].

&

https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Effects_of_Trauma_on_the_Narrative_Structures_of_Across_the_River_and_Into_the_Trees_and_The_Naked_and_the_Dead

I look forward to reading your feedback.

All the best,

Patrick Riley
:{{Reply to|Priley1984}} thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:40, 10 April 2025 (EDT)

== Remediation Project Submission: An Expected Encounter in an Unexpected Place ==

Link:

https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Norman_Mailer:_An_Expected_Encounter_in_an_Unexpected_Place

Winnie Verna
:{{Reply to|Wverna}} received, thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:51, 10 April 2025 (EDT)

== E.Mosley ==

Good evening, @Grlucas. I have completed my Remediation Articles[[https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/On_Reading_Mailer_Too_Young]]. The article I had was " On Reading Mailer Too Young Volume 4, 2010
:{{Reply to| Essence903m}} thank you. I had to fix and clean-up quite a bit. Your saves also do not include summaries. When you move on to your next article, please be more careful and follow the instructions. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:12, 10 April 2025 (EDT)

== Kynndra Watson ==

Good Evening, @grlucas. i have completed my Remediation articles: Volume 5: https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Making_Masculinity_and_Unmaking_Jewishness:_Norman_Mailer%E2%80%99s_Voice_in_Wild_90_and_Beyond_the_Law and Volume 4: https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Mailer,_Hemingway,_and_the_%E2%80%9CReds%E2%80%9D.

Thank you.
:{{Reply to| KWatson}} thank you, and this is a good start, but there are still many items that need to be cleaned up, like footnote indications (They go after punctuation), citation errors (all the red errors at the bottom need to be seen to), extra spaces and ALL CAPS need to be removed. Please see other completed articles for models. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:18, 10 April 2025 (EDT)

== Tribute Remediation ==
Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/What Would Be the Fun of That?|"What Would Be the Fun of That?"]] by Peter Alson.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 09:33, 9 April 2025 (EDT)
:{{Reply to| JHadaway}} awesome! Thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:21, 10 April 2025 (EDT)

== “Remembering Norris Church” Tribute Remediation ==
Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/Remembering Norris Church|“Remembering Norris Church”]] by John Bowers.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 16:17, 9 April 2025 (EDT)
:{{Reply to| JHadaway}} and again, excellent! Thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:22, 10 April 2025 (EDT)

== “The Norris I Knew” Tribute Remediation ==
Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/The Norris I Knew|“The Norris I Knew”]] by Christopher Busa.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 09:04, 10 April 2025 (EDT)
:{{Reply to| JHadaway}} rockin’! 👍🏼 —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:24, 10 April 2025 (EDT)

== "Norris Mailer" Tribute Remediation ==
Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/Norris Mailer|"Norris Mailer"]] by Nancy Collins.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 09:35, 10 April 2025 (EDT)
:{{Reply to| JHadaway}} thanks again. You’re tearing it up. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:32, 10 April 2025 (EDT)

== "Rise Above It" Tribute Remediation ==

Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/Rise Above It|"Rise Above It"]] by David Ebershoff—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 11:12, 10 April 2025 (EDT)
:{{Reply to|JHadaway}} excellent. Many thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:15, 12 April 2025 (EDT)

== Completed Additional Articles ==

Hello, Dr. Lucas. I have remediated [https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_5,_2011/Tributes_to_Norris_Church_Mailer/A_View_Through_the_Prism&oldid=18744|"A View Through the Prism"], [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Tributes_to_Norris_Church_Mailer/Lip_Liner|"Lip Liner"], and [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/The_Living_Room_Show#|"The Living Room Show"] in Volume 5. They are ready for your review. Thank you!—[[User:ADavis|ADavis]] ([[User talk:ADavis|talk]]) 12:31, 10 April 2025 (EDT)
:{{Reply to|ADavis}} great work. Thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:26, 12 April 2025 (EDT)

== Submission notification sent 29 March ==

@grlucas

Dr. Lucas - I sent a Talk Page notification that I had completed the page I remediated on 29 March. The table indicates I haven't done anything yet. I sent it from the Talk Page from the article site. I don't see a response from that notification, but I had received one from you earlier in the process.
I don't understand what happened.

[[User:LogansPop22|LogansPop22]] ([[User talk:LogansPop22|talk]]) 14:54, 10 April 2025 (EDT)
:{{reply to|LogansPop22}} sorry if I missed that. [[The Mailer Review/Volume 5, 2011/Hemingway and Women at the Front: Blowing Bridges in The Fifth Column, For Whom the Bell Tolls, and Other Works|this article]], right? It's looking great, though all the parenthetical citations must be converted to footnotes using {{tl|sfn}} and some of the author names in your notes should use {{tl|harvtxt}}. I added the "citations" section for you. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:39, 12 April 2025 (EDT)

== Making Masculinity and Unmaking Jewishness: Norman Mailer’s Voice in Wild 90 and Beyond the Law ==

@Grlucas, I have made some additional edits to this [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Making_Masculinity_and_Unmaking_Jewishness:_Norman_Mailer%E2%80%99s_Voice_in_Wild_90_and_Beyond_the_Law article] in Volume 5 by correcting most of the citations. There are 2 that still do not work, but I think that is because the sources are incomplete.

[[User:TPoole|TPoole]] ([[User talk:TPoole|talk]]) 21:16, 10 April 2025 (EDT)
:{{Reply to| TPoole}} Looking really good, and this is a complicated one. A couple of things: no spaces or line breaks before or after {{tl|pg}}; I removed the spaces before {{tl|sfn}}, but you might want to check them; there are some typos, like missing spaces before some parentheses; no footnotes should appear in the notes section: use {{tl|harvtxt}} instead. And all the red errors at the bottom need to be cleared up. Great work so far! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:00, 12 April 2025 (EDT)

== Red Error-Gone ==

{{reply to|Grlucas}}I have deleted all the sfn's and the red error is gone. I don't know why I didn't think about this days ago.

[[The_Mailer_Review/Volume_5,_2011/Piling_On:_Norman_Mailer’s_Utilization_of_Marilyn_Monroe|Gladstein-Monroe]]

[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 23:07, 10 April 2025 (EDT)
:{{Reply to|MerAtticus}} getting closer. A few things: you should use <code>|author-mask=1</code> for repeated author names in your works cited; all parenthetical citations need to be replaced with footnotes using {{tl|sfn}}; must punctuation in your sources need to be removed as the templates do that for you; and you need to use {{tl|harvtxt}} for citations in your endnotes. Also, letters and films have their own templates. I did a couple of these for you as examples. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:14, 12 April 2025 (EDT)

== "Remembering Norris" Tribute Remediation ==

Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/Remembering Norris|"Remembering Norris"]] by Margo Howard.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 09:20, 12 April 2025 (EDT)
:{{Reply to| JHadaway}} excellent! Thank you. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:35, 13 April 2025 (EDT)

== Norman Mailer: From Orgone Accumulator to Cancer Protection for Schizophrenics ==

Dr. Lucas,

The following article is ready for your review:
https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Norman_Mailer:_From_Orgone_Accumulator_to_Cancer_Protection_for_Schizophrenics

I was unable to find the correct format for the first works cited entry under Mailer. It is a reprint of a magazine article. Thank you. [[User:JKilchenmann|JKilchenmann]] ([[User talk:JKilchenmann|talk]]) 16:28, 12 April 2025 (EDT)
:{{Reply to| JKilchenmann}} you are a master remediator! Thank you for going above and beyond. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:44, 13 April 2025 (EDT)

==Tolls of War: Mailerian Sub-Texts in For Whom the Bell Tolls, Trust & Sparring with Norman==
Dr. Lucas, these were some of the smaller ones, so I went ahead and knocked them out. They are ready for review: [[The Mailer Review/Volume 4, 2010/Sparring with Norman|Sparring with Norman]], [[The Mailer Review/Volume 5, 2011/Trust|Trust]], and [[The Mailer Review/Volume 5, 2011/Tolls of War: Mailerian Sub-Texts in For Whom the Bell Tolls|Tolls of War: Mailerian Sub-Texts in For Whom the Bell Tolls]]. —[[User:Kamyers|Kamyers]] ([[User talk:Kamyers|talk]]) 10:27, 13 April 2025 (EDT)
:{{Reply to| Kamyers}} all excellent—above and beyond! Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:56, 13 April 2025 (EDT)

== Remediation for ''Death, Art, and the Disturbing: Hemingway and Mailer and the Art of Writing'' ==

Hi everyone,
I am currently helping with the article, [https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Death,_Art,_and_the_Disturbing:_Hemingway_and_Mailer_and_the_Art_of_Writing Death, Art, and the Disturbing: Hemingway and Mailer and the Art of Writing]. It still has a good bit to go, if anyone wants to help out.
—[[User:CVinson|CVinson]] ([[User talk:Grlucas|talk]]) 5:17 PM, 13 April 2025 (EDT)
:{{Reply to|CVinson}} thanks! I added the author info. I'm not sure many will see your request; you might want to post it on the forum. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 14:56, 14 April 2025 (EDT)
::{{Reply to|Grlucas}} Thank you for adding the author information and I have posted the request in the forum. Thank you! —[[User:CVinson|CVinson]] ([[User talk:CVinson|talk]]) 6:53 PM, 14 April 2025 (EDT)

== Mimi and Mercer ==

{{reply to|Grlucas}}
I have corrected the Mimi Gladstein [[The Mailer Review/Volume 5, 2011/Piling On: Norman Mailer’s Utilization of Marilyn Monroe]] and removed all the red errors. I also have finishe the Erin Mercer article [[The Mailer Review/Volume 4, 2010/Automatons and the Atomic Abyss: The Naked and the Dead]], except the ''The Naked and the Dead'' in the display title. An error occured.
[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 19:26, 13 April 2025 (EDT)
:{{Reply to| MerAtticus}} good work. There should be no footnotes in the endnotes, please. Since this is the only thing to correct, I have removed the banner, but please let me know when you made that final correction. Thanks! (I will respond about your second article shortly.) —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 14:59, 14 April 2025 (EDT)
:{{Reply to| MerAtticus}} your second article looks good. Could you use the [[w:Template:Cite interview|Template:Cite interview]] for interviews. I did one for you. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 16:33, 14 April 2025 (EDT)

== Through the Lens of the Beatniks Remediation ==

Hello, Dr. Lucas! I've completed the remediation of [[The_Mailer_Review/Volume_5,_2011/Through_the_Lens_of_the_Beatniks:_Norman_Mailer_and_Modern_American_Man’s_Quest_for_Self-Realization#CITEREFNaked1992|Through the Lens of the Beatniks]]. I wasn't able to get the letter citations exactly how I thought they should be. If there's anything I'm missing, please let me know! Thanks! [[User:Maggiemrogers|Maggiemrogers]] ([[User talk:Maggiemrogers|talk]]) 10:09, 14 April 2025 (EDT)
:{{Reply to| Maggiemrogers}} got it! It looks great. I made some format changes, but you did a great job! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 15:58, 14 April 2025 (EDT)

== Finish Mimi ==

{{reply to|Grlucas}}

I have made the final edit to Mimi and removed the footnotes from the endnotes. [[The_Mailer_Review/Volume_5,_2011/Piling_On:_Norman_Mailer’s_Utilization_of_Marilyn_Monroe]] [[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 15:50, 14 April 2025 (EDT)
:{{Reply to| MerAtticus}} you removed all the citations. Only '''footnotes''' need to be removed, but citations need to stay. I did the first note for you (now erased, but you can see it in the history) so you could see how it was done. You can also see [[The Mailer Review/Volume 4, 2010/Rumors of Grace: God-Language in Hemingway and Mailer|this one]]. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 16:52, 14 April 2025 (EDT)

== Completed? All You Need is Glove ==

Hi Dr. Lucas, I believe the book review, [[The_Mailer_Review/Volume_4,_2010/All_You_Need_is_Glove|All You Need is Glove]] is done and ready for review! [[User:Hobbitonya|Hobbitonya]] ([[User talk:Hobbitonya|talk]]) 19:10, 14 April 2025 (EDT)
:{{Reply to| Hobbitonya}} awesome work! Banner removed, and many thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:08, 16 April 2025 (EDT)

== Harv and Sfn no-target ==

{{reply to|Grlucas}}
I changed the citations in the article to interview and I tried a few things to get rid of the Harv and Sfn no-target with little luck. [[The_Mailer_Review/Volume_4,_2010/Automatons_and_the_Atomic_Abyss:_The_Naked_and_the_Dead]]
[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 21:04, 14 April 2025 (EDT)
:{{Reply to| MerAtticus}} this was because your interviews had no dates. Most are from Lennon's book, published in 1988. I added the dates to the citations, but the sfn footnotes need to be fixed to correspond with those. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:24, 16 April 2025 (EDT)
::{{Reply to| MerAtticus}} OK, between your fixes and my little tweaks, this one is finished! Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:50, 17 April 2025 (EDT)

== Erros fixed ==

{{reply to|Grlucas}}
I have fixed all citation errors in both articles and added the harvtxt. Atomic Abyss still has the Pages using duplicate arguments in template calls error.
[[The_Mailer_Review/Volume_4,_2010/Automatons_and_the_Atomic_Abyss:_The_Naked_and_the_Dead]]
:{{Reply to|MerAtticus}} see above. These still need fixing. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:35, 16 April 2025 (EDT)

[[The_Mailer_Review/Volume_5,_2011/Piling_On:_Norman_Mailer’s_Utilization_of_Marilyn_Monroe]]
:{{Reply to|MerAtticus}} this one looks great! Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:35, 16 April 2025 (EDT)

[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 08:23, 15 April 2025 (EDT)

== completed: Advertisements for Others ==

Thanks to some classmates helping with the finishing touches, my second article should be ready. [[The_Mailer_Review/Volume_4,_2010/Advertisements_for_Others:_The_Blurbs_of_Norman_Mailer|Advertisements for Others.]]
--[[User:NrmMGA5108|NrmMGA5108]] ([[User talk:NrmMGA5108|talk]]) 19:24, 17 April 2025 (EDT)
:{{reply to| NrmMGA5108}} received, and thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:15, 18 April 2025 (EDT)

== Two Poems Vol 4 Ready? ==

Hi Dr. Lucas! I think these two poems are ready for review: [[The Mailer Review/Volume 4, 2010/The Boxer in the Park|The Boxer in the Park]] and Norman Mailer and [[The_Mailer_Review/Volume_4,_2010/Norman_Mailer_and_Ernest_Hemingway_Do_Not_Box_in_Heaven|Ernest Hemingway Do Not Box in Heaven]]. The second on says the display title is wrong, but again, I don't know what I am missing there. Thank you![[User:Hobbitonya|Hobbitonya]] ([[User talk:Hobbitonya|talk]]) 09:05, 18 April 2025 (EDT)
:{{Reply to| Hobbitonya}} excellent! Thank you. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:56, 18 April 2025 (EDT)

== A Dialogue Essay on Mailer and Hemingway ==

Hey,

I see that [[The Mailer Review/Volume 4, 2010/A Dialogue Essay on Mailer and Hemingway|A Dialogue Essay on Mailer and Hemingway]] is missing text. Can you email me a copy or link it as a reply, so I can remediate this article. [[User:APKnight25|APKnight25]] ([[User talk:APKnight25|talk]]) 09:44, 18 April 2025 (EDT)
:{{Reply to| APKnight25}} you may download both volumes’ PDFs on the [https://forum.grlucas.net/t/project-mailer-assignments-remediation-project/88/3?u=grlucas forum]. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:40, 18 April 2025 (EDT)

== Almost complete ==

@grlucas
I've made a ton of progress.
The only thing I have left is going through all of the links to do away with harvtxt and sfn target error and an error for extra text in the author section. I fixed the error about using an "en" dash between years.
I'll still be working on it until tomorrow night, but please take a look: https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Hemingway_and_Women_at_the_Front:_Blowing_Bridges_in_The_Fifth_Column,_For_Whom_the_Bell_Tolls,_and_Other_Works

== Articles complete ==

@grlucas
I have also made a lot of progress with my articles and luckily received a last minute assit from a few of my class mates. I beleive both volumes to be complete: Vol 4: https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Mailer,_Hemingway,_and_the_%E2%80%9CReds%E2%80%9D (Which I believe has already been submitted) and Volume 5: https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Making_Masculinity_and_Unmaking_Jewishness:_Norman_Mailer%E2%80%99s_Voice_in_Wild_90_and_Beyond_the_Law (I just received the final error correction from a fellow student.

I also started working on this Vol 4 article once I got back into the system: https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Style,_Politics,_and_Hemingway%27s_Spanish_Civil_War_Dispatches in my sandbox https://projectmailer.net/pm/User:KWatson/sandbox but another user has already completed it.

Please review my articles and advise what else is needed from me. Thank you [[User:KWatson|KWatson]] ([[User talk:KWatson|talk]]) 15:37, 19 April 2025 (EDT)

== Additional edits ==

Hello! I reformatted all in text citations, did some editing, and added page numbers to [[The Mailer Review/Volume 4, 2010/Mailer, Hemingway, and Boxing|Mailer, Hemingway, and Boxing]]- could you please take a look at the updated page and see if there's anything additional that it needs?

I was also wondering: on this page, I had also recieved confirmation from you that my [[The Mailer Review/Volume 4, 2010/The American Civil War in The Naked and the Dead and Across the River and Into the Trees|originally assigned article]] was complete, and the banner could be removed. However, it is still showing as an X on the page, and I am unable to find the comment from you! Could you please clarify if anything needs to be fixed? Thanks so much!
[[User:KaraCroissant|KaraCroissant]] ([[User talk:KaraCroissant|talk]]) 16:25, 19 April 2025 (EDT)

== Civil War..Dispatched. ==

{{reply to|Grlucas}}

I believe the Hemingway's Spanish Civil War is complete except the harvtext were not working. [[The_Mailer_Review/Volume_4,_2010/Style,_Politics,_and_Hemingway's_Spanish_Civil_War_Dispatches]]
[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 17:37, 19 April 2025 (EDT)

User talk:Grlucas

2025-04-20T02:40:21Z

KaraCroissant: /* Additional edits */Added content

{{Talk header}}
[[/Archive 202504/]]

== Final edits ==
Hello, my article is complete: [[The_Mailer_Review/Volume_4,_2010/Ernest_and_Norman_(Exit_Music)|Ernest and Norman (Exit Music)]]
:{{Reply to|Flowersbloom}} great, thank you. I made some corrections. Please be sure to sign your talk page posts. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:59, 10 April 2025 (EDT)

Good evening, Dr. Lucas. Below is the link to my edited article:
https://projectmailer.net/pm/User:ASpeed/sandbox
:{{Reply to|ASpeed}} great. Let me know when it’s finished and posted, and I’l have a look. It appears as if you still have a bit of work to do. Please be sure to sign your talk page posts. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:59, 10 April 2025 (EDT)

Good evening, @[[User:Grlucas|Grlucas]]. I have completed most of my Remediation Articles, but I still show issues for the one named, "[[The_Mailer_Review/Volume_4,_2010/Norman,_Papa,_and_the_Autoerotic_Construction_of_Woman|Norman, Papa, and the Autoerotic Construction of Woman]].

Based on the latest updates, [[The_Mailer_Review/Volume_4,_2010/Battles_for_Regard,_Writerly_and_Otherwise|Battles for Regard, Writerly and Otherwise]] looks good with exception of including a '''category'''.
:{{Reply to|ALedezma}} this one is good. I made some corrections before removing the banner, mostly in your sources. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:59, 10 April 2025 (EDT)

May you let me know if there is anything I can do on my end to resolve the issues with the first [[The_Mailer_Review/Volume_4,_2010/Norman,_Papa,_and_the_Autoerotic_Construction_of_Woman|article]]?

[[User:ALedezma|ALedezma]] ([[User talk:ALedezma|talk]]) 21:47, 8 April 2025 (EDT)
:{{Reply to|ALedezma}} looking very good, but some sources missing page numbers. Please see to those. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:59, 10 April 2025 (EDT)

:::Thank you @[[User:Grlucas|Grlucas]] . I will review those and respond when complete. [[User:ALedezma|ALedezma]] ([[User talk:ALedezma|talk]]) 22:47, 10 April 2025 (EDT)
::::@[[User:Grlucas|Grlucas]]. Thank you for your feedback. A review of article additions was made for source pages. [[User:ALedezma|ALedezma]] ([[User talk:ALedezma|talk]]) 20:22, 11 April 2025 (EDT)
:::::{{Reply to| ALedezma}} ok, looking good. I made some corrections. There's one final thing to do: no footnotes should appear in the notes section; use {{tl|harvtxt}} instead; I did one to show you how to use the template. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 13:39, 12 April 2025 (EDT)
::::::@[[User:Grlucas|Grlucas]] Changes were done to footnote sources. Thank you! [[User:ALedezma|ALedezma]] ([[User talk:ALedezma|talk]]) 19:59, 12 April 2025 (EDT)

Dr. Lucas I finished my remediation article https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_4,_2010/Norman_Mailer%27s_The_Fight:_Hemingway,_Bullfighting,_and_the_Lovely_Metaphysics_of_Boxing&action=edit [[User:TWietstruk|TWietstruk]] ([[User talk:TWietstruk|talk]]) 19:44, 8 April 2025 (EDT)
:{{Reply to| TWietstruk}} good work so far, but there is more to do: placement of footnotes (eliminate spaces around them and punctuation always goes ''before'' the footnote.); proofread for typos; fix all red errors at the bottom (most of these are from errors in sourcing); works cited entries should be bulleted list and eliminate space between entries. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:05, 10 April 2025 (EDT)
::{{Reply to|Grlucas}} Final edit and no errors with some help from @NRMMGA5108, @JKilchenmann. Please mark me as complete. On to help someone else with the things I've learned
https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_4,_2010/Norman_Mailer%27s_The_Fight:_Hemingway,_Bullfighting,_and_the_Lovely_Metaphysics_of_Boxing&action=edit [[User:TWietstruk|TWietstruk]] ([[User talk:TWietstruk|talk]]) 17:52, 13 April 2025 (EDT)

Dr. Lucas I have finished my assigned remediation article: https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Jive-Ass_Aficionado:_Why_Are_We_in_Vietnam%3F_and_Hemingway%27s_Moral_Code#cite_note-FOOTNOTEHemingway2003-24
Username ADear.
:{{Reply to|ADear}} thank you. I have marked this as complete. Please be sure you sign your talk page posts correctly. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:05, 10 April 2025 (EDT)

Dr. Lucas, I have finished remediating my assigned article. Please review it at your earliest convenience. The link is here: [[The_Mailer_Review/Volume_5,_2011/Norman_Mailer's_Mythmaking_in_An_American_Dream_and_“The_White_Negro”|Norman Mailer's Mythmaking in An American Dream and “The White Negro”]]—[[User:Erhernandez|Erhernandez]] ([[User talk:Erhernandez|talk]]) 08:52, 4 April 2025 (EDT)
:{{Reply to|Erhernandez}} well done! A couple of things: never bury your talk page post. Put it at the bottom, preferably in its own section by clicking "Add topic" on the top-right. I removed your banner after making a few corrections. Please have a look over it and move on to the next thing. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:06, 5 April 2025 (EDT)

Dr. Lucas, I transferred and edited my article. Can you look at it and remove the banner? Here's the link: [[The_Mailer_Review/Volume_4,_2010/Authorship_and_Alienation_in_Death_in_the_Afternoon_and_Advertisements_for_Myself|Authorship and Alienation in Death in the Afternoon and Advertisements for Myself]] ( [[User:APKnight25|APKnight25]] ([[User talk:APKnight25|talk]]) 13:02, 28 March 2025 (EDT) )
:{{Reply to| APKnight25}} looking good! A couple of things: never bury your talk page post. Put it at the bottom, preferably in its own section by clicking "Add topic" on the top-right. Next, eliminate all "fang" quotes in the article and add “real quotation marks.” Your sources should be a bulleted list. And there should be no space before a citation. You’re almost finished! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 11:21, 30 March 2025 (EDT)

== Remediation of "Reinventing the Wheel" Mailer Article for Review ==

Dr. Lucas,

My [[The_Mailer_Review/Volume_5,_2011/Reinventing_a_New_Wheel:_The_Films_of_Norman_Mailer|article]] is ready for review.

Thank you!
[[User:TPoole|TPoole]] ([[User talk:TPoole|talk]]) 15:29, 29 March 2025 (EDT)
:{{Reply to|TPoole}} great! Could you include a link to it? Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 11:07, 30 March 2025 (EDT)
::OK, I [[The Mailer Review/Volume 5, 2011/Reinventing a New Wheel: The Films of Norman Mailer|found it]]. Looking really good. Great work. There are some citation issues that need to be seen to. The two red categories at the bottom should not be there; they will go away when the citations errors are corrected. Eliminate any quotation mark "fangs" in the text and replace them with “real quotation marks.” Let me know if you need help. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 11:14, 30 March 2025 (EDT)
:::@Grlucas, what are the citation issues? Which ones need correcting? [[User:TPoole|TPoole]] ([[User talk:TPoole|talk]]) 17:31, 31 March 2025 (EDT)
::::{{Reply to| TPoole}} When you click your citations, they should jump to the works cited entry they correspond to. Several of yours do not, indicated by the red “Harv and Sfn no-target errors” at the bottom. You also have a "CS1 maint: Unrecognized language" error that will likely be cleared up when you fix the citation issues. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:55, 1 April 2025 (EDT)
:::::@Grlucas, I have tried correcting the sfn codes in my citations. I was able to get the 2 web citations to link correctly. But for some reason, I cannot get the Mailer 1967 film Wild 90 citation to link to the reference list. Please advise. [[User:TPoole|TPoole]] ([[User talk:TPoole|talk]]) 20:24, 4 April 2025 (EDT)
::::::{{Reply to| TPoole}} OK, all fixed and published. Thanks. Please move on to another remediation. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:46, 5 April 2025 (EDT)

== Remediation of: "Contradictory Syntheses: Norman Mailer’s Left Conservatism and the Problematic of 'Totalitarianism'" ==

Dr. Lucas

I finished the remediation of the following article:

https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Contradictory_Syntheses:_Norman_Mailer%E2%80%99s_Left_Conservatism_and_the_Problematic_of_%E2%80%9CTotalitarianism%E2%80%9D

It is ready for your review. Thank you.
[[User:JKilchenmann|JKilchenmann]] ([[User talk:JKilchenmann|talk]]) 19:04, 30 March 2025 (EDT)
:{{Reply to| JKilchenmann}} looks great. I made some tweaks to the references and some throughout, like changing ' and " to real apostrophes and quotation marks. A bit more clean-up, but you might want to check over it again. I removed the under-construction banner. Well one. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 21:32, 30 March 2025 (EDT)

== Final Edit ==

Thank you for your comments on my remediation of
"[[The Mailer Review/Volume 4, 2010/Authorship and Alienation in Death in the Afternoon and Advertisements for Myself|Authorship and Alienation in Death in the Afternoon and Advertisements for Myself.]]"

I've eliminated the "fang quotes" and changed them to “real quotation marks.” This was a very fascinating tip that taught me something new. It's something I've never noticed before but now always will.

I also put my sources in a bulleted list and removed the space before the citations. I think I'm all set now.
:{{Reply to|APKnight25}} great work! Please help other editors to complete the volume. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:34, 3 April 2025 (EDT)

== Remediation for ''Firearms in the Works of Hemingway and Mailer'' ==

[[User:Grlucas|Grlucas]]

Hi Dr. Lucas,

I believe I have done everything for the Remediation of my article. Please let me know if there is anything else I need to do.

I will also link the article below:

https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Firearms_in_the_Works_of_Hemingway_and_Mailer

Thank you,
Caitlin Vinson
:{{Reply to|CVinson}} great work so far. Your references must use templates, please. Blockquotes must also be done correctly. No spaces or line breaks before or after the {{tl|pg}} template. Footnote placement is also off (punctuation goes before the footnote; no spaces before or after the footnote). I will add the abstract and url. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:30, 3 April 2025 (EDT)

:{{Reply to|Grlucas}} Hi Dr. Lucas, I believe there have been some updates made to the project. I believe I have also updated the works cited section to show correct templates. Please let me know if there is anything further that I need to do. Thank you, Caitlin.
::{{reply to| CVinson}} please sign your talk page posts correctly. Thanks. You still need to do some work on the sources. Use the <code>|author-mask=1</code> in your template for repeated author names. Also, you must eliminate the red “Harv and Sfn no-target errors” message at the bottom. No spaces or returns before or after the {{tl|pg}} call, as I already mentioned above. No parenthetical citations should be left, either; those should all be remediated to footnotes. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:50, 8 April 2025 (EDT)

:::{{Reply to|Grlucas}} I have updated the sources and updated the in-text citations. I am still having trouble with the "Harv and Sfn no-target errors." I have not been successful in fixing this error and have tried multiple ways to fix it. —[[User:CVinson|CVinson]] ([[User talk:Grlucas|talk]]) 8:18, 8 April 2025 (EDT)

::::{{Reply to|Grlucas}} Hi Dr. Lucas, I see that I still have a red X for my remediation assignment. Is there something else I am still missing? —[[User:CVinson|CVinson]] ([[User talk:Grlucas|talk]]) 11:35, 10 April 2025 (EDT)
:::::{{reply to| CVinson}} sorry, I'm just getting back to it. There are quite a few punctuation errors. Some left out and others appear after the {{tl|sfn}}. I'm trying to correct those I see, but you should have a look, too. Page is designated as <code>p=</code> in {{tl|sfn}}, not <code>pg=</code>; and a span of pages needs <code>pp=</code>. Again, I have tried to correct these. I removed the banner, but please have another look through. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 13:01, 12 April 2025 (EDT)

== Remediation for ''Norman Mailer Today'' ==
Dr. Lucas, I have finished up my remediation article [[The Mailer Review/Volume 5, 2011/Norman Mailer Today|Norman Mailer Today]], and it is ready for review. Please let me know if I missed something. Thank you! —[[User:Kamyers|Kamyers]] ([[User talk:Kamyers|talk]]) 18:20, 3 April 2025 (EDT)
:{{Reply to|Kamyers}} Great work! Please help your fellow editors finish the volume, or pick something to work on in [[The Mailer Review/Volume 4, 2010|Volume 4]]. Thanks, and well done. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:00, 4 April 2025 (EDT)

== Remediation of “The Conception of Irreversibility: Hannah Arendt and Hemingway’s ‘Hills Like White Elephants’” ==
Dr. Lucas, I have finished my remediation of Jennifer Yirinec's article: [[The Mailer Review/Volume 5, 2011/The Conception of Irreversibility: Hannah Arendt and Hemingway’s “Hills Like White Elephants”|The Conception of Irreversibility: Hannah Arendt and Hemingway’s “Hills Like White Elephants.”]] Thank you for your assistance with the article. It is ready for its final review! [[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 10:24, 4 April 2025 (EDT)
:{{Reply to|JHadaway}} a stellar job. Well done. I removed the banner, so you can move on to another article. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:12, 5 April 2025 (EDT)

== Tribute Remediations ==
Dr. Lucas, I have begun work on the tributes for volume 5. [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/Grace Notes|Grace Notes]] by Stephen Borkowski is ready for its final review.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 12:58, 4 April 2025 (EDT)
:{{Reply to|JHadaway}} Well done! Banner removed, url added. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:18, 5 April 2025 (EDT)

==Oohh Normie Final Edits==
Hi Dr. Lucas, I have finished my article: [[The_Mailer_Review/Volume_4,_2010/"Oohh_Normie_—_You're_Sooo_Hemingway":_Mailer_Memories_and_Encounters|Oohh Normie, You're Sooo Hemingway]]. Please let me know if there is anything I need to fix. [[User:Tbara4554|Tbara4554]] ([[User talk:Tbara4554|talk]]) 20:01, 5 April 2025 (EDT)
:{{reply to|Tbara4554}} thank you. I made some corrections and removed the banner. You might want to have another look over it. Please move on to something else. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:53, 6 April 2025 (EDT)

== Harlot's Ghost, Bildungsroman, Masculinity and Hemingway ==

Dr. Lucas,

The following article is ready for your review. Thanks.

https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Harlot%27s_Ghost,_Bildungsroman,_Masculinity_and_Hemingway

[[User:JKilchenmann|JKilchenmann]] ([[User talk:JKilchenmann|talk]]) 21:22, 5 April 2025 (EDT)
:{{Reply to| JKilchenmann}} excellent. Thank you. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:39, 6 April 2025 (EDT)

== I am done with this ==

https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Situating_Hemingway:_Mailer,_Style,_Ethics
:Received. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:29, 6 April 2025 (EDT)

== Final Review PM Article ==

Hi Dr. Lucas, [[The_Mailer_Review/Volume_4,_2010/Hemingway_to_Mailer_—_A_Delayed_Response_to_The_Deer_Park|here]] is my remediated article, ready for review![[User:Hobbitonya|Hobbitonya]] ([[User talk:Hobbitonya|talk]]) 12:21, 6 April 2025 (EDT)
:{{Reply to| Hobbitonya}} great work. I have removed the banner, so you are good to move on to something else. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:20, 7 April 2025 (EDT)

== Remediation Project ==

{{reply to|Grlucas}}
I have finished my remedidation project and I am ready for it to be reviewed. '''Article link''': [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Piling_On:_Norman_Mailer’s_Utilization_of_Marilyn_Monroe#Works_Cited|Piling On: Norman Mailer's Utilization of Marilyn Monroe]

Thanks,

[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 13:04, 6 April 2025 (EDT)
:{{Reply to| MerAtticus}} good work so far. Please remove wikilinks. Change ' and " to typographical apostrophes and quotation marks. And all red errors at the bottom of the page need to be taken care of. These are likely all from coding errors in your sources. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:24, 7 April 2025 (EDT)

{{reply to|Grlucas}}
I have removed the wikilinks, changed to the correct typographic style and updated my sources.
'''Article link''': [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Piling_On:_Norman_Mailer’s_Utilization_of_Marilyn_Monroe#Works_Cited|Piling On: Norman Mailer's Utilization of Marilyn Monroe] Thanks, [[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 21:55, 7 April 2025 (EDT)

[I forgot to fill out the summary box. I am adding my summary]
:{{Reply to| MerAtticus}} you're getting there! It looks great. You must eliminate all the red errors at the bottom. These appear when there are errors in your citations. Let me know if you need help. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:15, 8 April 2025 (EDT)

@{{reply to|Grlucas}} I have tried everything I can think of and I still have harv and sfn no-target errors and harv and sfn multiple-target errors and cs1 uses editors parameter. Do I not include the editor? [[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 16:03, 8 April 2025 (EDT)

{{reply to|Grlucas}} I have managed to get rid of two of the red target errors. I am still working on finding the harv sfn multiple target error. Thanks, [[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 20:37, 8 April 2025 (EDT)

{{reply to|Grlucas}} I have tried everything i can think of to remove the last red error flag. I had to turn it in. I don't know that else I can do in this situation. I was given citation that did not follow any of the given formats. [[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 21:45, 8 April 2025 (EDT)
:{{Reply to| MerAtticus}} all parenthetical citations must be remediated to {{tl|sfn}}; none of yours are. Get these done, then we can worry about the errors. (Some notes on sources: any generic <code><nowiki>{{citation}}</nowiki></code> will not be correct. I see you have a book review by Marshall that has no source (I tried to find the original and cannot; this is a weird citation; I'll continue to look for it). There's also one that looks like a film that should use the [[w:Template:Cite AV media|<code>Cite AV media</code> template]].) Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 13:16, 12 April 2025 (EDT)

== Remediation Submission ==

Hello!
Here's my remediated article; [[The_Mailer_Review/Volume_5,_2011/The_Devil's_Party:_Reading_and_Wreaking_Vengeance_in_The_Castle_in_the_Forest|The Devil's Party: Reading and Wreaking Vengeance in ''The Castle in the Forest'']].
Thanks! Please let me know if there's anything I can review or correct.
[[User:Maggiemrogers|Maggiemrogers]] ([[User talk:Maggiemrogers|talk]]) 13:23, 6 April 2025 (EDT)
:{{Reply to| Maggiemrogers}} nice work! Banner removed, so please move on to something else in the volume. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:39, 7 April 2025 (EDT)

== Vol. 4: Rumors of Grace article remediated ==

I believe I have completed remediation of ''[[The_Mailer_Review/Volume_4,_2010/Rumors_of_Grace:_God-Language_in_Hemingway_and_Mailer|Rumors of Grace: God-Language in Hemingway and Mailer]]'', vol. 4. I was having last-minute trouble with sfn errors for sources without authors, but Justin Kilchenmann helped me out, so I think they are fixed.
:{{Reply to|Sherrilledwards}} You have done a remarkable job—a real Herculean effort! Footnotes should not go in any notes. See those I changed; the others should be changed in the same way. I have done some, but the others have to be fixed, I'm afraid. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:20, 8 April 2025 (EDT)
::{{Reply to|Grlucas}}I believe I have completed these fixes, so the article is again ready for review. [[User:Sherrilledwards|Sherrilledwards]] ([[User talk:Sherrilledwards|talk]]) 15:49, 12 April 2025 (EDT)
:::{{Reply to| Sherrilledwards}} truly exceptional work—a model remediation! Marked as complete. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:30, 13 April 2025 (EDT)

== Remediation of "Inside Norman Mailer ==

Hi Dr. Lucas - I have finished remediating the article, [[The Mailer Review/Volume 4, 2010/Inside Norman Mailer|Inside Norman Mailer]]. Please let me know if I need to make any adjustments. Thank you! [[User:Chelsey.brantley|Chelsey.brantley]] ([[User talk:Chelsey.brantley|talk]]) 18:09, 7 April 2025 (EDT)
:{{Reply to|Chelsey.brantley}} good work! Please help with another article from volume 4. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:36, 8 April 2025 (EDT)

== Completed: Norman Mailer: Playboy Magazine ==

I hope I am doing this is right. I have finished remediating my article about Norman Mailer and its in my designated sandbox [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Norman_Mailer:_Playboy_Magazine_Heavyweight here.]
If there are any last minute edits, let me know. I got the last of the errors removed yesterday. And I believe we are on the same page with leaving the in-line citations for ''Playboy'' to be as is, since the author didn't put them down in the works cited. [[User:NrmMGA5108|NrmMGA5108]] ([[User talk:NrmMGA5108|talk]]) 20:14, 7 April 2025 (EDT)Nina Mizner
:{{Reply to|NrmMGA5108}} looking good! So, the parenthetical citations still in the article, I'm assuming, are there because of those missing sources? Please check your page numbers; some seem to be off. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:04, 8 April 2025 (EDT)

:{{Reply to|Grlucas}} I found the page number error and its corrected, and yes all the parenthetical citations should be referencing issues of the ''playboy'' magazine, which were not listed in the works cited. --[[User:NrmMGA5108|NrmMGA5108]] ([[User talk:NrmMGA5108|talk]]) 20:54, 10 April 2025 (EDT)
::{{Reply to| NrmMGA5108}} it looks great. I removed the banner! Thank you. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 13:29, 12 April 2025 (EDT)

== Completed Remediation From Here to Eternity and The Naked and The Dead: Premier to Eternity? ==

Greeting Dr. Lucas,

I have made the adjustment that you mentioned.

I also made additional edits to my short footnotes and noticed that my citations did not link to my references - which has been fixed.

I have tested all of my citations, and they all work.

Here is my article by Alexander Hicks, ''From Here to Eternity and The Naked and The Dead: Premier to Eternity?''

https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/From_Here_to_Eternity_and_The_Naked_and_the_Dead:_Premiere_to_Eternity%3F

Have a great day.
:{{Reply to| THarrell}} Please always sign your talk page posts. Several “quoted items” in the article appear as ‘quoted items’; these must be corrected, please. No spaces or returns should surround {{tl|pg}} calls. Multiple page numbers should look like this <code><nowiki>{{sfn|Moretti|1996|pp=11-14}}</nowiki></code>; note the double <code>pp</code>. There seem to be many typos. I corrected some for you, but you must see to the rest. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:16, 8 April 2025 (EDT)

:{{Reply to| Grlucas}} Greetings,

Are these the only additional corrections that need to be made? This is different from what you mentioned before.

I just want to be sure that I have hit everything.

Also can you verify what other typos you are seeing, I have ran through this twice.

If something is spelt a certain way, for example "Soljer", I have left it that way. Since it is mentioned like that in the article.
—[[User:THarrell|THarrell]] ([[User talk:THarrell|talk]]) 06:49, 8 April 2025 (EDT)

:{{Reply to| Grlucas}} Greetings,

I have gone through and fixed all of the short footnotes.

I have gone line by line with a ruler to look at any typos, and fixed the words that I found that had a dash in them/needed to be lowercased.

I have also fixed the quotations.

—[[User:THarrell|THarrell]] ([[User talk:THarrell|talk]]) 12:31, 9 April 2025 (EDT)
:{{Reply to| THarrell}} much better. Periods go inside quotations marks; I think I fixed these, but please check. Also, there are no spaces before footnotes; again, I did a find/replace, but you should check. Also, check that all titles of novels are italicized (if it's italicized in the PDF, then it has to be italicized in the remediation, including abbreviations, like ''Naked''); I fixed a couple. Also, no extra spaces; there should only be a single blank space between paragraphs. There are quite a few little details that needed (need?) fixing. I removed the banner, but please check my work. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 12:41, 12 April 2025 (EDT)

== Remediation for “Footnote to Death in the Afternoon” ==

Greetings Dr. Lucus,

My article is ready for your review. Thank you.

https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Mailer%E2%80%99s_%E2%80%9CFootnote_to_Death_in_the_Afternoon%E2%80%9D)
:{{Reply to| KForeman}} it's coming along. Please ''always'' sign your talk page posts. Right up top, there are errors. Please use the real {{tl|pg}}, like all the other articles. Citations need to be fixed. All parenthetical citations must be converted. You still have quite a bit of work to do. All red sections need to be seen to and corrected. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:20, 8 April 2025 (EDT)
@Grlucs, per your suggestions, I've made the corrections. Please review. I look forward to your feedback. Thank you.
:{{Reply to| KForeman}} looking better. All parenthetical page numbers should be removed and added to the {{tl|sfn}}. Check your page numbers in {{tl|pg}}. Footnotes should have no spaces around them; periods and commas go ''inside'' quotation marks and before the footnotes. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:28, 19 April 2025 (EDT)

=Remediation of "Cluster Seeds and the Mailer Legacy"=
Hello, Dr. Lucas. I have completed the remediation of [https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_5,_2011/Cluster_Seeds_and_the_Mailer_Legacy&oldid=18200| my article], and it is ready for your review. Thank you!—[[User:ADavis|ADavis]] ([[User talk:ADavis|talk]]) 11:32, 8 April 2025 (EDT)@ADavis
:{{Reply to| ADavis}} got it. I think I check it yesterday and removed the banner then. Please move on to another piece. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 17:29, 8 April 2025 (EDT)

== Remediating Article: Mailer, Hemingway, and Boxing Volume 4. ==

Hello Dr. Lucas,

I have completed remediating my article. Here is the link [[The Mailer Review/Volume 4, 2010/Mailer, Hemingway, and Boxing|The Mailer Review: Volume 4: Mailer, Hemingway, Boxing (2010)]] [[User:JBrown|JBrown]] ([[User talk:JBrown|talk]]) 13:01, 8 April 2025 (EDT)JBrown
:{{Reply to|JBrown}} a good start, but all parenthetical citations need to be footnotes. Also, check your headers. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 17:29, 8 April 2025 (EDT)

== Remediation for ''Norris Church Mailer'' ==
Dr. Lucas, I have finished up remediating the article [[The Mailer Review/Volume 4, 2010/Norris Church Mailer|Norris Church Mailer]], and it is ready for review. Please let me know if I missed something. Thank you! —[[User:Kamyers|Kamyers]] ([[User talk:Kamyers|talk]]) 13:42, 8 April 2025 (EDT)
:{{reply to|Kamyers}} awesome work! Thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 17:29, 8 April 2025 (EDT)

== Final Edits Completed and Ready for Review ==

Dr. Lucas, I have completed my assigned remediation article: [[The_Mailer_Review/Volume_4,_2010/Looking_at_the_Past:_Nostalgia_as_Technique_in_The_Naked_and_the_Dead_and_For_Whom_the_Bell_Tolls|Looking at the Past: Nostalgia as Technique in The Naked and the Dead and For Whom the Bell Tolls]]. Please review at your convenience. I enjoyed working on this assignment. I look forward to your suggestions and feedback. All the best, Danielle (DBond007)
:{{Reply to| DBond007}} ok, good work. Please remove all the external links. Links to Wikipedia are not necessary, but if used, they need to be done correctly. There should be no spaces before {{tl|sfn}}. May sure all your ' and " are actually typographical apostrophes and quotation marks. Remove any superfluous spaces and line breaks; these mess up the formatting. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 17:29, 8 April 2025 (EDT)
::{{Reply to| Grlucas}} Thank you. I will get started on these revisions immediately. Thanks for the feedback and your time. :)[[User:DBond007|DBond007]] ([[User talk:DBond007|talk]]) 11:30, 10 April 2025 (EDT)
::{{Reply to| Grlucas}} I have completed all the requested revisions and ready for review round 2. Thank you again![[User:DBond007|DBond007]] ([[User talk:DBond007|talk]]) 12:10, 10 April 2025 (EDT)
:::{{Reply to|DBond007}} looking better! There are still items to be seen to, like titles on novels and magazines need to appear like they do in the original: if it's italicized in the PDF, it must be italicized on the web. I added the epigram for you and corrected that pesky citation. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:41, 12 April 2025 (EDT)
::{{Reply to| Grlucas}}I have completed edits. I went through and took out quotes around The Time Machine, except for one instance that the author uses them. All my other titles seem to correspond to the original article. Please let me know if I missed something. Thank you for the epigram and the pesky citation correction. Best, [[User:DBond007|DBond007]] ([[User talk:DBond007|talk]]) 15:25, 17 April 2025 (EDT)
:::{{Reply to|DBond007}} received, and good work. I had to clean up the sources a bit, so you might want to have a look. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:42, 18 April 2025 (EDT)
::{{Reply to| Grlucas}}I went back and reviewed some of the other articles marked complete to compare and look for remaining revisions. I made one change on Works Cited and also added the page numbers to correspond to the pdf. Let's try this again. Again, I *believe I am finished with this article. Best,[[User:DBond007|DBond007]] ([[User talk:DBond007|talk]]) 10:36, 18 April 2025 (EDT)

Hopefully this works!. I'm not sure how to reply to other threads, but I was scrolling through the PDF and noticed the publisher is Iowa Pres? Just curious if it's supposed to be Iowa Press? [[User:Wverna|Wverna]] ([[User talk:Wverna|talk]]) 22:33, 18 April 2025 (EDT)
:{{Reply to| Wverna}} I'm not sure what you're talking about. Perhaps if you included a link to the article? See [[w:Help:Talk pages|Talk page guidelines]] if you don't know how to use them. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:33, 19 April 2025 (EDT)
Just kidding, I responded to the wrong "Bell Tolls' article. I was referring to this one: https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Tolls_of_War:_Mailerian_Sub-Texts_in_For_Whom_the_Bell_Tolls sorry about that! [[User:Wverna|Wverna]] ([[User talk:Wverna|talk]]) 17:49, 19 April 2025 (EDT)

== Completed the remediation assignment ==

Good evening Dr. Lucas,

I hope I am doing this right. Here is the link for my completed Remediation article: [http://The_Mailer_Review/Volume_4,_2010/Encounters_with_Mailer Encounters with Mailer].

I look forward to reading your feedback.

All the best,

Patrick Riley
:{{Reply to|Priley1984}} thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:40, 10 April 2025 (EDT)

== Remediation Project Submission: An Expected Encounter in an Unexpected Place ==

Link:

https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Norman_Mailer:_An_Expected_Encounter_in_an_Unexpected_Place

Winnie Verna
:{{Reply to|Wverna}} received, thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:51, 10 April 2025 (EDT)

== E.Mosley ==

Good evening, @Grlucas. I have completed my Remediation Articles[[https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/On_Reading_Mailer_Too_Young]]. The article I had was " On Reading Mailer Too Young Volume 4, 2010
:{{Reply to| Essence903m}} thank you. I had to fix and clean-up quite a bit. Your saves also do not include summaries. When you move on to your next article, please be more careful and follow the instructions. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:12, 10 April 2025 (EDT)

== Kynndra Watson ==

Good Evening, @grlucas. i have completed my Remediation articles: Volume 5: https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Making_Masculinity_and_Unmaking_Jewishness:_Norman_Mailer%E2%80%99s_Voice_in_Wild_90_and_Beyond_the_Law and Volume 4: https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Mailer,_Hemingway,_and_the_%E2%80%9CReds%E2%80%9D.

Thank you.
:{{Reply to| KWatson}} thank you, and this is a good start, but there are still many items that need to be cleaned up, like footnote indications (They go after punctuation), citation errors (all the red errors at the bottom need to be seen to), extra spaces and ALL CAPS need to be removed. Please see other completed articles for models. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:18, 10 April 2025 (EDT)

== Tribute Remediation ==
Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/What Would Be the Fun of That?|"What Would Be the Fun of That?"]] by Peter Alson.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 09:33, 9 April 2025 (EDT)
:{{Reply to| JHadaway}} awesome! Thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:21, 10 April 2025 (EDT)

== “Remembering Norris Church” Tribute Remediation ==
Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/Remembering Norris Church|“Remembering Norris Church”]] by John Bowers.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 16:17, 9 April 2025 (EDT)
:{{Reply to| JHadaway}} and again, excellent! Thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:22, 10 April 2025 (EDT)

== “The Norris I Knew” Tribute Remediation ==
Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/The Norris I Knew|“The Norris I Knew”]] by Christopher Busa.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 09:04, 10 April 2025 (EDT)
:{{Reply to| JHadaway}} rockin’! 👍🏼 —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:24, 10 April 2025 (EDT)

== "Norris Mailer" Tribute Remediation ==
Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/Norris Mailer|"Norris Mailer"]] by Nancy Collins.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 09:35, 10 April 2025 (EDT)
:{{Reply to| JHadaway}} thanks again. You’re tearing it up. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:32, 10 April 2025 (EDT)

== "Rise Above It" Tribute Remediation ==

Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/Rise Above It|"Rise Above It"]] by David Ebershoff—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 11:12, 10 April 2025 (EDT)
:{{Reply to|JHadaway}} excellent. Many thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:15, 12 April 2025 (EDT)

== Completed Additional Articles ==

Hello, Dr. Lucas. I have remediated [https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_5,_2011/Tributes_to_Norris_Church_Mailer/A_View_Through_the_Prism&oldid=18744|"A View Through the Prism"], [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Tributes_to_Norris_Church_Mailer/Lip_Liner|"Lip Liner"], and [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/The_Living_Room_Show#|"The Living Room Show"] in Volume 5. They are ready for your review. Thank you!—[[User:ADavis|ADavis]] ([[User talk:ADavis|talk]]) 12:31, 10 April 2025 (EDT)
:{{Reply to|ADavis}} great work. Thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:26, 12 April 2025 (EDT)

== Submission notification sent 29 March ==

@grlucas

Dr. Lucas - I sent a Talk Page notification that I had completed the page I remediated on 29 March. The table indicates I haven't done anything yet. I sent it from the Talk Page from the article site. I don't see a response from that notification, but I had received one from you earlier in the process.
I don't understand what happened.

[[User:LogansPop22|LogansPop22]] ([[User talk:LogansPop22|talk]]) 14:54, 10 April 2025 (EDT)
:{{reply to|LogansPop22}} sorry if I missed that. [[The Mailer Review/Volume 5, 2011/Hemingway and Women at the Front: Blowing Bridges in The Fifth Column, For Whom the Bell Tolls, and Other Works|this article]], right? It's looking great, though all the parenthetical citations must be converted to footnotes using {{tl|sfn}} and some of the author names in your notes should use {{tl|harvtxt}}. I added the "citations" section for you. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:39, 12 April 2025 (EDT)

== Making Masculinity and Unmaking Jewishness: Norman Mailer’s Voice in Wild 90 and Beyond the Law ==

@Grlucas, I have made some additional edits to this [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Making_Masculinity_and_Unmaking_Jewishness:_Norman_Mailer%E2%80%99s_Voice_in_Wild_90_and_Beyond_the_Law article] in Volume 5 by correcting most of the citations. There are 2 that still do not work, but I think that is because the sources are incomplete.

[[User:TPoole|TPoole]] ([[User talk:TPoole|talk]]) 21:16, 10 April 2025 (EDT)
:{{Reply to| TPoole}} Looking really good, and this is a complicated one. A couple of things: no spaces or line breaks before or after {{tl|pg}}; I removed the spaces before {{tl|sfn}}, but you might want to check them; there are some typos, like missing spaces before some parentheses; no footnotes should appear in the notes section: use {{tl|harvtxt}} instead. And all the red errors at the bottom need to be cleared up. Great work so far! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:00, 12 April 2025 (EDT)

== Red Error-Gone ==

{{reply to|Grlucas}}I have deleted all the sfn's and the red error is gone. I don't know why I didn't think about this days ago.

[[The_Mailer_Review/Volume_5,_2011/Piling_On:_Norman_Mailer’s_Utilization_of_Marilyn_Monroe|Gladstein-Monroe]]

[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 23:07, 10 April 2025 (EDT)
:{{Reply to|MerAtticus}} getting closer. A few things: you should use <code>|author-mask=1</code> for repeated author names in your works cited; all parenthetical citations need to be replaced with footnotes using {{tl|sfn}}; must punctuation in your sources need to be removed as the templates do that for you; and you need to use {{tl|harvtxt}} for citations in your endnotes. Also, letters and films have their own templates. I did a couple of these for you as examples. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:14, 12 April 2025 (EDT)

== "Remembering Norris" Tribute Remediation ==

Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/Remembering Norris|"Remembering Norris"]] by Margo Howard.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 09:20, 12 April 2025 (EDT)
:{{Reply to| JHadaway}} excellent! Thank you. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:35, 13 April 2025 (EDT)

== Norman Mailer: From Orgone Accumulator to Cancer Protection for Schizophrenics ==

Dr. Lucas,

The following article is ready for your review:
https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Norman_Mailer:_From_Orgone_Accumulator_to_Cancer_Protection_for_Schizophrenics

I was unable to find the correct format for the first works cited entry under Mailer. It is a reprint of a magazine article. Thank you. [[User:JKilchenmann|JKilchenmann]] ([[User talk:JKilchenmann|talk]]) 16:28, 12 April 2025 (EDT)
:{{Reply to| JKilchenmann}} you are a master remediator! Thank you for going above and beyond. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:44, 13 April 2025 (EDT)

==Tolls of War: Mailerian Sub-Texts in For Whom the Bell Tolls, Trust & Sparring with Norman==
Dr. Lucas, these were some of the smaller ones, so I went ahead and knocked them out. They are ready for review: [[The Mailer Review/Volume 4, 2010/Sparring with Norman|Sparring with Norman]], [[The Mailer Review/Volume 5, 2011/Trust|Trust]], and [[The Mailer Review/Volume 5, 2011/Tolls of War: Mailerian Sub-Texts in For Whom the Bell Tolls|Tolls of War: Mailerian Sub-Texts in For Whom the Bell Tolls]]. —[[User:Kamyers|Kamyers]] ([[User talk:Kamyers|talk]]) 10:27, 13 April 2025 (EDT)
:{{Reply to| Kamyers}} all excellent—above and beyond! Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:56, 13 April 2025 (EDT)

== Remediation for ''Death, Art, and the Disturbing: Hemingway and Mailer and the Art of Writing'' ==

Hi everyone,
I am currently helping with the article, [https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Death,_Art,_and_the_Disturbing:_Hemingway_and_Mailer_and_the_Art_of_Writing Death, Art, and the Disturbing: Hemingway and Mailer and the Art of Writing]. It still has a good bit to go, if anyone wants to help out.
—[[User:CVinson|CVinson]] ([[User talk:Grlucas|talk]]) 5:17 PM, 13 April 2025 (EDT)
:{{Reply to|CVinson}} thanks! I added the author info. I'm not sure many will see your request; you might want to post it on the forum. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 14:56, 14 April 2025 (EDT)
::{{Reply to|Grlucas}} Thank you for adding the author information and I have posted the request in the forum. Thank you! —[[User:CVinson|CVinson]] ([[User talk:CVinson|talk]]) 6:53 PM, 14 April 2025 (EDT)

== Mimi and Mercer ==

{{reply to|Grlucas}}
I have corrected the Mimi Gladstein [[The Mailer Review/Volume 5, 2011/Piling On: Norman Mailer’s Utilization of Marilyn Monroe]] and removed all the red errors. I also have finishe the Erin Mercer article [[The Mailer Review/Volume 4, 2010/Automatons and the Atomic Abyss: The Naked and the Dead]], except the ''The Naked and the Dead'' in the display title. An error occured.
[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 19:26, 13 April 2025 (EDT)
:{{Reply to| MerAtticus}} good work. There should be no footnotes in the endnotes, please. Since this is the only thing to correct, I have removed the banner, but please let me know when you made that final correction. Thanks! (I will respond about your second article shortly.) —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 14:59, 14 April 2025 (EDT)
:{{Reply to| MerAtticus}} your second article looks good. Could you use the [[w:Template:Cite interview|Template:Cite interview]] for interviews. I did one for you. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 16:33, 14 April 2025 (EDT)

== Through the Lens of the Beatniks Remediation ==

Hello, Dr. Lucas! I've completed the remediation of [[The_Mailer_Review/Volume_5,_2011/Through_the_Lens_of_the_Beatniks:_Norman_Mailer_and_Modern_American_Man’s_Quest_for_Self-Realization#CITEREFNaked1992|Through the Lens of the Beatniks]]. I wasn't able to get the letter citations exactly how I thought they should be. If there's anything I'm missing, please let me know! Thanks! [[User:Maggiemrogers|Maggiemrogers]] ([[User talk:Maggiemrogers|talk]]) 10:09, 14 April 2025 (EDT)
:{{Reply to| Maggiemrogers}} got it! It looks great. I made some format changes, but you did a great job! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 15:58, 14 April 2025 (EDT)

== Finish Mimi ==

{{reply to|Grlucas}}

I have made the final edit to Mimi and removed the footnotes from the endnotes. [[The_Mailer_Review/Volume_5,_2011/Piling_On:_Norman_Mailer’s_Utilization_of_Marilyn_Monroe]] [[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 15:50, 14 April 2025 (EDT)
:{{Reply to| MerAtticus}} you removed all the citations. Only '''footnotes''' need to be removed, but citations need to stay. I did the first note for you (now erased, but you can see it in the history) so you could see how it was done. You can also see [[The Mailer Review/Volume 4, 2010/Rumors of Grace: God-Language in Hemingway and Mailer|this one]]. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 16:52, 14 April 2025 (EDT)

== Completed? All You Need is Glove ==

Hi Dr. Lucas, I believe the book review, [[The_Mailer_Review/Volume_4,_2010/All_You_Need_is_Glove|All You Need is Glove]] is done and ready for review! [[User:Hobbitonya|Hobbitonya]] ([[User talk:Hobbitonya|talk]]) 19:10, 14 April 2025 (EDT)
:{{Reply to| Hobbitonya}} awesome work! Banner removed, and many thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:08, 16 April 2025 (EDT)

== Harv and Sfn no-target ==

{{reply to|Grlucas}}
I changed the citations in the article to interview and I tried a few things to get rid of the Harv and Sfn no-target with little luck. [[The_Mailer_Review/Volume_4,_2010/Automatons_and_the_Atomic_Abyss:_The_Naked_and_the_Dead]]
[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 21:04, 14 April 2025 (EDT)
:{{Reply to| MerAtticus}} this was because your interviews had no dates. Most are from Lennon's book, published in 1988. I added the dates to the citations, but the sfn footnotes need to be fixed to correspond with those. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:24, 16 April 2025 (EDT)
::{{Reply to| MerAtticus}} OK, between your fixes and my little tweaks, this one is finished! Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:50, 17 April 2025 (EDT)

== Erros fixed ==

{{reply to|Grlucas}}
I have fixed all citation errors in both articles and added the harvtxt. Atomic Abyss still has the Pages using duplicate arguments in template calls error.
[[The_Mailer_Review/Volume_4,_2010/Automatons_and_the_Atomic_Abyss:_The_Naked_and_the_Dead]]
:{{Reply to|MerAtticus}} see above. These still need fixing. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:35, 16 April 2025 (EDT)

[[The_Mailer_Review/Volume_5,_2011/Piling_On:_Norman_Mailer’s_Utilization_of_Marilyn_Monroe]]
:{{Reply to|MerAtticus}} this one looks great! Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:35, 16 April 2025 (EDT)

[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 08:23, 15 April 2025 (EDT)

== completed: Advertisements for Others ==

Thanks to some classmates helping with the finishing touches, my second article should be ready. [[The_Mailer_Review/Volume_4,_2010/Advertisements_for_Others:_The_Blurbs_of_Norman_Mailer|Advertisements for Others.]]
--[[User:NrmMGA5108|NrmMGA5108]] ([[User talk:NrmMGA5108|talk]]) 19:24, 17 April 2025 (EDT)
:{{reply to| NrmMGA5108}} received, and thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:15, 18 April 2025 (EDT)

== Two Poems Vol 4 Ready? ==

Hi Dr. Lucas! I think these two poems are ready for review: [[The Mailer Review/Volume 4, 2010/The Boxer in the Park|The Boxer in the Park]] and Norman Mailer and [[The_Mailer_Review/Volume_4,_2010/Norman_Mailer_and_Ernest_Hemingway_Do_Not_Box_in_Heaven|Ernest Hemingway Do Not Box in Heaven]]. The second on says the display title is wrong, but again, I don't know what I am missing there. Thank you![[User:Hobbitonya|Hobbitonya]] ([[User talk:Hobbitonya|talk]]) 09:05, 18 April 2025 (EDT)
:{{Reply to| Hobbitonya}} excellent! Thank you. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:56, 18 April 2025 (EDT)

== A Dialogue Essay on Mailer and Hemingway ==

Hey,

I see that [[The Mailer Review/Volume 4, 2010/A Dialogue Essay on Mailer and Hemingway|A Dialogue Essay on Mailer and Hemingway]] is missing text. Can you email me a copy or link it as a reply, so I can remediate this article. [[User:APKnight25|APKnight25]] ([[User talk:APKnight25|talk]]) 09:44, 18 April 2025 (EDT)
:{{Reply to| APKnight25}} you may download both volumes’ PDFs on the [https://forum.grlucas.net/t/project-mailer-assignments-remediation-project/88/3?u=grlucas forum]. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:40, 18 April 2025 (EDT)

== Almost complete ==

@grlucas
I've made a ton of progress.
The only thing I have left is going through all of the links to do away with harvtxt and sfn target error and an error for extra text in the author section. I fixed the error about using an "en" dash between years.
I'll still be working on it until tomorrow night, but please take a look: https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Hemingway_and_Women_at_the_Front:_Blowing_Bridges_in_The_Fifth_Column,_For_Whom_the_Bell_Tolls,_and_Other_Works

== Articles complete ==

@grlucas
I have also made a lot of progress with my articles and luckily received a last minute assit from a few of my class mates. I beleive both volumes to be complete: Vol 4: https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Mailer,_Hemingway,_and_the_%E2%80%9CReds%E2%80%9D (Which I believe has already been submitted) and Volume 5: https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Making_Masculinity_and_Unmaking_Jewishness:_Norman_Mailer%E2%80%99s_Voice_in_Wild_90_and_Beyond_the_Law (I just received the final error correction from a fellow student.

I also started working on this Vol 4 article once I got back into the system: https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Style,_Politics,_and_Hemingway%27s_Spanish_Civil_War_Dispatches in my sandbox https://projectmailer.net/pm/User:KWatson/sandbox but another user has already completed it.

Please review my articles and advise what else is needed from me. Thank you [[User:KWatson|KWatson]] ([[User talk:KWatson|talk]]) 15:37, 19 April 2025 (EDT)

== Additional edits ==

Hello! I reformatted all in text citations, did some editing, and added page numbers to [[The Mailer Review/Volume 4, 2010/Mailer, Hemingway, and Boxing|Mailer, Hemingway, and Boxing]]- could you please take a look at the updated page and see if there's anything additional that it needs?

I was also wondering: on this page, I had also recieved confirmation from you that my previously assigned article (The American Civil War, will update with link in AM) was complete, and the banner could be removed. However, it is still showing as an X on the page, and I am unable to find the comment from you! Could you please clarify if anything needs to be fixed? Thanks so much!
[[User:KaraCroissant|KaraCroissant]] ([[User talk:KaraCroissant|talk]]) 16:25, 19 April 2025 (EDT)

== Civil War..Dispatched. ==

{{reply to|Grlucas}}

I believe the Hemingway's Spanish Civil War is complete except the harvtext were not working. [[The_Mailer_Review/Volume_4,_2010/Style,_Politics,_and_Hemingway's_Spanish_Civil_War_Dispatches]]
[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 17:37, 19 April 2025 (EDT)

User talk:Grlucas

2025-04-19T20:26:58Z

KaraCroissant: fixed link

{{Talk header}}
[[/Archive 202504/]]

== Final edits ==
Hello, my article is complete: [[The_Mailer_Review/Volume_4,_2010/Ernest_and_Norman_(Exit_Music)|Ernest and Norman (Exit Music)]]
:{{Reply to|Flowersbloom}} great, thank you. I made some corrections. Please be sure to sign your talk page posts. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:59, 10 April 2025 (EDT)

Good evening, Dr. Lucas. Below is the link to my edited article:
https://projectmailer.net/pm/User:ASpeed/sandbox
:{{Reply to|ASpeed}} great. Let me know when it’s finished and posted, and I’l have a look. It appears as if you still have a bit of work to do. Please be sure to sign your talk page posts. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:59, 10 April 2025 (EDT)

Good evening, @[[User:Grlucas|Grlucas]]. I have completed most of my Remediation Articles, but I still show issues for the one named, "[[The_Mailer_Review/Volume_4,_2010/Norman,_Papa,_and_the_Autoerotic_Construction_of_Woman|Norman, Papa, and the Autoerotic Construction of Woman]].

Based on the latest updates, [[The_Mailer_Review/Volume_4,_2010/Battles_for_Regard,_Writerly_and_Otherwise|Battles for Regard, Writerly and Otherwise]] looks good with exception of including a '''category'''.
:{{Reply to|ALedezma}} this one is good. I made some corrections before removing the banner, mostly in your sources. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:59, 10 April 2025 (EDT)

May you let me know if there is anything I can do on my end to resolve the issues with the first [[The_Mailer_Review/Volume_4,_2010/Norman,_Papa,_and_the_Autoerotic_Construction_of_Woman|article]]?

[[User:ALedezma|ALedezma]] ([[User talk:ALedezma|talk]]) 21:47, 8 April 2025 (EDT)
:{{Reply to|ALedezma}} looking very good, but some sources missing page numbers. Please see to those. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:59, 10 April 2025 (EDT)

:::Thank you @[[User:Grlucas|Grlucas]] . I will review those and respond when complete. [[User:ALedezma|ALedezma]] ([[User talk:ALedezma|talk]]) 22:47, 10 April 2025 (EDT)
::::@[[User:Grlucas|Grlucas]]. Thank you for your feedback. A review of article additions was made for source pages. [[User:ALedezma|ALedezma]] ([[User talk:ALedezma|talk]]) 20:22, 11 April 2025 (EDT)
:::::{{Reply to| ALedezma}} ok, looking good. I made some corrections. There's one final thing to do: no footnotes should appear in the notes section; use {{tl|harvtxt}} instead; I did one to show you how to use the template. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 13:39, 12 April 2025 (EDT)
::::::@[[User:Grlucas|Grlucas]] Changes were done to footnote sources. Thank you! [[User:ALedezma|ALedezma]] ([[User talk:ALedezma|talk]]) 19:59, 12 April 2025 (EDT)

Dr. Lucas I finished my remediation article https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_4,_2010/Norman_Mailer%27s_The_Fight:_Hemingway,_Bullfighting,_and_the_Lovely_Metaphysics_of_Boxing&action=edit [[User:TWietstruk|TWietstruk]] ([[User talk:TWietstruk|talk]]) 19:44, 8 April 2025 (EDT)
:{{Reply to| TWietstruk}} good work so far, but there is more to do: placement of footnotes (eliminate spaces around them and punctuation always goes ''before'' the footnote.); proofread for typos; fix all red errors at the bottom (most of these are from errors in sourcing); works cited entries should be bulleted list and eliminate space between entries. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:05, 10 April 2025 (EDT)
::{{Reply to|Grlucas}} Final edit and no errors with some help from @NRMMGA5108, @JKilchenmann. Please mark me as complete. On to help someone else with the things I've learned
https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_4,_2010/Norman_Mailer%27s_The_Fight:_Hemingway,_Bullfighting,_and_the_Lovely_Metaphysics_of_Boxing&action=edit [[User:TWietstruk|TWietstruk]] ([[User talk:TWietstruk|talk]]) 17:52, 13 April 2025 (EDT)

Dr. Lucas I have finished my assigned remediation article: https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Jive-Ass_Aficionado:_Why_Are_We_in_Vietnam%3F_and_Hemingway%27s_Moral_Code#cite_note-FOOTNOTEHemingway2003-24
Username ADear.
:{{Reply to|ADear}} thank you. I have marked this as complete. Please be sure you sign your talk page posts correctly. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:05, 10 April 2025 (EDT)

Dr. Lucas, I have finished remediating my assigned article. Please review it at your earliest convenience. The link is here: [[The_Mailer_Review/Volume_5,_2011/Norman_Mailer's_Mythmaking_in_An_American_Dream_and_“The_White_Negro”|Norman Mailer's Mythmaking in An American Dream and “The White Negro”]]—[[User:Erhernandez|Erhernandez]] ([[User talk:Erhernandez|talk]]) 08:52, 4 April 2025 (EDT)
:{{Reply to|Erhernandez}} well done! A couple of things: never bury your talk page post. Put it at the bottom, preferably in its own section by clicking "Add topic" on the top-right. I removed your banner after making a few corrections. Please have a look over it and move on to the next thing. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:06, 5 April 2025 (EDT)

Dr. Lucas, I transferred and edited my article. Can you look at it and remove the banner? Here's the link: [[The_Mailer_Review/Volume_4,_2010/Authorship_and_Alienation_in_Death_in_the_Afternoon_and_Advertisements_for_Myself|Authorship and Alienation in Death in the Afternoon and Advertisements for Myself]] ( [[User:APKnight25|APKnight25]] ([[User talk:APKnight25|talk]]) 13:02, 28 March 2025 (EDT) )
:{{Reply to| APKnight25}} looking good! A couple of things: never bury your talk page post. Put it at the bottom, preferably in its own section by clicking "Add topic" on the top-right. Next, eliminate all "fang" quotes in the article and add “real quotation marks.” Your sources should be a bulleted list. And there should be no space before a citation. You’re almost finished! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 11:21, 30 March 2025 (EDT)

== Remediation of "Reinventing the Wheel" Mailer Article for Review ==

Dr. Lucas,

My [[The_Mailer_Review/Volume_5,_2011/Reinventing_a_New_Wheel:_The_Films_of_Norman_Mailer|article]] is ready for review.

Thank you!
[[User:TPoole|TPoole]] ([[User talk:TPoole|talk]]) 15:29, 29 March 2025 (EDT)
:{{Reply to|TPoole}} great! Could you include a link to it? Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 11:07, 30 March 2025 (EDT)
::OK, I [[The Mailer Review/Volume 5, 2011/Reinventing a New Wheel: The Films of Norman Mailer|found it]]. Looking really good. Great work. There are some citation issues that need to be seen to. The two red categories at the bottom should not be there; they will go away when the citations errors are corrected. Eliminate any quotation mark "fangs" in the text and replace them with “real quotation marks.” Let me know if you need help. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 11:14, 30 March 2025 (EDT)
:::@Grlucas, what are the citation issues? Which ones need correcting? [[User:TPoole|TPoole]] ([[User talk:TPoole|talk]]) 17:31, 31 March 2025 (EDT)
::::{{Reply to| TPoole}} When you click your citations, they should jump to the works cited entry they correspond to. Several of yours do not, indicated by the red “Harv and Sfn no-target errors” at the bottom. You also have a "CS1 maint: Unrecognized language" error that will likely be cleared up when you fix the citation issues. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:55, 1 April 2025 (EDT)
:::::@Grlucas, I have tried correcting the sfn codes in my citations. I was able to get the 2 web citations to link correctly. But for some reason, I cannot get the Mailer 1967 film Wild 90 citation to link to the reference list. Please advise. [[User:TPoole|TPoole]] ([[User talk:TPoole|talk]]) 20:24, 4 April 2025 (EDT)
::::::{{Reply to| TPoole}} OK, all fixed and published. Thanks. Please move on to another remediation. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:46, 5 April 2025 (EDT)

== Remediation of: "Contradictory Syntheses: Norman Mailer’s Left Conservatism and the Problematic of 'Totalitarianism'" ==

Dr. Lucas

I finished the remediation of the following article:

https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Contradictory_Syntheses:_Norman_Mailer%E2%80%99s_Left_Conservatism_and_the_Problematic_of_%E2%80%9CTotalitarianism%E2%80%9D

It is ready for your review. Thank you.
[[User:JKilchenmann|JKilchenmann]] ([[User talk:JKilchenmann|talk]]) 19:04, 30 March 2025 (EDT)
:{{Reply to| JKilchenmann}} looks great. I made some tweaks to the references and some throughout, like changing ' and " to real apostrophes and quotation marks. A bit more clean-up, but you might want to check over it again. I removed the under-construction banner. Well one. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 21:32, 30 March 2025 (EDT)

== Final Edit ==

Thank you for your comments on my remediation of
"[[The Mailer Review/Volume 4, 2010/Authorship and Alienation in Death in the Afternoon and Advertisements for Myself|Authorship and Alienation in Death in the Afternoon and Advertisements for Myself.]]"

I've eliminated the "fang quotes" and changed them to “real quotation marks.” This was a very fascinating tip that taught me something new. It's something I've never noticed before but now always will.

I also put my sources in a bulleted list and removed the space before the citations. I think I'm all set now.
:{{Reply to|APKnight25}} great work! Please help other editors to complete the volume. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:34, 3 April 2025 (EDT)

== Remediation for ''Firearms in the Works of Hemingway and Mailer'' ==

[[User:Grlucas|Grlucas]]

Hi Dr. Lucas,

I believe I have done everything for the Remediation of my article. Please let me know if there is anything else I need to do.

I will also link the article below:

https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Firearms_in_the_Works_of_Hemingway_and_Mailer

Thank you,
Caitlin Vinson
:{{Reply to|CVinson}} great work so far. Your references must use templates, please. Blockquotes must also be done correctly. No spaces or line breaks before or after the {{tl|pg}} template. Footnote placement is also off (punctuation goes before the footnote; no spaces before or after the footnote). I will add the abstract and url. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:30, 3 April 2025 (EDT)

:{{Reply to|Grlucas}} Hi Dr. Lucas, I believe there have been some updates made to the project. I believe I have also updated the works cited section to show correct templates. Please let me know if there is anything further that I need to do. Thank you, Caitlin.
::{{reply to| CVinson}} please sign your talk page posts correctly. Thanks. You still need to do some work on the sources. Use the <code>|author-mask=1</code> in your template for repeated author names. Also, you must eliminate the red “Harv and Sfn no-target errors” message at the bottom. No spaces or returns before or after the {{tl|pg}} call, as I already mentioned above. No parenthetical citations should be left, either; those should all be remediated to footnotes. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:50, 8 April 2025 (EDT)

:::{{Reply to|Grlucas}} I have updated the sources and updated the in-text citations. I am still having trouble with the "Harv and Sfn no-target errors." I have not been successful in fixing this error and have tried multiple ways to fix it. —[[User:CVinson|CVinson]] ([[User talk:Grlucas|talk]]) 8:18, 8 April 2025 (EDT)

::::{{Reply to|Grlucas}} Hi Dr. Lucas, I see that I still have a red X for my remediation assignment. Is there something else I am still missing? —[[User:CVinson|CVinson]] ([[User talk:Grlucas|talk]]) 11:35, 10 April 2025 (EDT)
:::::{{reply to| CVinson}} sorry, I'm just getting back to it. There are quite a few punctuation errors. Some left out and others appear after the {{tl|sfn}}. I'm trying to correct those I see, but you should have a look, too. Page is designated as <code>p=</code> in {{tl|sfn}}, not <code>pg=</code>; and a span of pages needs <code>pp=</code>. Again, I have tried to correct these. I removed the banner, but please have another look through. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 13:01, 12 April 2025 (EDT)

== Remediation for ''Norman Mailer Today'' ==
Dr. Lucas, I have finished up my remediation article [[The Mailer Review/Volume 5, 2011/Norman Mailer Today|Norman Mailer Today]], and it is ready for review. Please let me know if I missed something. Thank you! —[[User:Kamyers|Kamyers]] ([[User talk:Kamyers|talk]]) 18:20, 3 April 2025 (EDT)
:{{Reply to|Kamyers}} Great work! Please help your fellow editors finish the volume, or pick something to work on in [[The Mailer Review/Volume 4, 2010|Volume 4]]. Thanks, and well done. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:00, 4 April 2025 (EDT)

== Remediation of “The Conception of Irreversibility: Hannah Arendt and Hemingway’s ‘Hills Like White Elephants’” ==
Dr. Lucas, I have finished my remediation of Jennifer Yirinec's article: [[The Mailer Review/Volume 5, 2011/The Conception of Irreversibility: Hannah Arendt and Hemingway’s “Hills Like White Elephants”|The Conception of Irreversibility: Hannah Arendt and Hemingway’s “Hills Like White Elephants.”]] Thank you for your assistance with the article. It is ready for its final review! [[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 10:24, 4 April 2025 (EDT)
:{{Reply to|JHadaway}} a stellar job. Well done. I removed the banner, so you can move on to another article. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:12, 5 April 2025 (EDT)

== Tribute Remediations ==
Dr. Lucas, I have begun work on the tributes for volume 5. [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/Grace Notes|Grace Notes]] by Stephen Borkowski is ready for its final review.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 12:58, 4 April 2025 (EDT)
:{{Reply to|JHadaway}} Well done! Banner removed, url added. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:18, 5 April 2025 (EDT)

==Oohh Normie Final Edits==
Hi Dr. Lucas, I have finished my article: [[The_Mailer_Review/Volume_4,_2010/"Oohh_Normie_—_You're_Sooo_Hemingway":_Mailer_Memories_and_Encounters|Oohh Normie, You're Sooo Hemingway]]. Please let me know if there is anything I need to fix. [[User:Tbara4554|Tbara4554]] ([[User talk:Tbara4554|talk]]) 20:01, 5 April 2025 (EDT)
:{{reply to|Tbara4554}} thank you. I made some corrections and removed the banner. You might want to have another look over it. Please move on to something else. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:53, 6 April 2025 (EDT)

== Harlot's Ghost, Bildungsroman, Masculinity and Hemingway ==

Dr. Lucas,

The following article is ready for your review. Thanks.

https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Harlot%27s_Ghost,_Bildungsroman,_Masculinity_and_Hemingway

[[User:JKilchenmann|JKilchenmann]] ([[User talk:JKilchenmann|talk]]) 21:22, 5 April 2025 (EDT)
:{{Reply to| JKilchenmann}} excellent. Thank you. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:39, 6 April 2025 (EDT)

== I am done with this ==

https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Situating_Hemingway:_Mailer,_Style,_Ethics
:Received. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:29, 6 April 2025 (EDT)

== Final Review PM Article ==

Hi Dr. Lucas, [[The_Mailer_Review/Volume_4,_2010/Hemingway_to_Mailer_—_A_Delayed_Response_to_The_Deer_Park|here]] is my remediated article, ready for review![[User:Hobbitonya|Hobbitonya]] ([[User talk:Hobbitonya|talk]]) 12:21, 6 April 2025 (EDT)
:{{Reply to| Hobbitonya}} great work. I have removed the banner, so you are good to move on to something else. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:20, 7 April 2025 (EDT)

== Remediation Project ==

{{reply to|Grlucas}}
I have finished my remedidation project and I am ready for it to be reviewed. '''Article link''': [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Piling_On:_Norman_Mailer’s_Utilization_of_Marilyn_Monroe#Works_Cited|Piling On: Norman Mailer's Utilization of Marilyn Monroe]

Thanks,

[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 13:04, 6 April 2025 (EDT)
:{{Reply to| MerAtticus}} good work so far. Please remove wikilinks. Change ' and " to typographical apostrophes and quotation marks. And all red errors at the bottom of the page need to be taken care of. These are likely all from coding errors in your sources. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:24, 7 April 2025 (EDT)

{{reply to|Grlucas}}
I have removed the wikilinks, changed to the correct typographic style and updated my sources.
'''Article link''': [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Piling_On:_Norman_Mailer’s_Utilization_of_Marilyn_Monroe#Works_Cited|Piling On: Norman Mailer's Utilization of Marilyn Monroe] Thanks, [[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 21:55, 7 April 2025 (EDT)

[I forgot to fill out the summary box. I am adding my summary]
:{{Reply to| MerAtticus}} you're getting there! It looks great. You must eliminate all the red errors at the bottom. These appear when there are errors in your citations. Let me know if you need help. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:15, 8 April 2025 (EDT)

@{{reply to|Grlucas}} I have tried everything I can think of and I still have harv and sfn no-target errors and harv and sfn multiple-target errors and cs1 uses editors parameter. Do I not include the editor? [[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 16:03, 8 April 2025 (EDT)

{{reply to|Grlucas}} I have managed to get rid of two of the red target errors. I am still working on finding the harv sfn multiple target error. Thanks, [[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 20:37, 8 April 2025 (EDT)

{{reply to|Grlucas}} I have tried everything i can think of to remove the last red error flag. I had to turn it in. I don't know that else I can do in this situation. I was given citation that did not follow any of the given formats. [[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 21:45, 8 April 2025 (EDT)
:{{Reply to| MerAtticus}} all parenthetical citations must be remediated to {{tl|sfn}}; none of yours are. Get these done, then we can worry about the errors. (Some notes on sources: any generic <code><nowiki>{{citation}}</nowiki></code> will not be correct. I see you have a book review by Marshall that has no source (I tried to find the original and cannot; this is a weird citation; I'll continue to look for it). There's also one that looks like a film that should use the [[w:Template:Cite AV media|<code>Cite AV media</code> template]].) Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 13:16, 12 April 2025 (EDT)

== Remediation Submission ==

Hello!
Here's my remediated article; [[The_Mailer_Review/Volume_5,_2011/The_Devil's_Party:_Reading_and_Wreaking_Vengeance_in_The_Castle_in_the_Forest|The Devil's Party: Reading and Wreaking Vengeance in ''The Castle in the Forest'']].
Thanks! Please let me know if there's anything I can review or correct.
[[User:Maggiemrogers|Maggiemrogers]] ([[User talk:Maggiemrogers|talk]]) 13:23, 6 April 2025 (EDT)
:{{Reply to| Maggiemrogers}} nice work! Banner removed, so please move on to something else in the volume. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:39, 7 April 2025 (EDT)

== Vol. 4: Rumors of Grace article remediated ==

I believe I have completed remediation of ''[[The_Mailer_Review/Volume_4,_2010/Rumors_of_Grace:_God-Language_in_Hemingway_and_Mailer|Rumors of Grace: God-Language in Hemingway and Mailer]]'', vol. 4. I was having last-minute trouble with sfn errors for sources without authors, but Justin Kilchenmann helped me out, so I think they are fixed.
:{{Reply to|Sherrilledwards}} You have done a remarkable job—a real Herculean effort! Footnotes should not go in any notes. See those I changed; the others should be changed in the same way. I have done some, but the others have to be fixed, I'm afraid. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:20, 8 April 2025 (EDT)
::{{Reply to|Grlucas}}I believe I have completed these fixes, so the article is again ready for review. [[User:Sherrilledwards|Sherrilledwards]] ([[User talk:Sherrilledwards|talk]]) 15:49, 12 April 2025 (EDT)
:::{{Reply to| Sherrilledwards}} truly exceptional work—a model remediation! Marked as complete. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:30, 13 April 2025 (EDT)

== Remediation of "Inside Norman Mailer ==

Hi Dr. Lucas - I have finished remediating the article, [[The Mailer Review/Volume 4, 2010/Inside Norman Mailer|Inside Norman Mailer]]. Please let me know if I need to make any adjustments. Thank you! [[User:Chelsey.brantley|Chelsey.brantley]] ([[User talk:Chelsey.brantley|talk]]) 18:09, 7 April 2025 (EDT)
:{{Reply to|Chelsey.brantley}} good work! Please help with another article from volume 4. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:36, 8 April 2025 (EDT)

== Completed: Norman Mailer: Playboy Magazine ==

I hope I am doing this is right. I have finished remediating my article about Norman Mailer and its in my designated sandbox [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Norman_Mailer:_Playboy_Magazine_Heavyweight here.]
If there are any last minute edits, let me know. I got the last of the errors removed yesterday. And I believe we are on the same page with leaving the in-line citations for ''Playboy'' to be as is, since the author didn't put them down in the works cited. [[User:NrmMGA5108|NrmMGA5108]] ([[User talk:NrmMGA5108|talk]]) 20:14, 7 April 2025 (EDT)Nina Mizner
:{{Reply to|NrmMGA5108}} looking good! So, the parenthetical citations still in the article, I'm assuming, are there because of those missing sources? Please check your page numbers; some seem to be off. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:04, 8 April 2025 (EDT)

:{{Reply to|Grlucas}} I found the page number error and its corrected, and yes all the parenthetical citations should be referencing issues of the ''playboy'' magazine, which were not listed in the works cited. --[[User:NrmMGA5108|NrmMGA5108]] ([[User talk:NrmMGA5108|talk]]) 20:54, 10 April 2025 (EDT)
::{{Reply to| NrmMGA5108}} it looks great. I removed the banner! Thank you. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 13:29, 12 April 2025 (EDT)

== Completed Remediation From Here to Eternity and The Naked and The Dead: Premier to Eternity? ==

Greeting Dr. Lucas,

I have made the adjustment that you mentioned.

I also made additional edits to my short footnotes and noticed that my citations did not link to my references - which has been fixed.

I have tested all of my citations, and they all work.

Here is my article by Alexander Hicks, ''From Here to Eternity and The Naked and The Dead: Premier to Eternity?''

https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/From_Here_to_Eternity_and_The_Naked_and_the_Dead:_Premiere_to_Eternity%3F

Have a great day.
:{{Reply to| THarrell}} Please always sign your talk page posts. Several “quoted items” in the article appear as ‘quoted items’; these must be corrected, please. No spaces or returns should surround {{tl|pg}} calls. Multiple page numbers should look like this <code><nowiki>{{sfn|Moretti|1996|pp=11-14}}</nowiki></code>; note the double <code>pp</code>. There seem to be many typos. I corrected some for you, but you must see to the rest. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:16, 8 April 2025 (EDT)

:{{Reply to| Grlucas}} Greetings,

Are these the only additional corrections that need to be made? This is different from what you mentioned before.

I just want to be sure that I have hit everything.

Also can you verify what other typos you are seeing, I have ran through this twice.

If something is spelt a certain way, for example "Soljer", I have left it that way. Since it is mentioned like that in the article.
—[[User:THarrell|THarrell]] ([[User talk:THarrell|talk]]) 06:49, 8 April 2025 (EDT)

:{{Reply to| Grlucas}} Greetings,

I have gone through and fixed all of the short footnotes.

I have gone line by line with a ruler to look at any typos, and fixed the words that I found that had a dash in them/needed to be lowercased.

I have also fixed the quotations.

—[[User:THarrell|THarrell]] ([[User talk:THarrell|talk]]) 12:31, 9 April 2025 (EDT)
:{{Reply to| THarrell}} much better. Periods go inside quotations marks; I think I fixed these, but please check. Also, there are no spaces before footnotes; again, I did a find/replace, but you should check. Also, check that all titles of novels are italicized (if it's italicized in the PDF, then it has to be italicized in the remediation, including abbreviations, like ''Naked''); I fixed a couple. Also, no extra spaces; there should only be a single blank space between paragraphs. There are quite a few little details that needed (need?) fixing. I removed the banner, but please check my work. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 12:41, 12 April 2025 (EDT)

== Remediation for “Footnote to Death in the Afternoon” ==

Greetings Dr. Lucus,

My article is ready for your review. Thank you.

https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Mailer%E2%80%99s_%E2%80%9CFootnote_to_Death_in_the_Afternoon%E2%80%9D)
:{{Reply to| KForeman}} it's coming along. Please ''always'' sign your talk page posts. Right up top, there are errors. Please use the real {{tl|pg}}, like all the other articles. Citations need to be fixed. All parenthetical citations must be converted. You still have quite a bit of work to do. All red sections need to be seen to and corrected. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:20, 8 April 2025 (EDT)
@Grlucs, per your suggestions, I've made the corrections. Please review. I look forward to your feedback. Thank you.
:{{Reply to| KForeman}} looking better. All parenthetical page numbers should be removed and added to the {{tl|sfn}}. Check your page numbers in {{tl|pg}}. Footnotes should have no spaces around them; periods and commas go ''inside'' quotation marks and before the footnotes. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:28, 19 April 2025 (EDT)

=Remediation of "Cluster Seeds and the Mailer Legacy"=
Hello, Dr. Lucas. I have completed the remediation of [https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_5,_2011/Cluster_Seeds_and_the_Mailer_Legacy&oldid=18200| my article], and it is ready for your review. Thank you!—[[User:ADavis|ADavis]] ([[User talk:ADavis|talk]]) 11:32, 8 April 2025 (EDT)@ADavis
:{{Reply to| ADavis}} got it. I think I check it yesterday and removed the banner then. Please move on to another piece. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 17:29, 8 April 2025 (EDT)

== Remediating Article: Mailer, Hemingway, and Boxing Volume 4. ==

Hello Dr. Lucas,

I have completed remediating my article. Here is the link [[The Mailer Review/Volume 4, 2010/Mailer, Hemingway, and Boxing|The Mailer Review: Volume 4: Mailer, Hemingway, Boxing (2010)]] [[User:JBrown|JBrown]] ([[User talk:JBrown|talk]]) 13:01, 8 April 2025 (EDT)JBrown
:{{Reply to|JBrown}} a good start, but all parenthetical citations need to be footnotes. Also, check your headers. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 17:29, 8 April 2025 (EDT)

== Remediation for ''Norris Church Mailer'' ==
Dr. Lucas, I have finished up remediating the article [[The Mailer Review/Volume 4, 2010/Norris Church Mailer|Norris Church Mailer]], and it is ready for review. Please let me know if I missed something. Thank you! —[[User:Kamyers|Kamyers]] ([[User talk:Kamyers|talk]]) 13:42, 8 April 2025 (EDT)
:{{reply to|Kamyers}} awesome work! Thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 17:29, 8 April 2025 (EDT)

== Final Edits Completed and Ready for Review ==

Dr. Lucas, I have completed my assigned remediation article: [[The_Mailer_Review/Volume_4,_2010/Looking_at_the_Past:_Nostalgia_as_Technique_in_The_Naked_and_the_Dead_and_For_Whom_the_Bell_Tolls|Looking at the Past: Nostalgia as Technique in The Naked and the Dead and For Whom the Bell Tolls]]. Please review at your convenience. I enjoyed working on this assignment. I look forward to your suggestions and feedback. All the best, Danielle (DBond007)
:{{Reply to| DBond007}} ok, good work. Please remove all the external links. Links to Wikipedia are not necessary, but if used, they need to be done correctly. There should be no spaces before {{tl|sfn}}. May sure all your ' and " are actually typographical apostrophes and quotation marks. Remove any superfluous spaces and line breaks; these mess up the formatting. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 17:29, 8 April 2025 (EDT)
::{{Reply to| Grlucas}} Thank you. I will get started on these revisions immediately. Thanks for the feedback and your time. :)[[User:DBond007|DBond007]] ([[User talk:DBond007|talk]]) 11:30, 10 April 2025 (EDT)
::{{Reply to| Grlucas}} I have completed all the requested revisions and ready for review round 2. Thank you again![[User:DBond007|DBond007]] ([[User talk:DBond007|talk]]) 12:10, 10 April 2025 (EDT)
:::{{Reply to|DBond007}} looking better! There are still items to be seen to, like titles on novels and magazines need to appear like they do in the original: if it's italicized in the PDF, it must be italicized on the web. I added the epigram for you and corrected that pesky citation. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:41, 12 April 2025 (EDT)
::{{Reply to| Grlucas}}I have completed edits. I went through and took out quotes around The Time Machine, except for one instance that the author uses them. All my other titles seem to correspond to the original article. Please let me know if I missed something. Thank you for the epigram and the pesky citation correction. Best, [[User:DBond007|DBond007]] ([[User talk:DBond007|talk]]) 15:25, 17 April 2025 (EDT)
:::{{Reply to|DBond007}} received, and good work. I had to clean up the sources a bit, so you might want to have a look. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:42, 18 April 2025 (EDT)
::{{Reply to| Grlucas}}I went back and reviewed some of the other articles marked complete to compare and look for remaining revisions. I made one change on Works Cited and also added the page numbers to correspond to the pdf. Let's try this again. Again, I *believe I am finished with this article. Best,[[User:DBond007|DBond007]] ([[User talk:DBond007|talk]]) 10:36, 18 April 2025 (EDT)

Hopefully this works!. I'm not sure how to reply to other threads, but I was scrolling through the PDF and noticed the publisher is Iowa Pres? Just curious if it's supposed to be Iowa Press? [[User:Wverna|Wverna]] ([[User talk:Wverna|talk]]) 22:33, 18 April 2025 (EDT)
:{{Reply to| Wverna}} I'm not sure what you're talking about. Perhaps if you included a link to the article? See [[w:Help:Talk pages|Talk page guidelines]] if you don't know how to use them. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:33, 19 April 2025 (EDT)

== Completed the remediation assignment ==

Good evening Dr. Lucas,

I hope I am doing this right. Here is the link for my completed Remediation article: [http://The_Mailer_Review/Volume_4,_2010/Encounters_with_Mailer Encounters with Mailer].

I look forward to reading your feedback.

All the best,

Patrick Riley
:{{Reply to|Priley1984}} thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:40, 10 April 2025 (EDT)

== Remediation Project Submission: An Expected Encounter in an Unexpected Place ==

Link:

https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Norman_Mailer:_An_Expected_Encounter_in_an_Unexpected_Place

Winnie Verna
:{{Reply to|Wverna}} received, thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:51, 10 April 2025 (EDT)

== E.Mosley ==

Good evening, @Grlucas. I have completed my Remediation Articles[[https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/On_Reading_Mailer_Too_Young]]. The article I had was " On Reading Mailer Too Young Volume 4, 2010
:{{Reply to| Essence903m}} thank you. I had to fix and clean-up quite a bit. Your saves also do not include summaries. When you move on to your next article, please be more careful and follow the instructions. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:12, 10 April 2025 (EDT)

== Kynndra Watson ==

Good Evening, @grlucas. i have completed my Remediation articles: Volume 5: https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Making_Masculinity_and_Unmaking_Jewishness:_Norman_Mailer%E2%80%99s_Voice_in_Wild_90_and_Beyond_the_Law and Volume 4: https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Mailer,_Hemingway,_and_the_%E2%80%9CReds%E2%80%9D.

Thank you.
:{{Reply to| KWatson}} thank you, and this is a good start, but there are still many items that need to be cleaned up, like footnote indications (They go after punctuation), citation errors (all the red errors at the bottom need to be seen to), extra spaces and ALL CAPS need to be removed. Please see other completed articles for models. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:18, 10 April 2025 (EDT)

== Tribute Remediation ==
Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/What Would Be the Fun of That?|"What Would Be the Fun of That?"]] by Peter Alson.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 09:33, 9 April 2025 (EDT)
:{{Reply to| JHadaway}} awesome! Thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:21, 10 April 2025 (EDT)

== “Remembering Norris Church” Tribute Remediation ==
Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/Remembering Norris Church|“Remembering Norris Church”]] by John Bowers.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 16:17, 9 April 2025 (EDT)
:{{Reply to| JHadaway}} and again, excellent! Thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:22, 10 April 2025 (EDT)

== “The Norris I Knew” Tribute Remediation ==
Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/The Norris I Knew|“The Norris I Knew”]] by Christopher Busa.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 09:04, 10 April 2025 (EDT)
:{{Reply to| JHadaway}} rockin’! 👍🏼 —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:24, 10 April 2025 (EDT)

== "Norris Mailer" Tribute Remediation ==
Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/Norris Mailer|"Norris Mailer"]] by Nancy Collins.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 09:35, 10 April 2025 (EDT)
:{{Reply to| JHadaway}} thanks again. You’re tearing it up. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:32, 10 April 2025 (EDT)

== "Rise Above It" Tribute Remediation ==

Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/Rise Above It|"Rise Above It"]] by David Ebershoff—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 11:12, 10 April 2025 (EDT)
:{{Reply to|JHadaway}} excellent. Many thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:15, 12 April 2025 (EDT)

== Completed Additional Articles ==

Hello, Dr. Lucas. I have remediated [https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_5,_2011/Tributes_to_Norris_Church_Mailer/A_View_Through_the_Prism&oldid=18744|"A View Through the Prism"], [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Tributes_to_Norris_Church_Mailer/Lip_Liner|"Lip Liner"], and [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/The_Living_Room_Show#|"The Living Room Show"] in Volume 5. They are ready for your review. Thank you!—[[User:ADavis|ADavis]] ([[User talk:ADavis|talk]]) 12:31, 10 April 2025 (EDT)
:{{Reply to|ADavis}} great work. Thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:26, 12 April 2025 (EDT)

== Submission notification sent 29 March ==

@grlucas

Dr. Lucas - I sent a Talk Page notification that I had completed the page I remediated on 29 March. The table indicates I haven't done anything yet. I sent it from the Talk Page from the article site. I don't see a response from that notification, but I had received one from you earlier in the process.
I don't understand what happened.

[[User:LogansPop22|LogansPop22]] ([[User talk:LogansPop22|talk]]) 14:54, 10 April 2025 (EDT)
:{{reply to|LogansPop22}} sorry if I missed that. [[The Mailer Review/Volume 5, 2011/Hemingway and Women at the Front: Blowing Bridges in The Fifth Column, For Whom the Bell Tolls, and Other Works|this article]], right? It's looking great, though all the parenthetical citations must be converted to footnotes using {{tl|sfn}} and some of the author names in your notes should use {{tl|harvtxt}}. I added the "citations" section for you. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:39, 12 April 2025 (EDT)

== Making Masculinity and Unmaking Jewishness: Norman Mailer’s Voice in Wild 90 and Beyond the Law ==

@Grlucas, I have made some additional edits to this [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Making_Masculinity_and_Unmaking_Jewishness:_Norman_Mailer%E2%80%99s_Voice_in_Wild_90_and_Beyond_the_Law article] in Volume 5 by correcting most of the citations. There are 2 that still do not work, but I think that is because the sources are incomplete.

[[User:TPoole|TPoole]] ([[User talk:TPoole|talk]]) 21:16, 10 April 2025 (EDT)
:{{Reply to| TPoole}} Looking really good, and this is a complicated one. A couple of things: no spaces or line breaks before or after {{tl|pg}}; I removed the spaces before {{tl|sfn}}, but you might want to check them; there are some typos, like missing spaces before some parentheses; no footnotes should appear in the notes section: use {{tl|harvtxt}} instead. And all the red errors at the bottom need to be cleared up. Great work so far! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:00, 12 April 2025 (EDT)

== Red Error-Gone ==

{{reply to|Grlucas}}I have deleted all the sfn's and the red error is gone. I don't know why I didn't think about this days ago.

[[The_Mailer_Review/Volume_5,_2011/Piling_On:_Norman_Mailer’s_Utilization_of_Marilyn_Monroe|Gladstein-Monroe]]

[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 23:07, 10 April 2025 (EDT)
:{{Reply to|MerAtticus}} getting closer. A few things: you should use <code>|author-mask=1</code> for repeated author names in your works cited; all parenthetical citations need to be replaced with footnotes using {{tl|sfn}}; must punctuation in your sources need to be removed as the templates do that for you; and you need to use {{tl|harvtxt}} for citations in your endnotes. Also, letters and films have their own templates. I did a couple of these for you as examples. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:14, 12 April 2025 (EDT)

== "Remembering Norris" Tribute Remediation ==

Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/Remembering Norris|"Remembering Norris"]] by Margo Howard.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 09:20, 12 April 2025 (EDT)
:{{Reply to| JHadaway}} excellent! Thank you. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:35, 13 April 2025 (EDT)

== Norman Mailer: From Orgone Accumulator to Cancer Protection for Schizophrenics ==

Dr. Lucas,

The following article is ready for your review:
https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Norman_Mailer:_From_Orgone_Accumulator_to_Cancer_Protection_for_Schizophrenics

I was unable to find the correct format for the first works cited entry under Mailer. It is a reprint of a magazine article. Thank you. [[User:JKilchenmann|JKilchenmann]] ([[User talk:JKilchenmann|talk]]) 16:28, 12 April 2025 (EDT)
:{{Reply to| JKilchenmann}} you are a master remediator! Thank you for going above and beyond. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:44, 13 April 2025 (EDT)

==Tolls of War: Mailerian Sub-Texts in For Whom the Bell Tolls, Trust & Sparring with Norman==
Dr. Lucas, these were some of the smaller ones, so I went ahead and knocked them out. They are ready for review: [[The Mailer Review/Volume 4, 2010/Sparring with Norman|Sparring with Norman]], [[The Mailer Review/Volume 5, 2011/Trust|Trust]], and [[The Mailer Review/Volume 5, 2011/Tolls of War: Mailerian Sub-Texts in For Whom the Bell Tolls|Tolls of War: Mailerian Sub-Texts in For Whom the Bell Tolls]]. —[[User:Kamyers|Kamyers]] ([[User talk:Kamyers|talk]]) 10:27, 13 April 2025 (EDT)
:{{Reply to| Kamyers}} all excellent—above and beyond! Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:56, 13 April 2025 (EDT)

== Remediation for ''Death, Art, and the Disturbing: Hemingway and Mailer and the Art of Writing'' ==

Hi everyone,
I am currently helping with the article, [https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Death,_Art,_and_the_Disturbing:_Hemingway_and_Mailer_and_the_Art_of_Writing Death, Art, and the Disturbing: Hemingway and Mailer and the Art of Writing]. It still has a good bit to go, if anyone wants to help out.
—[[User:CVinson|CVinson]] ([[User talk:Grlucas|talk]]) 5:17 PM, 13 April 2025 (EDT)
:{{Reply to|CVinson}} thanks! I added the author info. I'm not sure many will see your request; you might want to post it on the forum. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 14:56, 14 April 2025 (EDT)
::{{Reply to|Grlucas}} Thank you for adding the author information and I have posted the request in the forum. Thank you! —[[User:CVinson|CVinson]] ([[User talk:CVinson|talk]]) 6:53 PM, 14 April 2025 (EDT)

== Mimi and Mercer ==

{{reply to|Grlucas}}
I have corrected the Mimi Gladstein [[The Mailer Review/Volume 5, 2011/Piling On: Norman Mailer’s Utilization of Marilyn Monroe]] and removed all the red errors. I also have finishe the Erin Mercer article [[The Mailer Review/Volume 4, 2010/Automatons and the Atomic Abyss: The Naked and the Dead]], except the ''The Naked and the Dead'' in the display title. An error occured.
[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 19:26, 13 April 2025 (EDT)
:{{Reply to| MerAtticus}} good work. There should be no footnotes in the endnotes, please. Since this is the only thing to correct, I have removed the banner, but please let me know when you made that final correction. Thanks! (I will respond about your second article shortly.) —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 14:59, 14 April 2025 (EDT)
:{{Reply to| MerAtticus}} your second article looks good. Could you use the [[w:Template:Cite interview|Template:Cite interview]] for interviews. I did one for you. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 16:33, 14 April 2025 (EDT)

== Through the Lens of the Beatniks Remediation ==

Hello, Dr. Lucas! I've completed the remediation of [[The_Mailer_Review/Volume_5,_2011/Through_the_Lens_of_the_Beatniks:_Norman_Mailer_and_Modern_American_Man’s_Quest_for_Self-Realization#CITEREFNaked1992|Through the Lens of the Beatniks]]. I wasn't able to get the letter citations exactly how I thought they should be. If there's anything I'm missing, please let me know! Thanks! [[User:Maggiemrogers|Maggiemrogers]] ([[User talk:Maggiemrogers|talk]]) 10:09, 14 April 2025 (EDT)
:{{Reply to| Maggiemrogers}} got it! It looks great. I made some format changes, but you did a great job! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 15:58, 14 April 2025 (EDT)

== Finish Mimi ==

{{reply to|Grlucas}}

I have made the final edit to Mimi and removed the footnotes from the endnotes. [[The_Mailer_Review/Volume_5,_2011/Piling_On:_Norman_Mailer’s_Utilization_of_Marilyn_Monroe]] [[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 15:50, 14 April 2025 (EDT)
:{{Reply to| MerAtticus}} you removed all the citations. Only '''footnotes''' need to be removed, but citations need to stay. I did the first note for you (now erased, but you can see it in the history) so you could see how it was done. You can also see [[The Mailer Review/Volume 4, 2010/Rumors of Grace: God-Language in Hemingway and Mailer|this one]]. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 16:52, 14 April 2025 (EDT)

== Completed? All You Need is Glove ==

Hi Dr. Lucas, I believe the book review, [[The_Mailer_Review/Volume_4,_2010/All_You_Need_is_Glove|All You Need is Glove]] is done and ready for review! [[User:Hobbitonya|Hobbitonya]] ([[User talk:Hobbitonya|talk]]) 19:10, 14 April 2025 (EDT)
:{{Reply to| Hobbitonya}} awesome work! Banner removed, and many thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:08, 16 April 2025 (EDT)

== Harv and Sfn no-target ==

{{reply to|Grlucas}}
I changed the citations in the article to interview and I tried a few things to get rid of the Harv and Sfn no-target with little luck. [[The_Mailer_Review/Volume_4,_2010/Automatons_and_the_Atomic_Abyss:_The_Naked_and_the_Dead]]
[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 21:04, 14 April 2025 (EDT)
:{{Reply to| MerAtticus}} this was because your interviews had no dates. Most are from Lennon's book, published in 1988. I added the dates to the citations, but the sfn footnotes need to be fixed to correspond with those. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:24, 16 April 2025 (EDT)
::{{Reply to| MerAtticus}} OK, between your fixes and my little tweaks, this one is finished! Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:50, 17 April 2025 (EDT)

== Erros fixed ==

{{reply to|Grlucas}}
I have fixed all citation errors in both articles and added the harvtxt. Atomic Abyss still has the Pages using duplicate arguments in template calls error.
[[The_Mailer_Review/Volume_4,_2010/Automatons_and_the_Atomic_Abyss:_The_Naked_and_the_Dead]]
:{{Reply to|MerAtticus}} see above. These still need fixing. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:35, 16 April 2025 (EDT)

[[The_Mailer_Review/Volume_5,_2011/Piling_On:_Norman_Mailer’s_Utilization_of_Marilyn_Monroe]]
:{{Reply to|MerAtticus}} this one looks great! Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:35, 16 April 2025 (EDT)

[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 08:23, 15 April 2025 (EDT)

== completed: Advertisements for Others ==

Thanks to some classmates helping with the finishing touches, my second article should be ready. [[The_Mailer_Review/Volume_4,_2010/Advertisements_for_Others:_The_Blurbs_of_Norman_Mailer|Advertisements for Others.]]
--[[User:NrmMGA5108|NrmMGA5108]] ([[User talk:NrmMGA5108|talk]]) 19:24, 17 April 2025 (EDT)
:{{reply to| NrmMGA5108}} received, and thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:15, 18 April 2025 (EDT)

== Two Poems Vol 4 Ready? ==

Hi Dr. Lucas! I think these two poems are ready for review: [[The Mailer Review/Volume 4, 2010/The Boxer in the Park|The Boxer in the Park]] and Norman Mailer and [[The_Mailer_Review/Volume_4,_2010/Norman_Mailer_and_Ernest_Hemingway_Do_Not_Box_in_Heaven|Ernest Hemingway Do Not Box in Heaven]]. The second on says the display title is wrong, but again, I don't know what I am missing there. Thank you![[User:Hobbitonya|Hobbitonya]] ([[User talk:Hobbitonya|talk]]) 09:05, 18 April 2025 (EDT)
:{{Reply to| Hobbitonya}} excellent! Thank you. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:56, 18 April 2025 (EDT)

== A Dialogue Essay on Mailer and Hemingway ==

Hey,

I see that [[The Mailer Review/Volume 4, 2010/A Dialogue Essay on Mailer and Hemingway|A Dialogue Essay on Mailer and Hemingway]] is missing text. Can you email me a copy or link it as a reply, so I can remediate this article. [[User:APKnight25|APKnight25]] ([[User talk:APKnight25|talk]]) 09:44, 18 April 2025 (EDT)
:{{Reply to| APKnight25}} you may download both volumes’ PDFs on the [https://forum.grlucas.net/t/project-mailer-assignments-remediation-project/88/3?u=grlucas forum]. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:40, 18 April 2025 (EDT)

== Almost complete ==

@grlucas
I've made a ton of progress.
The only thing I have left is going through all of the links to do away with harvtxt and sfn target error and an error for extra text in the author section. I fixed the error about using an "en" dash between years.
I'll still be working on it until tomorrow night, but please take a look: https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Hemingway_and_Women_at_the_Front:_Blowing_Bridges_in_The_Fifth_Column,_For_Whom_the_Bell_Tolls,_and_Other_Works

== Articles complete ==

@grlucas
I have also made a lot of progress with my articles and luckily received a last minute assit from a few of my class mates. I beleive both volumes to be complete: Vol 4: https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Mailer,_Hemingway,_and_the_%E2%80%9CReds%E2%80%9D (Which I believe has already been submitted) and Volume 5: https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Making_Masculinity_and_Unmaking_Jewishness:_Norman_Mailer%E2%80%99s_Voice_in_Wild_90_and_Beyond_the_Law (I just received the final error correction from a fellow student.

I also started working on this Vol 4 article once I got back into the system: https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Style,_Politics,_and_Hemingway%27s_Spanish_Civil_War_Dispatches in my sandbox https://projectmailer.net/pm/User:KWatson/sandbox but another user has already completed it.

Please review my articles and advise what else is needed from me. Thank you [[User:KWatson|KWatson]] ([[User talk:KWatson|talk]]) 15:37, 19 April 2025 (EDT)

== Additional edits ==

Hello! I reformatted all in text citations, did some editing, and added page numbers to [[The Mailer Review/Volume 4, 2010/Mailer, Hemingway, and Boxing|Mailer, Hemingway, and Boxing]]- could you please take a look at the updated page and see if there's anything additional that it needs?
[[User:KaraCroissant|KaraCroissant]] ([[User talk:KaraCroissant|talk]]) 16:25, 19 April 2025 (EDT)

User talk:Grlucas

2025-04-19T20:25:29Z

KaraCroissant: /* Additional edits */

{{Talk header}}
[[/Archive 202504/]]

== Final edits ==
Hello, my article is complete: [[The_Mailer_Review/Volume_4,_2010/Ernest_and_Norman_(Exit_Music)|Ernest and Norman (Exit Music)]]
:{{Reply to|Flowersbloom}} great, thank you. I made some corrections. Please be sure to sign your talk page posts. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:59, 10 April 2025 (EDT)

Good evening, Dr. Lucas. Below is the link to my edited article:
https://projectmailer.net/pm/User:ASpeed/sandbox
:{{Reply to|ASpeed}} great. Let me know when it’s finished and posted, and I’l have a look. It appears as if you still have a bit of work to do. Please be sure to sign your talk page posts. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:59, 10 April 2025 (EDT)

Good evening, @[[User:Grlucas|Grlucas]]. I have completed most of my Remediation Articles, but I still show issues for the one named, "[[The_Mailer_Review/Volume_4,_2010/Norman,_Papa,_and_the_Autoerotic_Construction_of_Woman|Norman, Papa, and the Autoerotic Construction of Woman]].

Based on the latest updates, [[The_Mailer_Review/Volume_4,_2010/Battles_for_Regard,_Writerly_and_Otherwise|Battles for Regard, Writerly and Otherwise]] looks good with exception of including a '''category'''.
:{{Reply to|ALedezma}} this one is good. I made some corrections before removing the banner, mostly in your sources. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:59, 10 April 2025 (EDT)

May you let me know if there is anything I can do on my end to resolve the issues with the first [[The_Mailer_Review/Volume_4,_2010/Norman,_Papa,_and_the_Autoerotic_Construction_of_Woman|article]]?

[[User:ALedezma|ALedezma]] ([[User talk:ALedezma|talk]]) 21:47, 8 April 2025 (EDT)
:{{Reply to|ALedezma}} looking very good, but some sources missing page numbers. Please see to those. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:59, 10 April 2025 (EDT)

:::Thank you @[[User:Grlucas|Grlucas]] . I will review those and respond when complete. [[User:ALedezma|ALedezma]] ([[User talk:ALedezma|talk]]) 22:47, 10 April 2025 (EDT)
::::@[[User:Grlucas|Grlucas]]. Thank you for your feedback. A review of article additions was made for source pages. [[User:ALedezma|ALedezma]] ([[User talk:ALedezma|talk]]) 20:22, 11 April 2025 (EDT)
:::::{{Reply to| ALedezma}} ok, looking good. I made some corrections. There's one final thing to do: no footnotes should appear in the notes section; use {{tl|harvtxt}} instead; I did one to show you how to use the template. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 13:39, 12 April 2025 (EDT)
::::::@[[User:Grlucas|Grlucas]] Changes were done to footnote sources. Thank you! [[User:ALedezma|ALedezma]] ([[User talk:ALedezma|talk]]) 19:59, 12 April 2025 (EDT)

Dr. Lucas I finished my remediation article https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_4,_2010/Norman_Mailer%27s_The_Fight:_Hemingway,_Bullfighting,_and_the_Lovely_Metaphysics_of_Boxing&action=edit [[User:TWietstruk|TWietstruk]] ([[User talk:TWietstruk|talk]]) 19:44, 8 April 2025 (EDT)
:{{Reply to| TWietstruk}} good work so far, but there is more to do: placement of footnotes (eliminate spaces around them and punctuation always goes ''before'' the footnote.); proofread for typos; fix all red errors at the bottom (most of these are from errors in sourcing); works cited entries should be bulleted list and eliminate space between entries. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:05, 10 April 2025 (EDT)
::{{Reply to|Grlucas}} Final edit and no errors with some help from @NRMMGA5108, @JKilchenmann. Please mark me as complete. On to help someone else with the things I've learned
https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_4,_2010/Norman_Mailer%27s_The_Fight:_Hemingway,_Bullfighting,_and_the_Lovely_Metaphysics_of_Boxing&action=edit [[User:TWietstruk|TWietstruk]] ([[User talk:TWietstruk|talk]]) 17:52, 13 April 2025 (EDT)

Dr. Lucas I have finished my assigned remediation article: https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Jive-Ass_Aficionado:_Why_Are_We_in_Vietnam%3F_and_Hemingway%27s_Moral_Code#cite_note-FOOTNOTEHemingway2003-24
Username ADear.
:{{Reply to|ADear}} thank you. I have marked this as complete. Please be sure you sign your talk page posts correctly. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:05, 10 April 2025 (EDT)

Dr. Lucas, I have finished remediating my assigned article. Please review it at your earliest convenience. The link is here: [[The_Mailer_Review/Volume_5,_2011/Norman_Mailer's_Mythmaking_in_An_American_Dream_and_“The_White_Negro”|Norman Mailer's Mythmaking in An American Dream and “The White Negro”]]—[[User:Erhernandez|Erhernandez]] ([[User talk:Erhernandez|talk]]) 08:52, 4 April 2025 (EDT)
:{{Reply to|Erhernandez}} well done! A couple of things: never bury your talk page post. Put it at the bottom, preferably in its own section by clicking "Add topic" on the top-right. I removed your banner after making a few corrections. Please have a look over it and move on to the next thing. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:06, 5 April 2025 (EDT)

Dr. Lucas, I transferred and edited my article. Can you look at it and remove the banner? Here's the link: [[The_Mailer_Review/Volume_4,_2010/Authorship_and_Alienation_in_Death_in_the_Afternoon_and_Advertisements_for_Myself|Authorship and Alienation in Death in the Afternoon and Advertisements for Myself]] ( [[User:APKnight25|APKnight25]] ([[User talk:APKnight25|talk]]) 13:02, 28 March 2025 (EDT) )
:{{Reply to| APKnight25}} looking good! A couple of things: never bury your talk page post. Put it at the bottom, preferably in its own section by clicking "Add topic" on the top-right. Next, eliminate all "fang" quotes in the article and add “real quotation marks.” Your sources should be a bulleted list. And there should be no space before a citation. You’re almost finished! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 11:21, 30 March 2025 (EDT)

== Remediation of "Reinventing the Wheel" Mailer Article for Review ==

Dr. Lucas,

My [[The_Mailer_Review/Volume_5,_2011/Reinventing_a_New_Wheel:_The_Films_of_Norman_Mailer|article]] is ready for review.

Thank you!
[[User:TPoole|TPoole]] ([[User talk:TPoole|talk]]) 15:29, 29 March 2025 (EDT)
:{{Reply to|TPoole}} great! Could you include a link to it? Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 11:07, 30 March 2025 (EDT)
::OK, I [[The Mailer Review/Volume 5, 2011/Reinventing a New Wheel: The Films of Norman Mailer|found it]]. Looking really good. Great work. There are some citation issues that need to be seen to. The two red categories at the bottom should not be there; they will go away when the citations errors are corrected. Eliminate any quotation mark "fangs" in the text and replace them with “real quotation marks.” Let me know if you need help. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 11:14, 30 March 2025 (EDT)
:::@Grlucas, what are the citation issues? Which ones need correcting? [[User:TPoole|TPoole]] ([[User talk:TPoole|talk]]) 17:31, 31 March 2025 (EDT)
::::{{Reply to| TPoole}} When you click your citations, they should jump to the works cited entry they correspond to. Several of yours do not, indicated by the red “Harv and Sfn no-target errors” at the bottom. You also have a "CS1 maint: Unrecognized language" error that will likely be cleared up when you fix the citation issues. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:55, 1 April 2025 (EDT)
:::::@Grlucas, I have tried correcting the sfn codes in my citations. I was able to get the 2 web citations to link correctly. But for some reason, I cannot get the Mailer 1967 film Wild 90 citation to link to the reference list. Please advise. [[User:TPoole|TPoole]] ([[User talk:TPoole|talk]]) 20:24, 4 April 2025 (EDT)
::::::{{Reply to| TPoole}} OK, all fixed and published. Thanks. Please move on to another remediation. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:46, 5 April 2025 (EDT)

== Remediation of: "Contradictory Syntheses: Norman Mailer’s Left Conservatism and the Problematic of 'Totalitarianism'" ==

Dr. Lucas

I finished the remediation of the following article:

https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Contradictory_Syntheses:_Norman_Mailer%E2%80%99s_Left_Conservatism_and_the_Problematic_of_%E2%80%9CTotalitarianism%E2%80%9D

It is ready for your review. Thank you.
[[User:JKilchenmann|JKilchenmann]] ([[User talk:JKilchenmann|talk]]) 19:04, 30 March 2025 (EDT)
:{{Reply to| JKilchenmann}} looks great. I made some tweaks to the references and some throughout, like changing ' and " to real apostrophes and quotation marks. A bit more clean-up, but you might want to check over it again. I removed the under-construction banner. Well one. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 21:32, 30 March 2025 (EDT)

== Final Edit ==

Thank you for your comments on my remediation of
"[[The Mailer Review/Volume 4, 2010/Authorship and Alienation in Death in the Afternoon and Advertisements for Myself|Authorship and Alienation in Death in the Afternoon and Advertisements for Myself.]]"

I've eliminated the "fang quotes" and changed them to “real quotation marks.” This was a very fascinating tip that taught me something new. It's something I've never noticed before but now always will.

I also put my sources in a bulleted list and removed the space before the citations. I think I'm all set now.
:{{Reply to|APKnight25}} great work! Please help other editors to complete the volume. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:34, 3 April 2025 (EDT)

== Remediation for ''Firearms in the Works of Hemingway and Mailer'' ==

[[User:Grlucas|Grlucas]]

Hi Dr. Lucas,

I believe I have done everything for the Remediation of my article. Please let me know if there is anything else I need to do.

I will also link the article below:

https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Firearms_in_the_Works_of_Hemingway_and_Mailer

Thank you,
Caitlin Vinson
:{{Reply to|CVinson}} great work so far. Your references must use templates, please. Blockquotes must also be done correctly. No spaces or line breaks before or after the {{tl|pg}} template. Footnote placement is also off (punctuation goes before the footnote; no spaces before or after the footnote). I will add the abstract and url. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:30, 3 April 2025 (EDT)

:{{Reply to|Grlucas}} Hi Dr. Lucas, I believe there have been some updates made to the project. I believe I have also updated the works cited section to show correct templates. Please let me know if there is anything further that I need to do. Thank you, Caitlin.
::{{reply to| CVinson}} please sign your talk page posts correctly. Thanks. You still need to do some work on the sources. Use the <code>|author-mask=1</code> in your template for repeated author names. Also, you must eliminate the red “Harv and Sfn no-target errors” message at the bottom. No spaces or returns before or after the {{tl|pg}} call, as I already mentioned above. No parenthetical citations should be left, either; those should all be remediated to footnotes. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:50, 8 April 2025 (EDT)

:::{{Reply to|Grlucas}} I have updated the sources and updated the in-text citations. I am still having trouble with the "Harv and Sfn no-target errors." I have not been successful in fixing this error and have tried multiple ways to fix it. —[[User:CVinson|CVinson]] ([[User talk:Grlucas|talk]]) 8:18, 8 April 2025 (EDT)

::::{{Reply to|Grlucas}} Hi Dr. Lucas, I see that I still have a red X for my remediation assignment. Is there something else I am still missing? —[[User:CVinson|CVinson]] ([[User talk:Grlucas|talk]]) 11:35, 10 April 2025 (EDT)
:::::{{reply to| CVinson}} sorry, I'm just getting back to it. There are quite a few punctuation errors. Some left out and others appear after the {{tl|sfn}}. I'm trying to correct those I see, but you should have a look, too. Page is designated as <code>p=</code> in {{tl|sfn}}, not <code>pg=</code>; and a span of pages needs <code>pp=</code>. Again, I have tried to correct these. I removed the banner, but please have another look through. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 13:01, 12 April 2025 (EDT)

== Remediation for ''Norman Mailer Today'' ==
Dr. Lucas, I have finished up my remediation article [[The Mailer Review/Volume 5, 2011/Norman Mailer Today|Norman Mailer Today]], and it is ready for review. Please let me know if I missed something. Thank you! —[[User:Kamyers|Kamyers]] ([[User talk:Kamyers|talk]]) 18:20, 3 April 2025 (EDT)
:{{Reply to|Kamyers}} Great work! Please help your fellow editors finish the volume, or pick something to work on in [[The Mailer Review/Volume 4, 2010|Volume 4]]. Thanks, and well done. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:00, 4 April 2025 (EDT)

== Remediation of “The Conception of Irreversibility: Hannah Arendt and Hemingway’s ‘Hills Like White Elephants’” ==
Dr. Lucas, I have finished my remediation of Jennifer Yirinec's article: [[The Mailer Review/Volume 5, 2011/The Conception of Irreversibility: Hannah Arendt and Hemingway’s “Hills Like White Elephants”|The Conception of Irreversibility: Hannah Arendt and Hemingway’s “Hills Like White Elephants.”]] Thank you for your assistance with the article. It is ready for its final review! [[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 10:24, 4 April 2025 (EDT)
:{{Reply to|JHadaway}} a stellar job. Well done. I removed the banner, so you can move on to another article. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:12, 5 April 2025 (EDT)

== Tribute Remediations ==
Dr. Lucas, I have begun work on the tributes for volume 5. [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/Grace Notes|Grace Notes]] by Stephen Borkowski is ready for its final review.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 12:58, 4 April 2025 (EDT)
:{{Reply to|JHadaway}} Well done! Banner removed, url added. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:18, 5 April 2025 (EDT)

==Oohh Normie Final Edits==
Hi Dr. Lucas, I have finished my article: [[The_Mailer_Review/Volume_4,_2010/"Oohh_Normie_—_You're_Sooo_Hemingway":_Mailer_Memories_and_Encounters|Oohh Normie, You're Sooo Hemingway]]. Please let me know if there is anything I need to fix. [[User:Tbara4554|Tbara4554]] ([[User talk:Tbara4554|talk]]) 20:01, 5 April 2025 (EDT)
:{{reply to|Tbara4554}} thank you. I made some corrections and removed the banner. You might want to have another look over it. Please move on to something else. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:53, 6 April 2025 (EDT)

== Harlot's Ghost, Bildungsroman, Masculinity and Hemingway ==

Dr. Lucas,

The following article is ready for your review. Thanks.

https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Harlot%27s_Ghost,_Bildungsroman,_Masculinity_and_Hemingway

[[User:JKilchenmann|JKilchenmann]] ([[User talk:JKilchenmann|talk]]) 21:22, 5 April 2025 (EDT)
:{{Reply to| JKilchenmann}} excellent. Thank you. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:39, 6 April 2025 (EDT)

== I am done with this ==

https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Situating_Hemingway:_Mailer,_Style,_Ethics
:Received. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:29, 6 April 2025 (EDT)

== Final Review PM Article ==

Hi Dr. Lucas, [[The_Mailer_Review/Volume_4,_2010/Hemingway_to_Mailer_—_A_Delayed_Response_to_The_Deer_Park|here]] is my remediated article, ready for review![[User:Hobbitonya|Hobbitonya]] ([[User talk:Hobbitonya|talk]]) 12:21, 6 April 2025 (EDT)
:{{Reply to| Hobbitonya}} great work. I have removed the banner, so you are good to move on to something else. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:20, 7 April 2025 (EDT)

== Remediation Project ==

{{reply to|Grlucas}}
I have finished my remedidation project and I am ready for it to be reviewed. '''Article link''': [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Piling_On:_Norman_Mailer’s_Utilization_of_Marilyn_Monroe#Works_Cited|Piling On: Norman Mailer's Utilization of Marilyn Monroe]

Thanks,

[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 13:04, 6 April 2025 (EDT)
:{{Reply to| MerAtticus}} good work so far. Please remove wikilinks. Change ' and " to typographical apostrophes and quotation marks. And all red errors at the bottom of the page need to be taken care of. These are likely all from coding errors in your sources. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:24, 7 April 2025 (EDT)

{{reply to|Grlucas}}
I have removed the wikilinks, changed to the correct typographic style and updated my sources.
'''Article link''': [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Piling_On:_Norman_Mailer’s_Utilization_of_Marilyn_Monroe#Works_Cited|Piling On: Norman Mailer's Utilization of Marilyn Monroe] Thanks, [[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 21:55, 7 April 2025 (EDT)

[I forgot to fill out the summary box. I am adding my summary]
:{{Reply to| MerAtticus}} you're getting there! It looks great. You must eliminate all the red errors at the bottom. These appear when there are errors in your citations. Let me know if you need help. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:15, 8 April 2025 (EDT)

@{{reply to|Grlucas}} I have tried everything I can think of and I still have harv and sfn no-target errors and harv and sfn multiple-target errors and cs1 uses editors parameter. Do I not include the editor? [[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 16:03, 8 April 2025 (EDT)

{{reply to|Grlucas}} I have managed to get rid of two of the red target errors. I am still working on finding the harv sfn multiple target error. Thanks, [[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 20:37, 8 April 2025 (EDT)

{{reply to|Grlucas}} I have tried everything i can think of to remove the last red error flag. I had to turn it in. I don't know that else I can do in this situation. I was given citation that did not follow any of the given formats. [[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 21:45, 8 April 2025 (EDT)
:{{Reply to| MerAtticus}} all parenthetical citations must be remediated to {{tl|sfn}}; none of yours are. Get these done, then we can worry about the errors. (Some notes on sources: any generic <code><nowiki>{{citation}}</nowiki></code> will not be correct. I see you have a book review by Marshall that has no source (I tried to find the original and cannot; this is a weird citation; I'll continue to look for it). There's also one that looks like a film that should use the [[w:Template:Cite AV media|<code>Cite AV media</code> template]].) Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 13:16, 12 April 2025 (EDT)

== Remediation Submission ==

Hello!
Here's my remediated article; [[The_Mailer_Review/Volume_5,_2011/The_Devil's_Party:_Reading_and_Wreaking_Vengeance_in_The_Castle_in_the_Forest|The Devil's Party: Reading and Wreaking Vengeance in ''The Castle in the Forest'']].
Thanks! Please let me know if there's anything I can review or correct.
[[User:Maggiemrogers|Maggiemrogers]] ([[User talk:Maggiemrogers|talk]]) 13:23, 6 April 2025 (EDT)
:{{Reply to| Maggiemrogers}} nice work! Banner removed, so please move on to something else in the volume. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:39, 7 April 2025 (EDT)

== Vol. 4: Rumors of Grace article remediated ==

I believe I have completed remediation of ''[[The_Mailer_Review/Volume_4,_2010/Rumors_of_Grace:_God-Language_in_Hemingway_and_Mailer|Rumors of Grace: God-Language in Hemingway and Mailer]]'', vol. 4. I was having last-minute trouble with sfn errors for sources without authors, but Justin Kilchenmann helped me out, so I think they are fixed.
:{{Reply to|Sherrilledwards}} You have done a remarkable job—a real Herculean effort! Footnotes should not go in any notes. See those I changed; the others should be changed in the same way. I have done some, but the others have to be fixed, I'm afraid. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:20, 8 April 2025 (EDT)
::{{Reply to|Grlucas}}I believe I have completed these fixes, so the article is again ready for review. [[User:Sherrilledwards|Sherrilledwards]] ([[User talk:Sherrilledwards|talk]]) 15:49, 12 April 2025 (EDT)
:::{{Reply to| Sherrilledwards}} truly exceptional work—a model remediation! Marked as complete. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:30, 13 April 2025 (EDT)

== Remediation of "Inside Norman Mailer ==

Hi Dr. Lucas - I have finished remediating the article, [[The Mailer Review/Volume 4, 2010/Inside Norman Mailer|Inside Norman Mailer]]. Please let me know if I need to make any adjustments. Thank you! [[User:Chelsey.brantley|Chelsey.brantley]] ([[User talk:Chelsey.brantley|talk]]) 18:09, 7 April 2025 (EDT)
:{{Reply to|Chelsey.brantley}} good work! Please help with another article from volume 4. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:36, 8 April 2025 (EDT)

== Completed: Norman Mailer: Playboy Magazine ==

I hope I am doing this is right. I have finished remediating my article about Norman Mailer and its in my designated sandbox [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Norman_Mailer:_Playboy_Magazine_Heavyweight here.]
If there are any last minute edits, let me know. I got the last of the errors removed yesterday. And I believe we are on the same page with leaving the in-line citations for ''Playboy'' to be as is, since the author didn't put them down in the works cited. [[User:NrmMGA5108|NrmMGA5108]] ([[User talk:NrmMGA5108|talk]]) 20:14, 7 April 2025 (EDT)Nina Mizner
:{{Reply to|NrmMGA5108}} looking good! So, the parenthetical citations still in the article, I'm assuming, are there because of those missing sources? Please check your page numbers; some seem to be off. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:04, 8 April 2025 (EDT)

:{{Reply to|Grlucas}} I found the page number error and its corrected, and yes all the parenthetical citations should be referencing issues of the ''playboy'' magazine, which were not listed in the works cited. --[[User:NrmMGA5108|NrmMGA5108]] ([[User talk:NrmMGA5108|talk]]) 20:54, 10 April 2025 (EDT)
::{{Reply to| NrmMGA5108}} it looks great. I removed the banner! Thank you. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 13:29, 12 April 2025 (EDT)

== Completed Remediation From Here to Eternity and The Naked and The Dead: Premier to Eternity? ==

Greeting Dr. Lucas,

I have made the adjustment that you mentioned.

I also made additional edits to my short footnotes and noticed that my citations did not link to my references - which has been fixed.

I have tested all of my citations, and they all work.

Here is my article by Alexander Hicks, ''From Here to Eternity and The Naked and The Dead: Premier to Eternity?''

https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/From_Here_to_Eternity_and_The_Naked_and_the_Dead:_Premiere_to_Eternity%3F

Have a great day.
:{{Reply to| THarrell}} Please always sign your talk page posts. Several “quoted items” in the article appear as ‘quoted items’; these must be corrected, please. No spaces or returns should surround {{tl|pg}} calls. Multiple page numbers should look like this <code><nowiki>{{sfn|Moretti|1996|pp=11-14}}</nowiki></code>; note the double <code>pp</code>. There seem to be many typos. I corrected some for you, but you must see to the rest. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:16, 8 April 2025 (EDT)

:{{Reply to| Grlucas}} Greetings,

Are these the only additional corrections that need to be made? This is different from what you mentioned before.

I just want to be sure that I have hit everything.

Also can you verify what other typos you are seeing, I have ran through this twice.

If something is spelt a certain way, for example "Soljer", I have left it that way. Since it is mentioned like that in the article.
—[[User:THarrell|THarrell]] ([[User talk:THarrell|talk]]) 06:49, 8 April 2025 (EDT)

:{{Reply to| Grlucas}} Greetings,

I have gone through and fixed all of the short footnotes.

I have gone line by line with a ruler to look at any typos, and fixed the words that I found that had a dash in them/needed to be lowercased.

I have also fixed the quotations.

—[[User:THarrell|THarrell]] ([[User talk:THarrell|talk]]) 12:31, 9 April 2025 (EDT)
:{{Reply to| THarrell}} much better. Periods go inside quotations marks; I think I fixed these, but please check. Also, there are no spaces before footnotes; again, I did a find/replace, but you should check. Also, check that all titles of novels are italicized (if it's italicized in the PDF, then it has to be italicized in the remediation, including abbreviations, like ''Naked''); I fixed a couple. Also, no extra spaces; there should only be a single blank space between paragraphs. There are quite a few little details that needed (need?) fixing. I removed the banner, but please check my work. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 12:41, 12 April 2025 (EDT)

== Remediation for “Footnote to Death in the Afternoon” ==

Greetings Dr. Lucus,

My article is ready for your review. Thank you.

https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Mailer%E2%80%99s_%E2%80%9CFootnote_to_Death_in_the_Afternoon%E2%80%9D)
:{{Reply to| KForeman}} it's coming along. Please ''always'' sign your talk page posts. Right up top, there are errors. Please use the real {{tl|pg}}, like all the other articles. Citations need to be fixed. All parenthetical citations must be converted. You still have quite a bit of work to do. All red sections need to be seen to and corrected. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:20, 8 April 2025 (EDT)
@Grlucs, per your suggestions, I've made the corrections. Please review. I look forward to your feedback. Thank you.
:{{Reply to| KForeman}} looking better. All parenthetical page numbers should be removed and added to the {{tl|sfn}}. Check your page numbers in {{tl|pg}}. Footnotes should have no spaces around them; periods and commas go ''inside'' quotation marks and before the footnotes. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:28, 19 April 2025 (EDT)

=Remediation of "Cluster Seeds and the Mailer Legacy"=
Hello, Dr. Lucas. I have completed the remediation of [https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_5,_2011/Cluster_Seeds_and_the_Mailer_Legacy&oldid=18200| my article], and it is ready for your review. Thank you!—[[User:ADavis|ADavis]] ([[User talk:ADavis|talk]]) 11:32, 8 April 2025 (EDT)@ADavis
:{{Reply to| ADavis}} got it. I think I check it yesterday and removed the banner then. Please move on to another piece. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 17:29, 8 April 2025 (EDT)

== Remediating Article: Mailer, Hemingway, and Boxing Volume 4. ==

Hello Dr. Lucas,

I have completed remediating my article. Here is the link [[The Mailer Review/Volume 4, 2010/Mailer, Hemingway, and Boxing|The Mailer Review: Volume 4: Mailer, Hemingway, Boxing (2010)]] [[User:JBrown|JBrown]] ([[User talk:JBrown|talk]]) 13:01, 8 April 2025 (EDT)JBrown
:{{Reply to|JBrown}} a good start, but all parenthetical citations need to be footnotes. Also, check your headers. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 17:29, 8 April 2025 (EDT)

== Remediation for ''Norris Church Mailer'' ==
Dr. Lucas, I have finished up remediating the article [[The Mailer Review/Volume 4, 2010/Norris Church Mailer|Norris Church Mailer]], and it is ready for review. Please let me know if I missed something. Thank you! —[[User:Kamyers|Kamyers]] ([[User talk:Kamyers|talk]]) 13:42, 8 April 2025 (EDT)
:{{reply to|Kamyers}} awesome work! Thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 17:29, 8 April 2025 (EDT)

== Final Edits Completed and Ready for Review ==

Dr. Lucas, I have completed my assigned remediation article: [[The_Mailer_Review/Volume_4,_2010/Looking_at_the_Past:_Nostalgia_as_Technique_in_The_Naked_and_the_Dead_and_For_Whom_the_Bell_Tolls|Looking at the Past: Nostalgia as Technique in The Naked and the Dead and For Whom the Bell Tolls]]. Please review at your convenience. I enjoyed working on this assignment. I look forward to your suggestions and feedback. All the best, Danielle (DBond007)
:{{Reply to| DBond007}} ok, good work. Please remove all the external links. Links to Wikipedia are not necessary, but if used, they need to be done correctly. There should be no spaces before {{tl|sfn}}. May sure all your ' and " are actually typographical apostrophes and quotation marks. Remove any superfluous spaces and line breaks; these mess up the formatting. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 17:29, 8 April 2025 (EDT)
::{{Reply to| Grlucas}} Thank you. I will get started on these revisions immediately. Thanks for the feedback and your time. :)[[User:DBond007|DBond007]] ([[User talk:DBond007|talk]]) 11:30, 10 April 2025 (EDT)
::{{Reply to| Grlucas}} I have completed all the requested revisions and ready for review round 2. Thank you again![[User:DBond007|DBond007]] ([[User talk:DBond007|talk]]) 12:10, 10 April 2025 (EDT)
:::{{Reply to|DBond007}} looking better! There are still items to be seen to, like titles on novels and magazines need to appear like they do in the original: if it's italicized in the PDF, it must be italicized on the web. I added the epigram for you and corrected that pesky citation. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:41, 12 April 2025 (EDT)
::{{Reply to| Grlucas}}I have completed edits. I went through and took out quotes around The Time Machine, except for one instance that the author uses them. All my other titles seem to correspond to the original article. Please let me know if I missed something. Thank you for the epigram and the pesky citation correction. Best, [[User:DBond007|DBond007]] ([[User talk:DBond007|talk]]) 15:25, 17 April 2025 (EDT)
:::{{Reply to|DBond007}} received, and good work. I had to clean up the sources a bit, so you might want to have a look. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:42, 18 April 2025 (EDT)
::{{Reply to| Grlucas}}I went back and reviewed some of the other articles marked complete to compare and look for remaining revisions. I made one change on Works Cited and also added the page numbers to correspond to the pdf. Let's try this again. Again, I *believe I am finished with this article. Best,[[User:DBond007|DBond007]] ([[User talk:DBond007|talk]]) 10:36, 18 April 2025 (EDT)

Hopefully this works!. I'm not sure how to reply to other threads, but I was scrolling through the PDF and noticed the publisher is Iowa Pres? Just curious if it's supposed to be Iowa Press? [[User:Wverna|Wverna]] ([[User talk:Wverna|talk]]) 22:33, 18 April 2025 (EDT)
:{{Reply to| Wverna}} I'm not sure what you're talking about. Perhaps if you included a link to the article? See [[w:Help:Talk pages|Talk page guidelines]] if you don't know how to use them. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:33, 19 April 2025 (EDT)

== Completed the remediation assignment ==

Good evening Dr. Lucas,

I hope I am doing this right. Here is the link for my completed Remediation article: [http://The_Mailer_Review/Volume_4,_2010/Encounters_with_Mailer Encounters with Mailer].

I look forward to reading your feedback.

All the best,

Patrick Riley
:{{Reply to|Priley1984}} thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:40, 10 April 2025 (EDT)

== Remediation Project Submission: An Expected Encounter in an Unexpected Place ==

Link:

https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Norman_Mailer:_An_Expected_Encounter_in_an_Unexpected_Place

Winnie Verna
:{{Reply to|Wverna}} received, thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:51, 10 April 2025 (EDT)

== E.Mosley ==

Good evening, @Grlucas. I have completed my Remediation Articles[[https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/On_Reading_Mailer_Too_Young]]. The article I had was " On Reading Mailer Too Young Volume 4, 2010
:{{Reply to| Essence903m}} thank you. I had to fix and clean-up quite a bit. Your saves also do not include summaries. When you move on to your next article, please be more careful and follow the instructions. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:12, 10 April 2025 (EDT)

== Kynndra Watson ==

Good Evening, @grlucas. i have completed my Remediation articles: Volume 5: https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Making_Masculinity_and_Unmaking_Jewishness:_Norman_Mailer%E2%80%99s_Voice_in_Wild_90_and_Beyond_the_Law and Volume 4: https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Mailer,_Hemingway,_and_the_%E2%80%9CReds%E2%80%9D.

Thank you.
:{{Reply to| KWatson}} thank you, and this is a good start, but there are still many items that need to be cleaned up, like footnote indications (They go after punctuation), citation errors (all the red errors at the bottom need to be seen to), extra spaces and ALL CAPS need to be removed. Please see other completed articles for models. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:18, 10 April 2025 (EDT)

== Tribute Remediation ==
Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/What Would Be the Fun of That?|"What Would Be the Fun of That?"]] by Peter Alson.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 09:33, 9 April 2025 (EDT)
:{{Reply to| JHadaway}} awesome! Thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:21, 10 April 2025 (EDT)

== “Remembering Norris Church” Tribute Remediation ==
Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/Remembering Norris Church|“Remembering Norris Church”]] by John Bowers.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 16:17, 9 April 2025 (EDT)
:{{Reply to| JHadaway}} and again, excellent! Thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:22, 10 April 2025 (EDT)

== “The Norris I Knew” Tribute Remediation ==
Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/The Norris I Knew|“The Norris I Knew”]] by Christopher Busa.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 09:04, 10 April 2025 (EDT)
:{{Reply to| JHadaway}} rockin’! 👍🏼 —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:24, 10 April 2025 (EDT)

== "Norris Mailer" Tribute Remediation ==
Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/Norris Mailer|"Norris Mailer"]] by Nancy Collins.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 09:35, 10 April 2025 (EDT)
:{{Reply to| JHadaway}} thanks again. You’re tearing it up. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:32, 10 April 2025 (EDT)

== "Rise Above It" Tribute Remediation ==

Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/Rise Above It|"Rise Above It"]] by David Ebershoff—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 11:12, 10 April 2025 (EDT)
:{{Reply to|JHadaway}} excellent. Many thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:15, 12 April 2025 (EDT)

== Completed Additional Articles ==

Hello, Dr. Lucas. I have remediated [https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_5,_2011/Tributes_to_Norris_Church_Mailer/A_View_Through_the_Prism&oldid=18744|"A View Through the Prism"], [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Tributes_to_Norris_Church_Mailer/Lip_Liner|"Lip Liner"], and [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/The_Living_Room_Show#|"The Living Room Show"] in Volume 5. They are ready for your review. Thank you!—[[User:ADavis|ADavis]] ([[User talk:ADavis|talk]]) 12:31, 10 April 2025 (EDT)
:{{Reply to|ADavis}} great work. Thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:26, 12 April 2025 (EDT)

== Submission notification sent 29 March ==

@grlucas

Dr. Lucas - I sent a Talk Page notification that I had completed the page I remediated on 29 March. The table indicates I haven't done anything yet. I sent it from the Talk Page from the article site. I don't see a response from that notification, but I had received one from you earlier in the process.
I don't understand what happened.

[[User:LogansPop22|LogansPop22]] ([[User talk:LogansPop22|talk]]) 14:54, 10 April 2025 (EDT)
:{{reply to|LogansPop22}} sorry if I missed that. [[The Mailer Review/Volume 5, 2011/Hemingway and Women at the Front: Blowing Bridges in The Fifth Column, For Whom the Bell Tolls, and Other Works|this article]], right? It's looking great, though all the parenthetical citations must be converted to footnotes using {{tl|sfn}} and some of the author names in your notes should use {{tl|harvtxt}}. I added the "citations" section for you. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:39, 12 April 2025 (EDT)

== Making Masculinity and Unmaking Jewishness: Norman Mailer’s Voice in Wild 90 and Beyond the Law ==

@Grlucas, I have made some additional edits to this [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Making_Masculinity_and_Unmaking_Jewishness:_Norman_Mailer%E2%80%99s_Voice_in_Wild_90_and_Beyond_the_Law article] in Volume 5 by correcting most of the citations. There are 2 that still do not work, but I think that is because the sources are incomplete.

[[User:TPoole|TPoole]] ([[User talk:TPoole|talk]]) 21:16, 10 April 2025 (EDT)
:{{Reply to| TPoole}} Looking really good, and this is a complicated one. A couple of things: no spaces or line breaks before or after {{tl|pg}}; I removed the spaces before {{tl|sfn}}, but you might want to check them; there are some typos, like missing spaces before some parentheses; no footnotes should appear in the notes section: use {{tl|harvtxt}} instead. And all the red errors at the bottom need to be cleared up. Great work so far! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:00, 12 April 2025 (EDT)

== Red Error-Gone ==

{{reply to|Grlucas}}I have deleted all the sfn's and the red error is gone. I don't know why I didn't think about this days ago.

[[The_Mailer_Review/Volume_5,_2011/Piling_On:_Norman_Mailer’s_Utilization_of_Marilyn_Monroe|Gladstein-Monroe]]

[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 23:07, 10 April 2025 (EDT)
:{{Reply to|MerAtticus}} getting closer. A few things: you should use <code>|author-mask=1</code> for repeated author names in your works cited; all parenthetical citations need to be replaced with footnotes using {{tl|sfn}}; must punctuation in your sources need to be removed as the templates do that for you; and you need to use {{tl|harvtxt}} for citations in your endnotes. Also, letters and films have their own templates. I did a couple of these for you as examples. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:14, 12 April 2025 (EDT)

== "Remembering Norris" Tribute Remediation ==

Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/Remembering Norris|"Remembering Norris"]] by Margo Howard.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 09:20, 12 April 2025 (EDT)
:{{Reply to| JHadaway}} excellent! Thank you. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:35, 13 April 2025 (EDT)

== Norman Mailer: From Orgone Accumulator to Cancer Protection for Schizophrenics ==

Dr. Lucas,

The following article is ready for your review:
https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Norman_Mailer:_From_Orgone_Accumulator_to_Cancer_Protection_for_Schizophrenics

I was unable to find the correct format for the first works cited entry under Mailer. It is a reprint of a magazine article. Thank you. [[User:JKilchenmann|JKilchenmann]] ([[User talk:JKilchenmann|talk]]) 16:28, 12 April 2025 (EDT)
:{{Reply to| JKilchenmann}} you are a master remediator! Thank you for going above and beyond. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:44, 13 April 2025 (EDT)

==Tolls of War: Mailerian Sub-Texts in For Whom the Bell Tolls, Trust & Sparring with Norman==
Dr. Lucas, these were some of the smaller ones, so I went ahead and knocked them out. They are ready for review: [[The Mailer Review/Volume 4, 2010/Sparring with Norman|Sparring with Norman]], [[The Mailer Review/Volume 5, 2011/Trust|Trust]], and [[The Mailer Review/Volume 5, 2011/Tolls of War: Mailerian Sub-Texts in For Whom the Bell Tolls|Tolls of War: Mailerian Sub-Texts in For Whom the Bell Tolls]]. —[[User:Kamyers|Kamyers]] ([[User talk:Kamyers|talk]]) 10:27, 13 April 2025 (EDT)
:{{Reply to| Kamyers}} all excellent—above and beyond! Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:56, 13 April 2025 (EDT)

== Remediation for ''Death, Art, and the Disturbing: Hemingway and Mailer and the Art of Writing'' ==

Hi everyone,
I am currently helping with the article, [https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Death,_Art,_and_the_Disturbing:_Hemingway_and_Mailer_and_the_Art_of_Writing Death, Art, and the Disturbing: Hemingway and Mailer and the Art of Writing]. It still has a good bit to go, if anyone wants to help out.
—[[User:CVinson|CVinson]] ([[User talk:Grlucas|talk]]) 5:17 PM, 13 April 2025 (EDT)
:{{Reply to|CVinson}} thanks! I added the author info. I'm not sure many will see your request; you might want to post it on the forum. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 14:56, 14 April 2025 (EDT)
::{{Reply to|Grlucas}} Thank you for adding the author information and I have posted the request in the forum. Thank you! —[[User:CVinson|CVinson]] ([[User talk:CVinson|talk]]) 6:53 PM, 14 April 2025 (EDT)

== Mimi and Mercer ==

{{reply to|Grlucas}}
I have corrected the Mimi Gladstein [[The Mailer Review/Volume 5, 2011/Piling On: Norman Mailer’s Utilization of Marilyn Monroe]] and removed all the red errors. I also have finishe the Erin Mercer article [[The Mailer Review/Volume 4, 2010/Automatons and the Atomic Abyss: The Naked and the Dead]], except the ''The Naked and the Dead'' in the display title. An error occured.
[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 19:26, 13 April 2025 (EDT)
:{{Reply to| MerAtticus}} good work. There should be no footnotes in the endnotes, please. Since this is the only thing to correct, I have removed the banner, but please let me know when you made that final correction. Thanks! (I will respond about your second article shortly.) —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 14:59, 14 April 2025 (EDT)
:{{Reply to| MerAtticus}} your second article looks good. Could you use the [[w:Template:Cite interview|Template:Cite interview]] for interviews. I did one for you. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 16:33, 14 April 2025 (EDT)

== Through the Lens of the Beatniks Remediation ==

Hello, Dr. Lucas! I've completed the remediation of [[The_Mailer_Review/Volume_5,_2011/Through_the_Lens_of_the_Beatniks:_Norman_Mailer_and_Modern_American_Man’s_Quest_for_Self-Realization#CITEREFNaked1992|Through the Lens of the Beatniks]]. I wasn't able to get the letter citations exactly how I thought they should be. If there's anything I'm missing, please let me know! Thanks! [[User:Maggiemrogers|Maggiemrogers]] ([[User talk:Maggiemrogers|talk]]) 10:09, 14 April 2025 (EDT)
:{{Reply to| Maggiemrogers}} got it! It looks great. I made some format changes, but you did a great job! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 15:58, 14 April 2025 (EDT)

== Finish Mimi ==

{{reply to|Grlucas}}

I have made the final edit to Mimi and removed the footnotes from the endnotes. [[The_Mailer_Review/Volume_5,_2011/Piling_On:_Norman_Mailer’s_Utilization_of_Marilyn_Monroe]] [[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 15:50, 14 April 2025 (EDT)
:{{Reply to| MerAtticus}} you removed all the citations. Only '''footnotes''' need to be removed, but citations need to stay. I did the first note for you (now erased, but you can see it in the history) so you could see how it was done. You can also see [[The Mailer Review/Volume 4, 2010/Rumors of Grace: God-Language in Hemingway and Mailer|this one]]. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 16:52, 14 April 2025 (EDT)

== Completed? All You Need is Glove ==

Hi Dr. Lucas, I believe the book review, [[The_Mailer_Review/Volume_4,_2010/All_You_Need_is_Glove|All You Need is Glove]] is done and ready for review! [[User:Hobbitonya|Hobbitonya]] ([[User talk:Hobbitonya|talk]]) 19:10, 14 April 2025 (EDT)
:{{Reply to| Hobbitonya}} awesome work! Banner removed, and many thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:08, 16 April 2025 (EDT)

== Harv and Sfn no-target ==

{{reply to|Grlucas}}
I changed the citations in the article to interview and I tried a few things to get rid of the Harv and Sfn no-target with little luck. [[The_Mailer_Review/Volume_4,_2010/Automatons_and_the_Atomic_Abyss:_The_Naked_and_the_Dead]]
[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 21:04, 14 April 2025 (EDT)
:{{Reply to| MerAtticus}} this was because your interviews had no dates. Most are from Lennon's book, published in 1988. I added the dates to the citations, but the sfn footnotes need to be fixed to correspond with those. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:24, 16 April 2025 (EDT)
::{{Reply to| MerAtticus}} OK, between your fixes and my little tweaks, this one is finished! Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:50, 17 April 2025 (EDT)

== Erros fixed ==

{{reply to|Grlucas}}
I have fixed all citation errors in both articles and added the harvtxt. Atomic Abyss still has the Pages using duplicate arguments in template calls error.
[[The_Mailer_Review/Volume_4,_2010/Automatons_and_the_Atomic_Abyss:_The_Naked_and_the_Dead]]
:{{Reply to|MerAtticus}} see above. These still need fixing. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:35, 16 April 2025 (EDT)

[[The_Mailer_Review/Volume_5,_2011/Piling_On:_Norman_Mailer’s_Utilization_of_Marilyn_Monroe]]
:{{Reply to|MerAtticus}} this one looks great! Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:35, 16 April 2025 (EDT)

[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 08:23, 15 April 2025 (EDT)

== completed: Advertisements for Others ==

Thanks to some classmates helping with the finishing touches, my second article should be ready. [[The_Mailer_Review/Volume_4,_2010/Advertisements_for_Others:_The_Blurbs_of_Norman_Mailer|Advertisements for Others.]]
--[[User:NrmMGA5108|NrmMGA5108]] ([[User talk:NrmMGA5108|talk]]) 19:24, 17 April 2025 (EDT)
:{{reply to| NrmMGA5108}} received, and thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:15, 18 April 2025 (EDT)

== Two Poems Vol 4 Ready? ==

Hi Dr. Lucas! I think these two poems are ready for review: [[The Mailer Review/Volume 4, 2010/The Boxer in the Park|The Boxer in the Park]] and Norman Mailer and [[The_Mailer_Review/Volume_4,_2010/Norman_Mailer_and_Ernest_Hemingway_Do_Not_Box_in_Heaven|Ernest Hemingway Do Not Box in Heaven]]. The second on says the display title is wrong, but again, I don't know what I am missing there. Thank you![[User:Hobbitonya|Hobbitonya]] ([[User talk:Hobbitonya|talk]]) 09:05, 18 April 2025 (EDT)
:{{Reply to| Hobbitonya}} excellent! Thank you. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:56, 18 April 2025 (EDT)

== A Dialogue Essay on Mailer and Hemingway ==

Hey,

I see that [[The Mailer Review/Volume 4, 2010/A Dialogue Essay on Mailer and Hemingway|A Dialogue Essay on Mailer and Hemingway]] is missing text. Can you email me a copy or link it as a reply, so I can remediate this article. [[User:APKnight25|APKnight25]] ([[User talk:APKnight25|talk]]) 09:44, 18 April 2025 (EDT)
:{{Reply to| APKnight25}} you may download both volumes’ PDFs on the [https://forum.grlucas.net/t/project-mailer-assignments-remediation-project/88/3?u=grlucas forum]. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:40, 18 April 2025 (EDT)

== Almost complete ==

@grlucas
I've made a ton of progress.
The only thing I have left is going through all of the links to do away with harvtxt and sfn target error and an error for extra text in the author section. I fixed the error about using an "en" dash between years.
I'll still be working on it until tomorrow night, but please take a look: https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Hemingway_and_Women_at_the_Front:_Blowing_Bridges_in_The_Fifth_Column,_For_Whom_the_Bell_Tolls,_and_Other_Works

== Articles complete ==

@grlucas
I have also made a lot of progress with my articles and luckily received a last minute assit from a few of my class mates. I beleive both volumes to be complete: Vol 4: https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Mailer,_Hemingway,_and_the_%E2%80%9CReds%E2%80%9D (Which I believe has already been submitted) and Volume 5: https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Making_Masculinity_and_Unmaking_Jewishness:_Norman_Mailer%E2%80%99s_Voice_in_Wild_90_and_Beyond_the_Law (I just received the final error correction from a fellow student.

I also started working on this Vol 4 article once I got back into the system: https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Style,_Politics,_and_Hemingway%27s_Spanish_Civil_War_Dispatches in my sandbox https://projectmailer.net/pm/User:KWatson/sandbox but another user has already completed it.

Please review my articles and advise what else is needed from me. Thank you [[User:KWatson|KWatson]] ([[User talk:KWatson|talk]]) 15:37, 19 April 2025 (EDT)

== Additional edits ==

Hello! I reformatted all in text citations, did some editing, and added page numbers to [https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Mailer,_Hemingway,_and_Boxing| Mailer, Hemingway, and Boxing]- could you please take a look at the updated page and see if there's anything additional that it needs?
[[User:KaraCroissant|KaraCroissant]] ([[User talk:KaraCroissant|talk]]) 16:25, 19 April 2025 (EDT)

User talk:Grlucas

2025-04-19T20:23:37Z

KaraCroissant: /* Additional edits */ new section

{{Talk header}}
[[/Archive 202504/]]

== Final edits ==
Hello, my article is complete: [[The_Mailer_Review/Volume_4,_2010/Ernest_and_Norman_(Exit_Music)|Ernest and Norman (Exit Music)]]
:{{Reply to|Flowersbloom}} great, thank you. I made some corrections. Please be sure to sign your talk page posts. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:59, 10 April 2025 (EDT)

Good evening, Dr. Lucas. Below is the link to my edited article:
https://projectmailer.net/pm/User:ASpeed/sandbox
:{{Reply to|ASpeed}} great. Let me know when it’s finished and posted, and I’l have a look. It appears as if you still have a bit of work to do. Please be sure to sign your talk page posts. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:59, 10 April 2025 (EDT)

Good evening, @[[User:Grlucas|Grlucas]]. I have completed most of my Remediation Articles, but I still show issues for the one named, "[[The_Mailer_Review/Volume_4,_2010/Norman,_Papa,_and_the_Autoerotic_Construction_of_Woman|Norman, Papa, and the Autoerotic Construction of Woman]].

Based on the latest updates, [[The_Mailer_Review/Volume_4,_2010/Battles_for_Regard,_Writerly_and_Otherwise|Battles for Regard, Writerly and Otherwise]] looks good with exception of including a '''category'''.
:{{Reply to|ALedezma}} this one is good. I made some corrections before removing the banner, mostly in your sources. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:59, 10 April 2025 (EDT)

May you let me know if there is anything I can do on my end to resolve the issues with the first [[The_Mailer_Review/Volume_4,_2010/Norman,_Papa,_and_the_Autoerotic_Construction_of_Woman|article]]?

[[User:ALedezma|ALedezma]] ([[User talk:ALedezma|talk]]) 21:47, 8 April 2025 (EDT)
:{{Reply to|ALedezma}} looking very good, but some sources missing page numbers. Please see to those. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:59, 10 April 2025 (EDT)

:::Thank you @[[User:Grlucas|Grlucas]] . I will review those and respond when complete. [[User:ALedezma|ALedezma]] ([[User talk:ALedezma|talk]]) 22:47, 10 April 2025 (EDT)
::::@[[User:Grlucas|Grlucas]]. Thank you for your feedback. A review of article additions was made for source pages. [[User:ALedezma|ALedezma]] ([[User talk:ALedezma|talk]]) 20:22, 11 April 2025 (EDT)
:::::{{Reply to| ALedezma}} ok, looking good. I made some corrections. There's one final thing to do: no footnotes should appear in the notes section; use {{tl|harvtxt}} instead; I did one to show you how to use the template. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 13:39, 12 April 2025 (EDT)
::::::@[[User:Grlucas|Grlucas]] Changes were done to footnote sources. Thank you! [[User:ALedezma|ALedezma]] ([[User talk:ALedezma|talk]]) 19:59, 12 April 2025 (EDT)

Dr. Lucas I finished my remediation article https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_4,_2010/Norman_Mailer%27s_The_Fight:_Hemingway,_Bullfighting,_and_the_Lovely_Metaphysics_of_Boxing&action=edit [[User:TWietstruk|TWietstruk]] ([[User talk:TWietstruk|talk]]) 19:44, 8 April 2025 (EDT)
:{{Reply to| TWietstruk}} good work so far, but there is more to do: placement of footnotes (eliminate spaces around them and punctuation always goes ''before'' the footnote.); proofread for typos; fix all red errors at the bottom (most of these are from errors in sourcing); works cited entries should be bulleted list and eliminate space between entries. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:05, 10 April 2025 (EDT)
::{{Reply to|Grlucas}} Final edit and no errors with some help from @NRMMGA5108, @JKilchenmann. Please mark me as complete. On to help someone else with the things I've learned
https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_4,_2010/Norman_Mailer%27s_The_Fight:_Hemingway,_Bullfighting,_and_the_Lovely_Metaphysics_of_Boxing&action=edit [[User:TWietstruk|TWietstruk]] ([[User talk:TWietstruk|talk]]) 17:52, 13 April 2025 (EDT)

Dr. Lucas I have finished my assigned remediation article: https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Jive-Ass_Aficionado:_Why_Are_We_in_Vietnam%3F_and_Hemingway%27s_Moral_Code#cite_note-FOOTNOTEHemingway2003-24
Username ADear.
:{{Reply to|ADear}} thank you. I have marked this as complete. Please be sure you sign your talk page posts correctly. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:05, 10 April 2025 (EDT)

Dr. Lucas, I have finished remediating my assigned article. Please review it at your earliest convenience. The link is here: [[The_Mailer_Review/Volume_5,_2011/Norman_Mailer's_Mythmaking_in_An_American_Dream_and_“The_White_Negro”|Norman Mailer's Mythmaking in An American Dream and “The White Negro”]]—[[User:Erhernandez|Erhernandez]] ([[User talk:Erhernandez|talk]]) 08:52, 4 April 2025 (EDT)
:{{Reply to|Erhernandez}} well done! A couple of things: never bury your talk page post. Put it at the bottom, preferably in its own section by clicking "Add topic" on the top-right. I removed your banner after making a few corrections. Please have a look over it and move on to the next thing. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:06, 5 April 2025 (EDT)

Dr. Lucas, I transferred and edited my article. Can you look at it and remove the banner? Here's the link: [[The_Mailer_Review/Volume_4,_2010/Authorship_and_Alienation_in_Death_in_the_Afternoon_and_Advertisements_for_Myself|Authorship and Alienation in Death in the Afternoon and Advertisements for Myself]] ( [[User:APKnight25|APKnight25]] ([[User talk:APKnight25|talk]]) 13:02, 28 March 2025 (EDT) )
:{{Reply to| APKnight25}} looking good! A couple of things: never bury your talk page post. Put it at the bottom, preferably in its own section by clicking "Add topic" on the top-right. Next, eliminate all "fang" quotes in the article and add “real quotation marks.” Your sources should be a bulleted list. And there should be no space before a citation. You’re almost finished! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 11:21, 30 March 2025 (EDT)

== Remediation of "Reinventing the Wheel" Mailer Article for Review ==

Dr. Lucas,

My [[The_Mailer_Review/Volume_5,_2011/Reinventing_a_New_Wheel:_The_Films_of_Norman_Mailer|article]] is ready for review.

Thank you!
[[User:TPoole|TPoole]] ([[User talk:TPoole|talk]]) 15:29, 29 March 2025 (EDT)
:{{Reply to|TPoole}} great! Could you include a link to it? Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 11:07, 30 March 2025 (EDT)
::OK, I [[The Mailer Review/Volume 5, 2011/Reinventing a New Wheel: The Films of Norman Mailer|found it]]. Looking really good. Great work. There are some citation issues that need to be seen to. The two red categories at the bottom should not be there; they will go away when the citations errors are corrected. Eliminate any quotation mark "fangs" in the text and replace them with “real quotation marks.” Let me know if you need help. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 11:14, 30 March 2025 (EDT)
:::@Grlucas, what are the citation issues? Which ones need correcting? [[User:TPoole|TPoole]] ([[User talk:TPoole|talk]]) 17:31, 31 March 2025 (EDT)
::::{{Reply to| TPoole}} When you click your citations, they should jump to the works cited entry they correspond to. Several of yours do not, indicated by the red “Harv and Sfn no-target errors” at the bottom. You also have a "CS1 maint: Unrecognized language" error that will likely be cleared up when you fix the citation issues. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:55, 1 April 2025 (EDT)
:::::@Grlucas, I have tried correcting the sfn codes in my citations. I was able to get the 2 web citations to link correctly. But for some reason, I cannot get the Mailer 1967 film Wild 90 citation to link to the reference list. Please advise. [[User:TPoole|TPoole]] ([[User talk:TPoole|talk]]) 20:24, 4 April 2025 (EDT)
::::::{{Reply to| TPoole}} OK, all fixed and published. Thanks. Please move on to another remediation. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:46, 5 April 2025 (EDT)

== Remediation of: "Contradictory Syntheses: Norman Mailer’s Left Conservatism and the Problematic of 'Totalitarianism'" ==

Dr. Lucas

I finished the remediation of the following article:

https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Contradictory_Syntheses:_Norman_Mailer%E2%80%99s_Left_Conservatism_and_the_Problematic_of_%E2%80%9CTotalitarianism%E2%80%9D

It is ready for your review. Thank you.
[[User:JKilchenmann|JKilchenmann]] ([[User talk:JKilchenmann|talk]]) 19:04, 30 March 2025 (EDT)
:{{Reply to| JKilchenmann}} looks great. I made some tweaks to the references and some throughout, like changing ' and " to real apostrophes and quotation marks. A bit more clean-up, but you might want to check over it again. I removed the under-construction banner. Well one. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 21:32, 30 March 2025 (EDT)

== Final Edit ==

Thank you for your comments on my remediation of
"[[The Mailer Review/Volume 4, 2010/Authorship and Alienation in Death in the Afternoon and Advertisements for Myself|Authorship and Alienation in Death in the Afternoon and Advertisements for Myself.]]"

I've eliminated the "fang quotes" and changed them to “real quotation marks.” This was a very fascinating tip that taught me something new. It's something I've never noticed before but now always will.

I also put my sources in a bulleted list and removed the space before the citations. I think I'm all set now.
:{{Reply to|APKnight25}} great work! Please help other editors to complete the volume. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:34, 3 April 2025 (EDT)

== Remediation for ''Firearms in the Works of Hemingway and Mailer'' ==

[[User:Grlucas|Grlucas]]

Hi Dr. Lucas,

I believe I have done everything for the Remediation of my article. Please let me know if there is anything else I need to do.

I will also link the article below:

https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Firearms_in_the_Works_of_Hemingway_and_Mailer

Thank you,
Caitlin Vinson
:{{Reply to|CVinson}} great work so far. Your references must use templates, please. Blockquotes must also be done correctly. No spaces or line breaks before or after the {{tl|pg}} template. Footnote placement is also off (punctuation goes before the footnote; no spaces before or after the footnote). I will add the abstract and url. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:30, 3 April 2025 (EDT)

:{{Reply to|Grlucas}} Hi Dr. Lucas, I believe there have been some updates made to the project. I believe I have also updated the works cited section to show correct templates. Please let me know if there is anything further that I need to do. Thank you, Caitlin.
::{{reply to| CVinson}} please sign your talk page posts correctly. Thanks. You still need to do some work on the sources. Use the <code>|author-mask=1</code> in your template for repeated author names. Also, you must eliminate the red “Harv and Sfn no-target errors” message at the bottom. No spaces or returns before or after the {{tl|pg}} call, as I already mentioned above. No parenthetical citations should be left, either; those should all be remediated to footnotes. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:50, 8 April 2025 (EDT)

:::{{Reply to|Grlucas}} I have updated the sources and updated the in-text citations. I am still having trouble with the "Harv and Sfn no-target errors." I have not been successful in fixing this error and have tried multiple ways to fix it. —[[User:CVinson|CVinson]] ([[User talk:Grlucas|talk]]) 8:18, 8 April 2025 (EDT)

::::{{Reply to|Grlucas}} Hi Dr. Lucas, I see that I still have a red X for my remediation assignment. Is there something else I am still missing? —[[User:CVinson|CVinson]] ([[User talk:Grlucas|talk]]) 11:35, 10 April 2025 (EDT)
:::::{{reply to| CVinson}} sorry, I'm just getting back to it. There are quite a few punctuation errors. Some left out and others appear after the {{tl|sfn}}. I'm trying to correct those I see, but you should have a look, too. Page is designated as <code>p=</code> in {{tl|sfn}}, not <code>pg=</code>; and a span of pages needs <code>pp=</code>. Again, I have tried to correct these. I removed the banner, but please have another look through. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 13:01, 12 April 2025 (EDT)

== Remediation for ''Norman Mailer Today'' ==
Dr. Lucas, I have finished up my remediation article [[The Mailer Review/Volume 5, 2011/Norman Mailer Today|Norman Mailer Today]], and it is ready for review. Please let me know if I missed something. Thank you! —[[User:Kamyers|Kamyers]] ([[User talk:Kamyers|talk]]) 18:20, 3 April 2025 (EDT)
:{{Reply to|Kamyers}} Great work! Please help your fellow editors finish the volume, or pick something to work on in [[The Mailer Review/Volume 4, 2010|Volume 4]]. Thanks, and well done. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:00, 4 April 2025 (EDT)

== Remediation of “The Conception of Irreversibility: Hannah Arendt and Hemingway’s ‘Hills Like White Elephants’” ==
Dr. Lucas, I have finished my remediation of Jennifer Yirinec's article: [[The Mailer Review/Volume 5, 2011/The Conception of Irreversibility: Hannah Arendt and Hemingway’s “Hills Like White Elephants”|The Conception of Irreversibility: Hannah Arendt and Hemingway’s “Hills Like White Elephants.”]] Thank you for your assistance with the article. It is ready for its final review! [[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 10:24, 4 April 2025 (EDT)
:{{Reply to|JHadaway}} a stellar job. Well done. I removed the banner, so you can move on to another article. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:12, 5 April 2025 (EDT)

== Tribute Remediations ==
Dr. Lucas, I have begun work on the tributes for volume 5. [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/Grace Notes|Grace Notes]] by Stephen Borkowski is ready for its final review.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 12:58, 4 April 2025 (EDT)
:{{Reply to|JHadaway}} Well done! Banner removed, url added. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:18, 5 April 2025 (EDT)

==Oohh Normie Final Edits==
Hi Dr. Lucas, I have finished my article: [[The_Mailer_Review/Volume_4,_2010/"Oohh_Normie_—_You're_Sooo_Hemingway":_Mailer_Memories_and_Encounters|Oohh Normie, You're Sooo Hemingway]]. Please let me know if there is anything I need to fix. [[User:Tbara4554|Tbara4554]] ([[User talk:Tbara4554|talk]]) 20:01, 5 April 2025 (EDT)
:{{reply to|Tbara4554}} thank you. I made some corrections and removed the banner. You might want to have another look over it. Please move on to something else. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:53, 6 April 2025 (EDT)

== Harlot's Ghost, Bildungsroman, Masculinity and Hemingway ==

Dr. Lucas,

The following article is ready for your review. Thanks.

https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Harlot%27s_Ghost,_Bildungsroman,_Masculinity_and_Hemingway

[[User:JKilchenmann|JKilchenmann]] ([[User talk:JKilchenmann|talk]]) 21:22, 5 April 2025 (EDT)
:{{Reply to| JKilchenmann}} excellent. Thank you. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:39, 6 April 2025 (EDT)

== I am done with this ==

https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Situating_Hemingway:_Mailer,_Style,_Ethics
:Received. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:29, 6 April 2025 (EDT)

== Final Review PM Article ==

Hi Dr. Lucas, [[The_Mailer_Review/Volume_4,_2010/Hemingway_to_Mailer_—_A_Delayed_Response_to_The_Deer_Park|here]] is my remediated article, ready for review![[User:Hobbitonya|Hobbitonya]] ([[User talk:Hobbitonya|talk]]) 12:21, 6 April 2025 (EDT)
:{{Reply to| Hobbitonya}} great work. I have removed the banner, so you are good to move on to something else. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:20, 7 April 2025 (EDT)

== Remediation Project ==

{{reply to|Grlucas}}
I have finished my remedidation project and I am ready for it to be reviewed. '''Article link''': [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Piling_On:_Norman_Mailer’s_Utilization_of_Marilyn_Monroe#Works_Cited|Piling On: Norman Mailer's Utilization of Marilyn Monroe]

Thanks,

[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 13:04, 6 April 2025 (EDT)
:{{Reply to| MerAtticus}} good work so far. Please remove wikilinks. Change ' and " to typographical apostrophes and quotation marks. And all red errors at the bottom of the page need to be taken care of. These are likely all from coding errors in your sources. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:24, 7 April 2025 (EDT)

{{reply to|Grlucas}}
I have removed the wikilinks, changed to the correct typographic style and updated my sources.
'''Article link''': [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Piling_On:_Norman_Mailer’s_Utilization_of_Marilyn_Monroe#Works_Cited|Piling On: Norman Mailer's Utilization of Marilyn Monroe] Thanks, [[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 21:55, 7 April 2025 (EDT)

[I forgot to fill out the summary box. I am adding my summary]
:{{Reply to| MerAtticus}} you're getting there! It looks great. You must eliminate all the red errors at the bottom. These appear when there are errors in your citations. Let me know if you need help. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:15, 8 April 2025 (EDT)

@{{reply to|Grlucas}} I have tried everything I can think of and I still have harv and sfn no-target errors and harv and sfn multiple-target errors and cs1 uses editors parameter. Do I not include the editor? [[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 16:03, 8 April 2025 (EDT)

{{reply to|Grlucas}} I have managed to get rid of two of the red target errors. I am still working on finding the harv sfn multiple target error. Thanks, [[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 20:37, 8 April 2025 (EDT)

{{reply to|Grlucas}} I have tried everything i can think of to remove the last red error flag. I had to turn it in. I don't know that else I can do in this situation. I was given citation that did not follow any of the given formats. [[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 21:45, 8 April 2025 (EDT)
:{{Reply to| MerAtticus}} all parenthetical citations must be remediated to {{tl|sfn}}; none of yours are. Get these done, then we can worry about the errors. (Some notes on sources: any generic <code><nowiki>{{citation}}</nowiki></code> will not be correct. I see you have a book review by Marshall that has no source (I tried to find the original and cannot; this is a weird citation; I'll continue to look for it). There's also one that looks like a film that should use the [[w:Template:Cite AV media|<code>Cite AV media</code> template]].) Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 13:16, 12 April 2025 (EDT)

== Remediation Submission ==

Hello!
Here's my remediated article; [[The_Mailer_Review/Volume_5,_2011/The_Devil's_Party:_Reading_and_Wreaking_Vengeance_in_The_Castle_in_the_Forest|The Devil's Party: Reading and Wreaking Vengeance in ''The Castle in the Forest'']].
Thanks! Please let me know if there's anything I can review or correct.
[[User:Maggiemrogers|Maggiemrogers]] ([[User talk:Maggiemrogers|talk]]) 13:23, 6 April 2025 (EDT)
:{{Reply to| Maggiemrogers}} nice work! Banner removed, so please move on to something else in the volume. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:39, 7 April 2025 (EDT)

== Vol. 4: Rumors of Grace article remediated ==

I believe I have completed remediation of ''[[The_Mailer_Review/Volume_4,_2010/Rumors_of_Grace:_God-Language_in_Hemingway_and_Mailer|Rumors of Grace: God-Language in Hemingway and Mailer]]'', vol. 4. I was having last-minute trouble with sfn errors for sources without authors, but Justin Kilchenmann helped me out, so I think they are fixed.
:{{Reply to|Sherrilledwards}} You have done a remarkable job—a real Herculean effort! Footnotes should not go in any notes. See those I changed; the others should be changed in the same way. I have done some, but the others have to be fixed, I'm afraid. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:20, 8 April 2025 (EDT)
::{{Reply to|Grlucas}}I believe I have completed these fixes, so the article is again ready for review. [[User:Sherrilledwards|Sherrilledwards]] ([[User talk:Sherrilledwards|talk]]) 15:49, 12 April 2025 (EDT)
:::{{Reply to| Sherrilledwards}} truly exceptional work—a model remediation! Marked as complete. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:30, 13 April 2025 (EDT)

== Remediation of "Inside Norman Mailer ==

Hi Dr. Lucas - I have finished remediating the article, [[The Mailer Review/Volume 4, 2010/Inside Norman Mailer|Inside Norman Mailer]]. Please let me know if I need to make any adjustments. Thank you! [[User:Chelsey.brantley|Chelsey.brantley]] ([[User talk:Chelsey.brantley|talk]]) 18:09, 7 April 2025 (EDT)
:{{Reply to|Chelsey.brantley}} good work! Please help with another article from volume 4. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:36, 8 April 2025 (EDT)

== Completed: Norman Mailer: Playboy Magazine ==

I hope I am doing this is right. I have finished remediating my article about Norman Mailer and its in my designated sandbox [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Norman_Mailer:_Playboy_Magazine_Heavyweight here.]
If there are any last minute edits, let me know. I got the last of the errors removed yesterday. And I believe we are on the same page with leaving the in-line citations for ''Playboy'' to be as is, since the author didn't put them down in the works cited. [[User:NrmMGA5108|NrmMGA5108]] ([[User talk:NrmMGA5108|talk]]) 20:14, 7 April 2025 (EDT)Nina Mizner
:{{Reply to|NrmMGA5108}} looking good! So, the parenthetical citations still in the article, I'm assuming, are there because of those missing sources? Please check your page numbers; some seem to be off. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:04, 8 April 2025 (EDT)

:{{Reply to|Grlucas}} I found the page number error and its corrected, and yes all the parenthetical citations should be referencing issues of the ''playboy'' magazine, which were not listed in the works cited. --[[User:NrmMGA5108|NrmMGA5108]] ([[User talk:NrmMGA5108|talk]]) 20:54, 10 April 2025 (EDT)
::{{Reply to| NrmMGA5108}} it looks great. I removed the banner! Thank you. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 13:29, 12 April 2025 (EDT)

== Completed Remediation From Here to Eternity and The Naked and The Dead: Premier to Eternity? ==

Greeting Dr. Lucas,

I have made the adjustment that you mentioned.

I also made additional edits to my short footnotes and noticed that my citations did not link to my references - which has been fixed.

I have tested all of my citations, and they all work.

Here is my article by Alexander Hicks, ''From Here to Eternity and The Naked and The Dead: Premier to Eternity?''

https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/From_Here_to_Eternity_and_The_Naked_and_the_Dead:_Premiere_to_Eternity%3F

Have a great day.
:{{Reply to| THarrell}} Please always sign your talk page posts. Several “quoted items” in the article appear as ‘quoted items’; these must be corrected, please. No spaces or returns should surround {{tl|pg}} calls. Multiple page numbers should look like this <code><nowiki>{{sfn|Moretti|1996|pp=11-14}}</nowiki></code>; note the double <code>pp</code>. There seem to be many typos. I corrected some for you, but you must see to the rest. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:16, 8 April 2025 (EDT)

:{{Reply to| Grlucas}} Greetings,

Are these the only additional corrections that need to be made? This is different from what you mentioned before.

I just want to be sure that I have hit everything.

Also can you verify what other typos you are seeing, I have ran through this twice.

If something is spelt a certain way, for example "Soljer", I have left it that way. Since it is mentioned like that in the article.
—[[User:THarrell|THarrell]] ([[User talk:THarrell|talk]]) 06:49, 8 April 2025 (EDT)

:{{Reply to| Grlucas}} Greetings,

I have gone through and fixed all of the short footnotes.

I have gone line by line with a ruler to look at any typos, and fixed the words that I found that had a dash in them/needed to be lowercased.

I have also fixed the quotations.

—[[User:THarrell|THarrell]] ([[User talk:THarrell|talk]]) 12:31, 9 April 2025 (EDT)
:{{Reply to| THarrell}} much better. Periods go inside quotations marks; I think I fixed these, but please check. Also, there are no spaces before footnotes; again, I did a find/replace, but you should check. Also, check that all titles of novels are italicized (if it's italicized in the PDF, then it has to be italicized in the remediation, including abbreviations, like ''Naked''); I fixed a couple. Also, no extra spaces; there should only be a single blank space between paragraphs. There are quite a few little details that needed (need?) fixing. I removed the banner, but please check my work. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 12:41, 12 April 2025 (EDT)

== Remediation for “Footnote to Death in the Afternoon” ==

Greetings Dr. Lucus,

My article is ready for your review. Thank you.

https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Mailer%E2%80%99s_%E2%80%9CFootnote_to_Death_in_the_Afternoon%E2%80%9D)
:{{Reply to| KForeman}} it's coming along. Please ''always'' sign your talk page posts. Right up top, there are errors. Please use the real {{tl|pg}}, like all the other articles. Citations need to be fixed. All parenthetical citations must be converted. You still have quite a bit of work to do. All red sections need to be seen to and corrected. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:20, 8 April 2025 (EDT)
@Grlucs, per your suggestions, I've made the corrections. Please review. I look forward to your feedback. Thank you.
:{{Reply to| KForeman}} looking better. All parenthetical page numbers should be removed and added to the {{tl|sfn}}. Check your page numbers in {{tl|pg}}. Footnotes should have no spaces around them; periods and commas go ''inside'' quotation marks and before the footnotes. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:28, 19 April 2025 (EDT)

=Remediation of "Cluster Seeds and the Mailer Legacy"=
Hello, Dr. Lucas. I have completed the remediation of [https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_5,_2011/Cluster_Seeds_and_the_Mailer_Legacy&oldid=18200| my article], and it is ready for your review. Thank you!—[[User:ADavis|ADavis]] ([[User talk:ADavis|talk]]) 11:32, 8 April 2025 (EDT)@ADavis
:{{Reply to| ADavis}} got it. I think I check it yesterday and removed the banner then. Please move on to another piece. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 17:29, 8 April 2025 (EDT)

== Remediating Article: Mailer, Hemingway, and Boxing Volume 4. ==

Hello Dr. Lucas,

I have completed remediating my article. Here is the link [[The Mailer Review/Volume 4, 2010/Mailer, Hemingway, and Boxing|The Mailer Review: Volume 4: Mailer, Hemingway, Boxing (2010)]] [[User:JBrown|JBrown]] ([[User talk:JBrown|talk]]) 13:01, 8 April 2025 (EDT)JBrown
:{{Reply to|JBrown}} a good start, but all parenthetical citations need to be footnotes. Also, check your headers. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 17:29, 8 April 2025 (EDT)

== Remediation for ''Norris Church Mailer'' ==
Dr. Lucas, I have finished up remediating the article [[The Mailer Review/Volume 4, 2010/Norris Church Mailer|Norris Church Mailer]], and it is ready for review. Please let me know if I missed something. Thank you! —[[User:Kamyers|Kamyers]] ([[User talk:Kamyers|talk]]) 13:42, 8 April 2025 (EDT)
:{{reply to|Kamyers}} awesome work! Thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 17:29, 8 April 2025 (EDT)

== Final Edits Completed and Ready for Review ==

Dr. Lucas, I have completed my assigned remediation article: [[The_Mailer_Review/Volume_4,_2010/Looking_at_the_Past:_Nostalgia_as_Technique_in_The_Naked_and_the_Dead_and_For_Whom_the_Bell_Tolls|Looking at the Past: Nostalgia as Technique in The Naked and the Dead and For Whom the Bell Tolls]]. Please review at your convenience. I enjoyed working on this assignment. I look forward to your suggestions and feedback. All the best, Danielle (DBond007)
:{{Reply to| DBond007}} ok, good work. Please remove all the external links. Links to Wikipedia are not necessary, but if used, they need to be done correctly. There should be no spaces before {{tl|sfn}}. May sure all your ' and " are actually typographical apostrophes and quotation marks. Remove any superfluous spaces and line breaks; these mess up the formatting. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 17:29, 8 April 2025 (EDT)
::{{Reply to| Grlucas}} Thank you. I will get started on these revisions immediately. Thanks for the feedback and your time. :)[[User:DBond007|DBond007]] ([[User talk:DBond007|talk]]) 11:30, 10 April 2025 (EDT)
::{{Reply to| Grlucas}} I have completed all the requested revisions and ready for review round 2. Thank you again![[User:DBond007|DBond007]] ([[User talk:DBond007|talk]]) 12:10, 10 April 2025 (EDT)
:::{{Reply to|DBond007}} looking better! There are still items to be seen to, like titles on novels and magazines need to appear like they do in the original: if it's italicized in the PDF, it must be italicized on the web. I added the epigram for you and corrected that pesky citation. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:41, 12 April 2025 (EDT)
::{{Reply to| Grlucas}}I have completed edits. I went through and took out quotes around The Time Machine, except for one instance that the author uses them. All my other titles seem to correspond to the original article. Please let me know if I missed something. Thank you for the epigram and the pesky citation correction. Best, [[User:DBond007|DBond007]] ([[User talk:DBond007|talk]]) 15:25, 17 April 2025 (EDT)
:::{{Reply to|DBond007}} received, and good work. I had to clean up the sources a bit, so you might want to have a look. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:42, 18 April 2025 (EDT)
::{{Reply to| Grlucas}}I went back and reviewed some of the other articles marked complete to compare and look for remaining revisions. I made one change on Works Cited and also added the page numbers to correspond to the pdf. Let's try this again. Again, I *believe I am finished with this article. Best,[[User:DBond007|DBond007]] ([[User talk:DBond007|talk]]) 10:36, 18 April 2025 (EDT)

Hopefully this works!. I'm not sure how to reply to other threads, but I was scrolling through the PDF and noticed the publisher is Iowa Pres? Just curious if it's supposed to be Iowa Press? [[User:Wverna|Wverna]] ([[User talk:Wverna|talk]]) 22:33, 18 April 2025 (EDT)
:{{Reply to| Wverna}} I'm not sure what you're talking about. Perhaps if you included a link to the article? See [[w:Help:Talk pages|Talk page guidelines]] if you don't know how to use them. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:33, 19 April 2025 (EDT)

== Completed the remediation assignment ==

Good evening Dr. Lucas,

I hope I am doing this right. Here is the link for my completed Remediation article: [http://The_Mailer_Review/Volume_4,_2010/Encounters_with_Mailer Encounters with Mailer].

I look forward to reading your feedback.

All the best,

Patrick Riley
:{{Reply to|Priley1984}} thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:40, 10 April 2025 (EDT)

== Remediation Project Submission: An Expected Encounter in an Unexpected Place ==

Link:

https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Norman_Mailer:_An_Expected_Encounter_in_an_Unexpected_Place

Winnie Verna
:{{Reply to|Wverna}} received, thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:51, 10 April 2025 (EDT)

== E.Mosley ==

Good evening, @Grlucas. I have completed my Remediation Articles[[https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/On_Reading_Mailer_Too_Young]]. The article I had was " On Reading Mailer Too Young Volume 4, 2010
:{{Reply to| Essence903m}} thank you. I had to fix and clean-up quite a bit. Your saves also do not include summaries. When you move on to your next article, please be more careful and follow the instructions. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:12, 10 April 2025 (EDT)

== Kynndra Watson ==

Good Evening, @grlucas. i have completed my Remediation articles: Volume 5: https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Making_Masculinity_and_Unmaking_Jewishness:_Norman_Mailer%E2%80%99s_Voice_in_Wild_90_and_Beyond_the_Law and Volume 4: https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Mailer,_Hemingway,_and_the_%E2%80%9CReds%E2%80%9D.

Thank you.
:{{Reply to| KWatson}} thank you, and this is a good start, but there are still many items that need to be cleaned up, like footnote indications (They go after punctuation), citation errors (all the red errors at the bottom need to be seen to), extra spaces and ALL CAPS need to be removed. Please see other completed articles for models. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:18, 10 April 2025 (EDT)

== Tribute Remediation ==
Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/What Would Be the Fun of That?|"What Would Be the Fun of That?"]] by Peter Alson.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 09:33, 9 April 2025 (EDT)
:{{Reply to| JHadaway}} awesome! Thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:21, 10 April 2025 (EDT)

== “Remembering Norris Church” Tribute Remediation ==
Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/Remembering Norris Church|“Remembering Norris Church”]] by John Bowers.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 16:17, 9 April 2025 (EDT)
:{{Reply to| JHadaway}} and again, excellent! Thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:22, 10 April 2025 (EDT)

== “The Norris I Knew” Tribute Remediation ==
Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/The Norris I Knew|“The Norris I Knew”]] by Christopher Busa.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 09:04, 10 April 2025 (EDT)
:{{Reply to| JHadaway}} rockin’! 👍🏼 —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:24, 10 April 2025 (EDT)

== "Norris Mailer" Tribute Remediation ==
Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/Norris Mailer|"Norris Mailer"]] by Nancy Collins.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 09:35, 10 April 2025 (EDT)
:{{Reply to| JHadaway}} thanks again. You’re tearing it up. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:32, 10 April 2025 (EDT)

== "Rise Above It" Tribute Remediation ==

Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/Rise Above It|"Rise Above It"]] by David Ebershoff—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 11:12, 10 April 2025 (EDT)
:{{Reply to|JHadaway}} excellent. Many thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:15, 12 April 2025 (EDT)

== Completed Additional Articles ==

Hello, Dr. Lucas. I have remediated [https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_5,_2011/Tributes_to_Norris_Church_Mailer/A_View_Through_the_Prism&oldid=18744|"A View Through the Prism"], [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Tributes_to_Norris_Church_Mailer/Lip_Liner|"Lip Liner"], and [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/The_Living_Room_Show#|"The Living Room Show"] in Volume 5. They are ready for your review. Thank you!—[[User:ADavis|ADavis]] ([[User talk:ADavis|talk]]) 12:31, 10 April 2025 (EDT)
:{{Reply to|ADavis}} great work. Thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:26, 12 April 2025 (EDT)

== Submission notification sent 29 March ==

@grlucas

Dr. Lucas - I sent a Talk Page notification that I had completed the page I remediated on 29 March. The table indicates I haven't done anything yet. I sent it from the Talk Page from the article site. I don't see a response from that notification, but I had received one from you earlier in the process.
I don't understand what happened.

[[User:LogansPop22|LogansPop22]] ([[User talk:LogansPop22|talk]]) 14:54, 10 April 2025 (EDT)
:{{reply to|LogansPop22}} sorry if I missed that. [[The Mailer Review/Volume 5, 2011/Hemingway and Women at the Front: Blowing Bridges in The Fifth Column, For Whom the Bell Tolls, and Other Works|this article]], right? It's looking great, though all the parenthetical citations must be converted to footnotes using {{tl|sfn}} and some of the author names in your notes should use {{tl|harvtxt}}. I added the "citations" section for you. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 07:39, 12 April 2025 (EDT)

== Making Masculinity and Unmaking Jewishness: Norman Mailer’s Voice in Wild 90 and Beyond the Law ==

@Grlucas, I have made some additional edits to this [https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Making_Masculinity_and_Unmaking_Jewishness:_Norman_Mailer%E2%80%99s_Voice_in_Wild_90_and_Beyond_the_Law article] in Volume 5 by correcting most of the citations. There are 2 that still do not work, but I think that is because the sources are incomplete.

[[User:TPoole|TPoole]] ([[User talk:TPoole|talk]]) 21:16, 10 April 2025 (EDT)
:{{Reply to| TPoole}} Looking really good, and this is a complicated one. A couple of things: no spaces or line breaks before or after {{tl|pg}}; I removed the spaces before {{tl|sfn}}, but you might want to check them; there are some typos, like missing spaces before some parentheses; no footnotes should appear in the notes section: use {{tl|harvtxt}} instead. And all the red errors at the bottom need to be cleared up. Great work so far! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:00, 12 April 2025 (EDT)

== Red Error-Gone ==

{{reply to|Grlucas}}I have deleted all the sfn's and the red error is gone. I don't know why I didn't think about this days ago.

[[The_Mailer_Review/Volume_5,_2011/Piling_On:_Norman_Mailer’s_Utilization_of_Marilyn_Monroe|Gladstein-Monroe]]

[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 23:07, 10 April 2025 (EDT)
:{{Reply to|MerAtticus}} getting closer. A few things: you should use <code>|author-mask=1</code> for repeated author names in your works cited; all parenthetical citations need to be replaced with footnotes using {{tl|sfn}}; must punctuation in your sources need to be removed as the templates do that for you; and you need to use {{tl|harvtxt}} for citations in your endnotes. Also, letters and films have their own templates. I did a couple of these for you as examples. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:14, 12 April 2025 (EDT)

== "Remembering Norris" Tribute Remediation ==

Dr. Lucas, I have finished [[The Mailer Review/Volume 5, 2011/Tributes to Norris Church Mailer/Remembering Norris|"Remembering Norris"]] by Margo Howard.—[[User:JHadaway|JHadaway]] ([[User talk:JHadaway|talk]]) 09:20, 12 April 2025 (EDT)
:{{Reply to| JHadaway}} excellent! Thank you. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:35, 13 April 2025 (EDT)

== Norman Mailer: From Orgone Accumulator to Cancer Protection for Schizophrenics ==

Dr. Lucas,

The following article is ready for your review:
https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Norman_Mailer:_From_Orgone_Accumulator_to_Cancer_Protection_for_Schizophrenics

I was unable to find the correct format for the first works cited entry under Mailer. It is a reprint of a magazine article. Thank you. [[User:JKilchenmann|JKilchenmann]] ([[User talk:JKilchenmann|talk]]) 16:28, 12 April 2025 (EDT)
:{{Reply to| JKilchenmann}} you are a master remediator! Thank you for going above and beyond. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:44, 13 April 2025 (EDT)

==Tolls of War: Mailerian Sub-Texts in For Whom the Bell Tolls, Trust & Sparring with Norman==
Dr. Lucas, these were some of the smaller ones, so I went ahead and knocked them out. They are ready for review: [[The Mailer Review/Volume 4, 2010/Sparring with Norman|Sparring with Norman]], [[The Mailer Review/Volume 5, 2011/Trust|Trust]], and [[The Mailer Review/Volume 5, 2011/Tolls of War: Mailerian Sub-Texts in For Whom the Bell Tolls|Tolls of War: Mailerian Sub-Texts in For Whom the Bell Tolls]]. —[[User:Kamyers|Kamyers]] ([[User talk:Kamyers|talk]]) 10:27, 13 April 2025 (EDT)
:{{Reply to| Kamyers}} all excellent—above and beyond! Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:56, 13 April 2025 (EDT)

== Remediation for ''Death, Art, and the Disturbing: Hemingway and Mailer and the Art of Writing'' ==

Hi everyone,
I am currently helping with the article, [https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Death,_Art,_and_the_Disturbing:_Hemingway_and_Mailer_and_the_Art_of_Writing Death, Art, and the Disturbing: Hemingway and Mailer and the Art of Writing]. It still has a good bit to go, if anyone wants to help out.
—[[User:CVinson|CVinson]] ([[User talk:Grlucas|talk]]) 5:17 PM, 13 April 2025 (EDT)
:{{Reply to|CVinson}} thanks! I added the author info. I'm not sure many will see your request; you might want to post it on the forum. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 14:56, 14 April 2025 (EDT)
::{{Reply to|Grlucas}} Thank you for adding the author information and I have posted the request in the forum. Thank you! —[[User:CVinson|CVinson]] ([[User talk:CVinson|talk]]) 6:53 PM, 14 April 2025 (EDT)

== Mimi and Mercer ==

{{reply to|Grlucas}}
I have corrected the Mimi Gladstein [[The Mailer Review/Volume 5, 2011/Piling On: Norman Mailer’s Utilization of Marilyn Monroe]] and removed all the red errors. I also have finishe the Erin Mercer article [[The Mailer Review/Volume 4, 2010/Automatons and the Atomic Abyss: The Naked and the Dead]], except the ''The Naked and the Dead'' in the display title. An error occured.
[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 19:26, 13 April 2025 (EDT)
:{{Reply to| MerAtticus}} good work. There should be no footnotes in the endnotes, please. Since this is the only thing to correct, I have removed the banner, but please let me know when you made that final correction. Thanks! (I will respond about your second article shortly.) —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 14:59, 14 April 2025 (EDT)
:{{Reply to| MerAtticus}} your second article looks good. Could you use the [[w:Template:Cite interview|Template:Cite interview]] for interviews. I did one for you. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 16:33, 14 April 2025 (EDT)

== Through the Lens of the Beatniks Remediation ==

Hello, Dr. Lucas! I've completed the remediation of [[The_Mailer_Review/Volume_5,_2011/Through_the_Lens_of_the_Beatniks:_Norman_Mailer_and_Modern_American_Man’s_Quest_for_Self-Realization#CITEREFNaked1992|Through the Lens of the Beatniks]]. I wasn't able to get the letter citations exactly how I thought they should be. If there's anything I'm missing, please let me know! Thanks! [[User:Maggiemrogers|Maggiemrogers]] ([[User talk:Maggiemrogers|talk]]) 10:09, 14 April 2025 (EDT)
:{{Reply to| Maggiemrogers}} got it! It looks great. I made some format changes, but you did a great job! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 15:58, 14 April 2025 (EDT)

== Finish Mimi ==

{{reply to|Grlucas}}

I have made the final edit to Mimi and removed the footnotes from the endnotes. [[The_Mailer_Review/Volume_5,_2011/Piling_On:_Norman_Mailer’s_Utilization_of_Marilyn_Monroe]] [[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 15:50, 14 April 2025 (EDT)
:{{Reply to| MerAtticus}} you removed all the citations. Only '''footnotes''' need to be removed, but citations need to stay. I did the first note for you (now erased, but you can see it in the history) so you could see how it was done. You can also see [[The Mailer Review/Volume 4, 2010/Rumors of Grace: God-Language in Hemingway and Mailer|this one]]. Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 16:52, 14 April 2025 (EDT)

== Completed? All You Need is Glove ==

Hi Dr. Lucas, I believe the book review, [[The_Mailer_Review/Volume_4,_2010/All_You_Need_is_Glove|All You Need is Glove]] is done and ready for review! [[User:Hobbitonya|Hobbitonya]] ([[User talk:Hobbitonya|talk]]) 19:10, 14 April 2025 (EDT)
:{{Reply to| Hobbitonya}} awesome work! Banner removed, and many thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:08, 16 April 2025 (EDT)

== Harv and Sfn no-target ==

{{reply to|Grlucas}}
I changed the citations in the article to interview and I tried a few things to get rid of the Harv and Sfn no-target with little luck. [[The_Mailer_Review/Volume_4,_2010/Automatons_and_the_Atomic_Abyss:_The_Naked_and_the_Dead]]
[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 21:04, 14 April 2025 (EDT)
:{{Reply to| MerAtticus}} this was because your interviews had no dates. Most are from Lennon's book, published in 1988. I added the dates to the citations, but the sfn footnotes need to be fixed to correspond with those. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:24, 16 April 2025 (EDT)
::{{Reply to| MerAtticus}} OK, between your fixes and my little tweaks, this one is finished! Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:50, 17 April 2025 (EDT)

== Erros fixed ==

{{reply to|Grlucas}}
I have fixed all citation errors in both articles and added the harvtxt. Atomic Abyss still has the Pages using duplicate arguments in template calls error.
[[The_Mailer_Review/Volume_4,_2010/Automatons_and_the_Atomic_Abyss:_The_Naked_and_the_Dead]]
:{{Reply to|MerAtticus}} see above. These still need fixing. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:35, 16 April 2025 (EDT)

[[The_Mailer_Review/Volume_5,_2011/Piling_On:_Norman_Mailer’s_Utilization_of_Marilyn_Monroe]]
:{{Reply to|MerAtticus}} this one looks great! Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 09:35, 16 April 2025 (EDT)

[[User:MerAtticus|MerAtticus]] ([[User talk:MerAtticus|talk]]) 08:23, 15 April 2025 (EDT)

== completed: Advertisements for Others ==

Thanks to some classmates helping with the finishing touches, my second article should be ready. [[The_Mailer_Review/Volume_4,_2010/Advertisements_for_Others:_The_Blurbs_of_Norman_Mailer|Advertisements for Others.]]
--[[User:NrmMGA5108|NrmMGA5108]] ([[User talk:NrmMGA5108|talk]]) 19:24, 17 April 2025 (EDT)
:{{reply to| NrmMGA5108}} received, and thank you! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:15, 18 April 2025 (EDT)

== Two Poems Vol 4 Ready? ==

Hi Dr. Lucas! I think these two poems are ready for review: [[The Mailer Review/Volume 4, 2010/The Boxer in the Park|The Boxer in the Park]] and Norman Mailer and [[The_Mailer_Review/Volume_4,_2010/Norman_Mailer_and_Ernest_Hemingway_Do_Not_Box_in_Heaven|Ernest Hemingway Do Not Box in Heaven]]. The second on says the display title is wrong, but again, I don't know what I am missing there. Thank you![[User:Hobbitonya|Hobbitonya]] ([[User talk:Hobbitonya|talk]]) 09:05, 18 April 2025 (EDT)
:{{Reply to| Hobbitonya}} excellent! Thank you. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:56, 18 April 2025 (EDT)

== A Dialogue Essay on Mailer and Hemingway ==

Hey,

I see that [[The Mailer Review/Volume 4, 2010/A Dialogue Essay on Mailer and Hemingway|A Dialogue Essay on Mailer and Hemingway]] is missing text. Can you email me a copy or link it as a reply, so I can remediate this article. [[User:APKnight25|APKnight25]] ([[User talk:APKnight25|talk]]) 09:44, 18 April 2025 (EDT)
:{{Reply to| APKnight25}} you may download both volumes’ PDFs on the [https://forum.grlucas.net/t/project-mailer-assignments-remediation-project/88/3?u=grlucas forum]. Thanks! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:40, 18 April 2025 (EDT)

== Almost complete ==

@grlucas
I've made a ton of progress.
The only thing I have left is going through all of the links to do away with harvtxt and sfn target error and an error for extra text in the author section. I fixed the error about using an "en" dash between years.
I'll still be working on it until tomorrow night, but please take a look: https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Hemingway_and_Women_at_the_Front:_Blowing_Bridges_in_The_Fifth_Column,_For_Whom_the_Bell_Tolls,_and_Other_Works

== Articles complete ==

@grlucas
I have also made a lot of progress with my articles and luckily received a last minute assit from a few of my class mates. I beleive both volumes to be complete: Vol 4: https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Mailer,_Hemingway,_and_the_%E2%80%9CReds%E2%80%9D (Which I believe has already been submitted) and Volume 5: https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Making_Masculinity_and_Unmaking_Jewishness:_Norman_Mailer%E2%80%99s_Voice_in_Wild_90_and_Beyond_the_Law (I just received the final error correction from a fellow student.

I also started working on this Vol 4 article once I got back into the system: https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Style,_Politics,_and_Hemingway%27s_Spanish_Civil_War_Dispatches in my sandbox https://projectmailer.net/pm/User:KWatson/sandbox but another user has already completed it.

Please review my articles and advise what else is needed from me. Thank you [[User:KWatson|KWatson]] ([[User talk:KWatson|talk]]) 15:37, 19 April 2025 (EDT)

== Additional edits ==

Hello! I reformatted all in text citations, did some editing, and added page numbers to [https://projectmailer.net/pm/The_Mailer_Review/Volume_4,_2010/Mailer,_Hemingway,_and_Boxing| Mailer, Hemingway, and Boxing]- could you please take a look at the updated page and see if there's anything additional that it needs?

The Mailer Review/Volume 4, 2010/Mailer, Hemingway, and Boxing

2025-04-19T20:19:13Z

KaraCroissant: added page numbers

{{DISPLAYTITLE:{{BASEPAGENAME}}/{{SUBPAGENAME}}}}
{{Working}}
{{MR04}}
{{Byline|last=Boddy|first=Kasia |url=http://prmlr.us/mr04bod |abstract=This article explores the literary and cultural intersections of boxing, masculinity, and authorship in the works of Hemingway, Mailer, and others. It highlights how these writers engaged with boxing both as metaphor and material, using the sport to shape their public personas and literary styles.}}
{{dc|dc=I|n 1998, Norman Mailer published ''The Time of Our Time''}}, a 1,300 page retrospective of his own work, covering not simply of the “fifty years of American time” which had passed since his first novel, ''The Naked and the Dead'', had appeared but also the previous nineteen, as Mailer had understood them.{{sfn|Mailer|1998}} The book begins with two “preludes,” the first, an account of the “historic afternoon” in June 1929 when Morley Callaghan floored Ernest Hemingway in a boxing ring at the American Club in Paris, is entitled "Boxing with Hemingway."

It is often assumed that the relationship between Mailer, Hemingway and boxing is a matter of simple repetition. As Hemingway sought to “square up” Turgenev, Maupassant and Tolstoy in order to become the heavy weight “champion” of the literary world, so Mailer aspired to become the next generation's “novelist as giant” by taking on and superseding Hemingway.{{sfn|Hemingway|1981|p=673}}{{sfn|Mailer|1966|p=96}} Mailer himself then became “the man to beat for the men and women who punch out words” so Max Apple imagines being “Inside Norman Mailer” while Joyce Carol Oates fantasizes about “eat[ing] Mailer’s heart.”{{sfn|Healy|1996|p=173}}{{sfn|Healy|1986|p=49}}{{sfn|Oates|1988|p=335}} But it may not be as straightforward as all that.

Mailer was certainly happy to use boxing to express competitiveness. If the original Romantic writer as boxer Lord Byron had dismissed the “quarrels of authors” as an inferior form of sparring, mere evidence of “an irritable set,” Mailer believed that regular spats with other male writers at parties, during protest marches and, mostly, on TV was an essential part of “keep[ing] in shape.”{{sfn|Gunn|1972|p=142}}{{sfn|Mailer|1966|p=217}} The chat show provided an ideal forum for literary quarrels which Mailer repeatedly imagined as boxing matches. After an appearance with Nelson Algren, for example, he concluded that “[t]wo middleweight artists had fought a draw.”{{sfn|Mailer|1966|p=178}} His much-

{{pg|139|140}}

publicized quarrel with Gore Vidal on "The Dick Cavett Show" in 1971 was a less satisfactory affair. Sharing the couch with the two men was Janet Flanner, whom Mailer accused of being “Mr. Vidal’s manager” instead of the “referee;” at the end of the Show, Cavett asked the audience to “let us know who you think won.”{{sfn|Mailer|1982|p=65}}{{sfn|Mailer|1982|p=73}}

How seriously should we take all this? Mailer once declared himself the “Ezzard Charles of the heavyweight division” and argued that to claim the title in the sixties was hardly hubris when the competition “was so minor.”{{sfn|Mailer|1971|p=161}}{{sfn|Mailer|1966|p=124}} To announce that “‘I’m going to be the champ until one of you knocks me off ’” was, Mailer suggested, simply a way of offering Baldwin, Bellow and the others a little encouragement.{{sfn|Mailer|1982|p=70}} But “champ” was just one of many “half-heroic and three-quarters comic” advertisements for himself that he cultivated.{sfn|Mailer|1971|p=153}} In The "Armies of the Night” (1968), for example, he noted the instability of his speaking voice at the Pentagon demonstration against the Vietnam war; how, without any plan, his accent shifted from Irish to Texan, from “Marlon Brando’s voice in "The Wild One" to some “Woo-eeeee’s" and grunts which showed “hints of Cassius Clay.”{{sfn|Mailer|1968}}{{sfn|Mailer|1968|p=127}}{{sfn|Mailer|1968|p=48}} Eventually he tried “to imitate a most high and executive voice,” but that too came out as “[s]hades of Cassius Clay.”{{sfn|Mailer|1968|p=60}} The extent to which Mailer played with, or cultivated for effect, a “false legend of much machismo” is often forgotten.{{sfn|Mailer|1982|p=21}}

Mailer's humor, and his self-mocking presentation of manliness as an elaborately constructed masquerade, has often been missed in discussions of his relationship with Hemingway. Most commentators read their respective claims of champ (or should that be “dumb ox”?) as indicators of a straightforward genealogy of decline of an easy to understand (and thus easy to dismiss) machismo; the passage from writer to writer providing a pale imitation of the “series of punches on the nose” said to connect the bare knuckle fighter Bob Fitzsimmons to his feeble, gloved successors.{{sfn|Liebling|1982|p=1}} As John Whalen-Bridge has noted, it was not unusual for Mailer’s obituaries to announce that he had “wanted,” and failed, “to be the Hemingway of his generation,” thus refusing to recognize “that Mailer, in presenting himself as a 'poor man's papa' offered a parodic, postmodern rejuvenation and not a wannabe.”{{sfn|mailer|2010|p=181-82}}

While it would be misleading to deny that, for both, to talk of writing in relation to boxing was a way of talking about ambition and manliness as

{{pg|140|141}}

well as literature, the precise “equation of masculinity with greatness in literature," as Oates puts it, is hardly self-evident.{{sfn|Oates|1988|p=303}}

'''BOXING AS AMERICAN CRAFT'''

For Mailer, Hemingway represented a distinct variety of the “quintessentially American”— the kind that responds to “legitimate” fears of “the river,” or “chaos,” by writing about, and indeed enacting, the effort to secure “the camp.”{{sfn|Mailer|1982|p=92}} By constructing, and reducing, style, Hemingway created both a circumscribed “mold into which everything else had to fit” and a kind of “rabbit’s foot.”{{sfn|Kazin|1973|p=5}}

Hemingway’s view of boxing is closely connected to this conception of style—what Alfred Kazin describes as the modernist “dream of literature as perfect order.”{{sfn|Kazin|1973|p=15}} But, of course, it was only ever a dream. In practice, as "The Sun Also Rises" (1926) suggests, boxing and writing are seldom perfectly ordered.{{sfn|Hemingway|1926}} Boxing is first introduced into the novel as the sport of amateurs such as Robert Cohn, whose dilettante dabbling in the gymnasiums of Princeton and Paris is straightforwardly aligned with his “very poor novel” from a “fairly good publisher.”{{sfn|Hemingway|1926|p=10}}{{sfn|Hemingway|1926|p=9}} Cohn is contrasted with two professionals: first Jake himself, a journalist who is happiest after a “good morning’s work,” and then Bill Gorton, who has “made a lot of money on his last book, and was going to make a lot more.”{{sfn|Hemingway|1926|p=13}}{{sfn|Hemingway|1926|p=34}} Gorton arrives in Paris from New York Where he has seen a “whole crop of great light heavyweights. Any one of them was a good prospect to grow up, put on weight and trim Dempsey.”{{sfn|Hemingway|1926|p=33-34}} The suggestion is that Gorton is himself a literary contender, although his experience of crooked prize fighting in Vienna reminds us how impure the profession of boxing (and, by extension, the profession of writing) really is.

Bullfighting is like boxing "should" be—Jake describes a bull having "a left and a right just like a boxer."{{sfn|Hemingway|1926|p=116}} Pedro Romero, the only completely admirable character in the novel, represents the professional ideal. His "work"—neither he nor Jake call it "sport" or "art"—is characterized by its "sincerity" (he does not "simulate") and its "absolute purity of line."{{sfn|Hemingway|1926|p=140}}{{sfn|Hemingway|1926|p=144}} “It was not brilliant bull-fighting,” Jake says, “it was only perfect bull-fighting.”{{sfn|Hemingway|1926|p=178}} But such perfection can only exist in what Jake characterizes as the primitive culture of Spain; elsewhere, all that fighters or writers can do is try to work as “hard” and as “clean” as the modern world will allow.{{sfn|Hemingway|1926|p=181}}{{sfn|Hemingway|1926|p=14}}

{{pg|141|142}}

Mailer evoked the boxing-and-bullfighting combination in “The Deer Park,” his third novel and the one in which he most directly confronts the Hemingway persona and style.{{sfn|Mailer|1955}} It is the story of an Irish-American orphan called Sergius O’Shaugnessy, who before the story begins had “boxed [his] way into the middleweight semi-finals of an Air Force enlisted man's tournament” and therefore into flying school.{{sfn|Mailer|1955|p=45}} O’Shaugnessy goes first to Hollywood, where the producers are initially dismissive ("I didn’t even know the athlete could read;" and then, when he gets depressed—becoming “a boxer without a punch”—he goes to Mexico. There he plans to learn to be the “first great and recognized American matador” , but finally he gives up his novel on bullfighting as “inevitably imitative” of Hemingway.{{sfn|Mailer|1955|p=198}}{{sfn|Mailer|1955|p=325}}{{sfn|Mailer|1955|p=352}}{{sfn|Mailer|1955|p=353}} O’Shaugnessy’s crisis of confidence reflected that of his creator. On receiving the novel’s proofs, Mailer decided that "The Deer Park" needed substantial revision. He would abandon its “poetic prose,” rip up its “silk,” smash its “porcelain,” create a first person voice “bigger” and more “muscular” than himself, and, “like a fighter who throws his right two seconds after the bell,” think much more closely about variations in pace.{{sfn|Mailer|1959|p=235}}{{sfn|Mailer|1959|p=239}} In leaving the controlled Hemingway style behind, in other words, the novel would regain punch. His next book, "Advertisements for Myself" (1959), he later said, was the first one to be “written in what became my style.”{{sfn|Mailer|1959}}{{sfn|Mailer|1982|p=145}}

That style was never again going to be confused with Hemingway’s—not that it ever really was. However much O’Shaugnessy might worry about imitation, no one had ever thought of Mailer as a pure and orderly minimalist. And yet, throughout his career Mailer nevertheless felt the need to speak out forcefully against the modernist credo of technique as mere “craft,” its tendency to reach for “a grab bag of procedures, tricks, lore, formal gymnastics, symbolic superstructures—methodology, in short.”{{sfn|Mailer|2003|p=104}} “Craft” was a dirty, or at least dismissive, word—one Mailer elsewhere associates with “light and middleweight” boxers. Heavyweights are always something more than “hardworking craftsmen”; they have “inner lives.”{{sfn|Mailer|1972|p=10}} As late as "Harlot’s Ghost" (1991), Mailer was linking a devotion “to craft” and “Procedures ”with a misplaced desire for order—here employed by the CIA all over the globe—with the American camp-building (or Hemingwayesque) tradition.{{sfn|Mailer|1991}} Hemingway himself crops up many times in the novel. The narrator, Harry Hubbard, recalls getting an “A”on a college paper about Shakespearean quality of the “consciously chosen irony of

{{pg|142|143}}

the later style.”{{sfn|Mailer|1991|p=167}} When he expands on this to Rodman Knowles Gardiner, the Shakespeare scholar retorts,“‘Why concern yourself with the copyist?’” But Gardiner himself is a kind of copyist, naming his daughter for
Hemingway’s first wife, Hadley, whose hair (“cut short like a boy’s”) is also in imitation of the original.{{sfn|Mailer|1991|p=167}}
Harry marries the girl. Still other characters are associated either with Hemingway hangouts—Oak Park or Sloppy Joe’s bar in Havana—or quote his "bon mots". But the key connection comes in the form of the narrator’s father, Cal Hubbard, who bears a considerable “degree of resemblance” to the writer in build, mustache and presence; he’s a drunk and a “prodigious philanderer” who’s fond of big-game hunting and cross-country skiing and who hangs elephant tusks and a pair of miniature boxing gloves said to belong to Jack Dempsey above his drinks cabinet.{{sfn|Mailer|1991|p=166-7}}{{sfn|Mailer|1991|p=114}} He is also, as a CIA operative, a great proponent of “protocol,” “craft,” and the “rules of procedure.”{{sfn|Mailer|1991|p=869}}{{sfn|Mailer|1991|p=445}} {{sfn|Mailer|1991|p=241}}

Harry Hubbard is only half Hubbard, of course—his mother is a Silberzweig—and as well as reading Hemingway, he enjoys Irwin Shaw’s "The Young Lions" because “Noah Ackerman, the Jew, had appealed to me.”{{sfn|Mailer|1991|p=145}}
Harry also reflects upon the character of Robert Cohn—whose upper class New York background he shares—and to some extent, he belongs to the ranks of Cohn’s literary “avengers.”{{sfn|Mailer|1991|p=422}}{{sfn|Fiedler|1964|p=71}} "Harlot’s Ghost" reveals the limits of methodology and “purity of intent” and instead asserts the virtues of division and dialectic, of ongoing “war”and “relation.”{{sfn|Mailer|1991|p=1021}}{{sfn|Mailer|1991|p=594}}

And yet, in Mailer’s eyes Hemingway was divided, too. He may have been a craftsman but he was not a "mere" craftsman. As much as D.H. Lawrence or Henry Miller—indeed, every major figure in the Mailer pantheon—Hemingway was a “great writer, for he contained a cauldron of boiling opposites.”{{sfn|Mailer|1971|p=137}} Reviewing Morley Callaghan’s "That Summer in Paris" in 1963, Mailer declared that Hemingway’s bravery was “an act of will”; the “heroic”product of a lifelong struggle with “cowardice” and an ability to carry “a weight of anxiety within him” which would have “suffocated any man smaller than himself."{{sfn|Mailer|1966|p=159}} His decision to reprint these comments as the first “prelude” to "The Time Of Our Time" suggests that they should be thought of, in some way, as initiating his own work.{{sfn|Mailer|1998|p=4}} What Hemingway’s example initiated was not a style or methodology—not camp—building—but a fascination with the futile effort involved in such constructions and an awareness of the incapacity of all camps to remain secure, to keep the river away. For all that Hemingway

{{pg|143|144}}

strove to be “classic,” “sophisticated,” “purer,” and “graceful,” for all that he represented the ideals of “scrupulosity,”“manners,” and “gravity”, the chaos of his “inner” life was still apparent to Mailer.{{sfn|Mailer|1982|p=912}}{{sfn|Mailer|1972|p=10}} In other words, like Cal Hubbard,"[t]he two halves of his soul were far apart."{{sfn|Mailer|1991|p=117}} The question was one of balance. At his best, like Hubbard, Hemingway’s “strength was that he had managed to find some inner cooperation between these disparate halves.”{{sfn|Mailer|1991|p=117}} At “his worst” shortly before his death, the “old moldering” writer was adding to “the nausea he once cleared away.”{{sfn|Mailer|1959|p=474}}{{sfn|Mailer|1959|p=477}}{{sfn|Mailer|1959|p=474}}

'''BEING MACHO IS NO FUN'''{{sfn|Mailer|2006|p=185}}

Nowhere in Hemingway’s fiction does what Mailer called the “continuing battle” of “being a man” emerge more clearly than in his representation of boxers.{{sfn|Mailer|1959|p=222}} To consider a boxer (especially a heavyweight) is to consider a man who should—at least in the world into which Hemingway was born—epitomize a straightforward, unambiguous Anglo-Saxon heterosexual manliness. But, for one reason or another, Hemingway’s boxers are unable to fulfill the brief. Cooperation between one’s disparate halves— “the Champ and the Fraud” —is not always possible.{{sfn|Mailer|1971|p=160}}

Consider “The Light of the World” (1933), in which the teenage narrator and his friend, Tom, encounter a motley crew of late-night travelers at a rail-way station: “five whores . . . and six white men and four Indians.”{{sfn|Hemingway|1933}}{{sfn|Hemingway|1966|p=385}} Among the prostitutes are two “big” women, Alice and Peroxide, who argue about who really knew “Steve” or “Stanley” Ketchel (they also can’t agree on the first name). The cook remembers Stanley Ketchel’s 1909 fight with Jack Johnson, in particular how Ketchel had floored Johnson in the 12th round just before Johnson knocked him out. Peroxide attributes Ketchel’s defeat to a punch by Johnson (“the big black bastard” when Ketchel, “the only man she ever loved,” smiled at her in the audience.{{sfn|Hemingway|1966|p=389}}{{sfn|Hemingway|1966|p=388}} Alice remembers Steve Ketchel telling her she was “a lovely piece.”{{sfn|Hemingway|1966|p=390}} Both women refer continuously to Ketchel’s “whiteness”—“I never saw a man as clean and as white and as beautiful,” says Peroxide.{{sfn|Hemingway|1966|p=388}} “White,” as Walter Benn Michaels notes, “becomes an adjective describing character instead of skin;” and so, Ketchel is figured as a kind of Christ-like figure, while Johnson, “that black son of a bitch from hell,” is the devil.{{sfn|Michaels|1988|p=193}}{{sfn|Hemingway|1966|p=389}} Ketchel’s pseudo-divinity is

{{pg|144|145}}

further suggested by such statements as “I loved him like you love God;” “His own father shot and killed him. Yes, by Christ, his own father;” and, of course, the title.{{sfn|Hemingway|1966|p=388}} Philip Young points out that Hemingway placed this story after “the most pessimistic of all his stories,” “A Clean, Well-Lighted Place,” in Winner Take Nothing, “as if the point of the story is really that the light of the world has gone out.”{{sfn|Young|1966|p=50}}

But there seems to be more going on under the surface of this particular iceberg. First, the confusion of names and facts is important. Stanley Ketchel was not killed by his father—that was Steve Ketchel, a lightweight boxer, who never got near Johnson. Stanley was shot in 1910 by the husband of a woman with whom he was having an affair. Second, of all boxers, Stanley Ketchel was perhaps the most unlikely possible candidate for Redeemer. His nickname was the “Michigan Assassin,” and, according to one reporter, “he couldn’t get "enough" blood.”{{sfn|Roberts|1986|p=82}} While the prostitutes may be seeking salvation, the story that they tell is absurd. So what is going on? Howard Hannum argues that much of the dialogue between the two women “has the quality of counterpunching,” as if they are restaging Ketchel’s contest against Johnson: here, the (bleached) blonde versus the heavyweight.{{sfn|Roberts|1986|p=325}} But the cook’s role also needs to be considered. The discussion of whiteness begins when the narrator notices a “white man” speaking; “his face was white and his hands were white and thin.”{{sfn|Hemingway|1966|p=385}} The other men tease the cook about the whiteness of his hands (“he puts lemon juice on his hands”) and hint that he is gay.{{sfn|Hemingway|1966|p=386}} Are these two things connected? And, if they are, what does that suggest about clean, white, beautiful Ketchel? When asked his age, Tom joins in the sexual bantering with hints at “inversion”—“I’m ninety-six and he’s sixty-nine”—but throughout the boys remain uneasy and confused.{{sfn|Hemingway|1966|p=387}} By the end of the story, the narrator seems quite smitten with Alice (“she had the prettiest face I ever saw.”{{sfn|Hemingway|1966|p=391}} Tom notices this and says it is time to leave. The supposedly natural order of whites beating blacks, men having sex with women, and “huge” whores being unappealing has been unsettled.{{sfn|Hemingway|1966|p=386}} When the cook asks where the boys are going, Tom replies, “the other way from you.”{{sfn|Hemingway|1966|p=391}}

Racial and sexual ambiguities also trouble “The Battler,” one of the Nick Adams initiation stories in "In Our Time" (1925).{{sfn|Hemingway|1925}} The story begins with Nick himself having just survived a battle with a brakeman on a freight train. He has been thrown off the train and lands with a scuffed knee and bruise on the face, of which he is rather proud— “He wished he could see it”

{{pg|145|146}}

—but he is still standing.{{sfn|Hemingway|1966|p=129}} “He was all right.”{{sfn|Hemingway|1966|p=129}} Nick then ventures into another battling arena—a fire-lit camp that seems to be a refuge but which also turns out to be a kind of boxing ring. There he encounters Ad Francis, an ex-champion prizefighter whose bruises are more impressive, and much more disgusting, than his own:

<blockquote>In the firelight Nick saw that his face was misshapen. His nose was sunken, his eyes were like slits, he had queer-shaped lips. Nick did not perceive all this at once, he only saw the man’s face was queerly formed and mutilated. It was like putty in color. Dead looking in the firelight.{{sfn|Hemingway|1966|p=131}}</blockquote>

That “Nick did not perceive all this at once” suggests that he kept looking away.{{sfn|Hemingway|1966|p=131}} “Don’t you like my pan?” the fighter asks, revealing even worse: “He had only one ear. It was thickened and tight against the side of his head. Where the other one should have been there was a stump.”{{sfn|Hemingway|1966|p=131}} Although Nick is “a little sick,” he counters Ad’s pugnacious assertions with gusto:

<blockquote>'It must have made him [the brakeman] feel good to bust you,’the man said seriously.
‘I’ll bust him.’

. . . . . . . . . . .

‘All you kids are tough.’

‘You got to be tough,’ Nick said.
‘That’s what I said.’{{sfn|Hemingway|1966|p=131}}</blockquote>

Nick’s pleasure at establishing a rapport with a fellow battler is short-lived, however. Ad, he discovers, is unstable (“crazy”), and depends on his companion Bugs to stop him from battling.{{sfn|Hemingway|1966|p=132}} When Ad tries to start a fight with Nick, in “an ugly parody of a boxing match,” Bugs intervenes by knocking him out with a stick from behind in a manner that recalls Hemingway’s very first story, “A Matter of Color.”{{sfn|Strychacz|1989|p=252}}{{sfn|Bruccoli|1971|p=98-100}} Color is also important here as Nick is obviously startled by the fact that Bugs is black, and makes a great deal of his “negro's voice,” the “negro” way he walks, and his “long nigger’s legs.”{{sfn|Hemingway|1966|p=133}} Although it has been argued that the story reveals Hemingway’s racism, these almost compulsively repeated epithets (like those describing whiteness in “The Light

{{pg|146|147}}

of the World”) seem to be Nick’s as he struggles to understand the relationship between the two men. White prizefighters, after all, were not supposed to have black friends. Bugs tells Nick a story about Ad which adds to his confusion. Ad had a woman manager, and it was always being “written up in the papers all about brothers and sisters and how she loved her brother and how he loved his sister, and then they got married in New York and that made a lot of unpleasantness.”{{sfn|Hemingway|1966|p=136-137}} Nick vaguely remembers this, but then Bugs adds,“[O]f course they wasn’t really brother and sister no more than a rabbit, but there was a lot of people didn’t like it either way.”{{sfn|Hemingway|1966|p=137}} Bugs repeatedly stresses how “awful good-looking” the woman was, and how she “looked enough like him to be twins.”{{sfn|Strychacz|1989|p=252}} Some have read this admiring comment (along with the description of Ad’s face as “queerly formed” and his lips as “queer shaped” as a suggestion that the two men may be lovers.{{sfn|Hemingway|1966|p=131}} Less directly, like “The Light of the World,” the story slides anxiously between taboos—incest becomes homosexuality becomes miscegenation. The “perplexing behavior” of boxers once more promises to reveal the perplexing nature of masculinity, and again the boy flees.{{sfn|Brenner|1990|p=159}}

What boxers reveal again and again is that the biggest of men are just “not big enough” to take on the “dark” and ambiguous world that surrounds the most well-regulated and well-lit ring, as the narrator of “Fifty Grand” notes.{{sfn|Hemingway|1966|p=320}} The first quotation above is from Mailer’s response to a question from his son, John Buffalo Mailer, about the relation between boxing and writing. A writer, he said, like a fighter, can come to realize that he’s “[b]ig, but not big enough.”{{sfn|Mailer|2006|p=189}} This is an insight that Nick Adams tries to avoid in “The Killers” (1927){{sfn|Hemingway|1927}} Two men show up in a small-town café and hold the staff hostage as they wait for the man they want to kill, Ole Andreson, a former heavyweight boxer. When Nick, who has been in the café, tells Andreson about the men, the boxer says that nothing can be done to save him and turns his face to the wall. Little more than a page of this eleven-page story is devoted to Nick’s encounter with Andreson, but it changes everything. The gangsters dub Nick “bright boy,” but the story reveals how little he knows about power and powerlessness.{{sfn|Hemingway|1927|p=283}} In an attempt to escape his revelation—that the heavyweight, the epitome of masculinity, is not prepared to fight back—Nick decides to move on. “I can’t stand to think about him waiting in the room and knowing he’s going to get it.”{{sfn|Hemingway|1927|p=289}} As in the case of “The Battler” and “The Light

{{pg|147|148}}

of the World,” the story ends with Nick preparing to “get out of this town.”{{sfn|Hemingway|1927|p=289}}

'''BOXING AS AMERICAN WAR'''

The boxers in these stories reveal the ways in which seemingly solid distinctions between hypermasculinity and homosexuality, between whiteness and blackness or Jewishness—confront and often threaten to collapse into each other. As Walter Benn Michaels remarks of "The Sun Also Rises," “Hemingway’s obsessive commitment to distinguishing between Cohn and Jake only makes sense in the light of their being in some sense indistinguishable.”{{sfn|Michaels|1995|p=27}} For all their differences, Robert Cohn and Jake Barnes are both “taken in hand” by Brett Ashley, “manipulated” in a way that recalls the boxer dolls that Jake nearly trips over on the Boulevard des Capuchines.{{sfn|Hemingway|1976|p=8}} There, a “girl assistant lackadaisically pulls the threads that make the dolls dance, while she stands with “folded hands,” “looking away.”{{sfn|Hemingway|1927|p=32}}

America (condensed into American masculinity) was, to use a favorite Mailer word, “schizoid,” and the boxing match—for Mailer much more persistently than for Hemingway—provided a metaphor or structure within which to explore its violently felt divisions. Like a literary Tex Rickard or Don King, Mailer specialized in setting up big matches: an essential masculinity is pitted against an essential femininity; an idealized heterosexuality confronts a mythical homosexuality; imaginary “blacks” encounter imaginary “whites.” The continuing clash of one hero against each other is what constitutes “[e]xistential politics,” and “form . . . is the record of a war . . . as seen in a moment of rest.{{sfn|Mailer|1963|p=6}}{{sfn|Mailer|1966|p=370}} In fiction then, Mailer’s characters became the embodiments of opposing positions which need to be argued through; in non-fiction, he favored the Q&A, in which he could have “A Rousing Club Fight” with an interviewer, or sometimes enter the “arena” with an imagined alter ego.{{sfn|Mailer|1963|p=125}}{{sfn|Mailer|1972|p=182-90}} And sometimes genres—in particular, fiction and history—argue with each other. “[T]he element which is exciting, disturbing, nightmarish perhaps, is that incompatibles have come to bed.”{{sfn|Mailer|1959|p=342}}

If all relationships have a comparable dialectic structure, then it makes equal sense to use the language of sex to describe boxing—the first fifteen seconds of a fight are equivalent “to the first kiss in a love affair”—and the

{{pg|148|149}}

language of boxing to describe sex.{{sfn|Mailer|1972|p=29}} For the narrator of "The Time of Her Time," for example, the "dialectic" of sex stages conflicts between Jewishness and non-Jewishness, high culture and low culture, and even the competing therapeutic claims of Sigmund Freud and Wilhelm Reich.{{sfn|Mailer|1959}}{{sfn|Mailer|1959|p=495}} If conflict is the model for the relationship between men and women, men additionally face an internal battle between heterosexuality and homosexuality (Mailer does not think that women have this problem). So the brutal outcome of the 1962 fight between Emile Griffith and Benny (Kid) Paret is said to dramatize the "biological force" with which men disavow their inherent homosexuality.{{sfn|Mailer|1963|p=243}} Paret had taunted Griffith with homophobic remarks at the weigh-in and during the fight, and Griffith responded by beating him to death. For Mailer, this is an example of the ring not doing its usual job of containing and controlling (or sublimating) sexual desire.

The boxing ring also enacts, and thus mostly contains, another conflict that Mailer saw as fundamental to American culture of "our time," one between blacks and whites ("Time" x). Again, the challenge is to foreground and disrupt familiar stereotypical dichotomies: between whites, who are civilized, sophisticated, cerebral, literate, and literary; and blacks, who are primitive, illiterate, attuned to the pleasures of the body, and fluent in its language.{{sfn|Mailer|1959|p=341}} James Baldwin (and many others) complained about Mailer’s tendency to see "us as goddam romantic black symbols." But Mailer saw everyone and everything symbolically. For Patterson vs. Liston, therefore, read Art vs. Magic, Love vs. Sex, God vs. the Devil.

'''HEMINGWAY AND ALI: EXISTENTIAL EGO'''

“I think there is a wonderful study to be made about the similarities between Ernest Hemingway and Muhammad Ali,” Mailer told Michael Lennon in 1980, making a start himself. Both men, he argued, “come out of that same American urgency to be the only planet in existence". "To be the sun"—and at the heart of each was a dialectical struggle that was somehow both personal and national.{{sfn|Mailer|1982|p=161-162}} The fact that "the mightiest victim of injustice in America" was also “the mightiest narcissist in the land,” he observed of Ali in 1971, proved that "the twentieth century was nothing if not a tangle of opposition."{{sfn|Mailer|1972|p=28}} "Ego" (later renamed "King of the Hill"), an account of Ali’s comeback fight against Joe Frazier, is not only

{{pg|149|150}}

about a "dialogue between bodies," but about a dialogue within Ali himself.{{sfn|Mailer|1971|p=19}} For Mailer, the triumph of the fight’s end is that Ali has somehow managed to reconcile his two "sides"—he could dance, displaying "exquisite" grace, figured as black and feminine—but he could also "stand," revealing, for the first time, qualities of endurance to "moral and physical torture," figured as white and masculine.{{sfn|Mailer|1972|p=86}}{{sfn|Mailer|1972|p=93}}

Troublesome "contradictions" also "[fall] away" in "The Fight" (1974), an account of Ali’s "Rumble in the Jungle" with George Foreman.{{sfn|Mailer|1974}} Once again, the issue is survival as much as victory. Mailer models his essay on Hazlitt’s 1821 piece of the same name. As Hazlitt’s narrator-protagonist begins by announcing his desire to escape the sentimental complications of daily life, Mailer declares his disappointing love affair with himself. As Hazlitt travels companionably to the heart of the country, discussing Cobbett and Rousseau en route, Mailer flies Pan Am to Conrad’s "Heart of Darkness" in Vachel Lindsay’s "Congo,"” and on the return journey, plays dice with the air stewardess. Both men experience a "restoration of being" through journeys to watch boxing.{{sfn|Mailer|1974|p=239}} But while Hazlitt ends by simply acknowledging the ephemeral achievement of both the boxing match and his own essay, Mailer wants more—nothing less, in fact, than the restoration of the title "champ among writers."{{sfn|Mailer|1974|p=33}} The book plays with various versions of magical thinking, but all are designed to the same end: "the powers of regeneration in an artist."{{sfn|Mailer|1974|p=162}} Ali works magic on Mailer by showing him that regeneration is possible; and set against his example is that of Hemingway, whose suicide fourteen years earlier haunts the book.{{sfn|Mailer|1974|p=123}}{{sfn|Mailer|1974|p=162}} Ali, in other words, is both Hemingway and a kind of anti-Hemingway.

'''BOXING WITH HEMINGWAY'''

So what does it mean to box with another writer? For Hemingway, at least in his youth, the analogy expressed the inevitability of succession. Once a great boxer or writer had lost his crown, there was no reclaiming it. The old must give way to the new. So in 1924 he complained to Ezra Pound that the writers Ford Madox Ford was selecting for transatlantic review were the literary equivalents of Great White Hope Jim Jeffries, dragged out of retirement for one last fight: "The thing to do with Ford is to kill him.... I am fond of Ford. This ain’t personal. It’s literary."{{sfn|Hemingway|1985|p=116}} Killing is also what Hemingway envisaged for Sherwood Anderson, reimagined as the has-been heavyweight Ole Andreson in "The Killers;" "a sock on the jaw" was not

{{pg|150|151}}

enough to settle the score. In an early draft of the story, the fighter was called Nerone; Hemingway changed the name to Anderson and then, finally, to Andreson.

For all that he joshed about minor and major contenders, Mailer’s sense of literary influence was—like everything else in his worldview—less teleological than dialectical, less a matter of drastic, once-and-for-all Oedipal action than a conversation between competing tastes and loyalties.{{sfn|Mailer|1982|p=149}} To develop as a writer, Mailer did not want to kill Hemingway off so much as to continue to spar with him, while also sparring with (among many others along the way) Henry Miller and Herman Melville. If “Prelude—I” of "The Time of Our Time" evokes Hemingway, the presiding figure of its concluding "Acknowledgments and Appreciations" is Dos Passos, whose 1936 trilogy "USA" Mailer once described as "the most successful portrait of America in the first half of the twentieth century."{{sfn|Bruce/Webster|1982|p=173}} Setting up one "great American author" or "literary athlete" against another while, at the same time, looking forward to other juxtapositions—that was what boxing meant to Mailer: a way of exposing the truth that, in the ring or on the page, "no two Americas will prove identical."{{sfn|Mailer|1982|p=87}}{{sfn|Mailer|1982|p=92}}{{sfn|Mailer|1998|p=x}} Nothing, as he liked to say, "is settled after all."{{sfn|Mailer|1982|p=86}}

{{Review}}
===Citations===

{{Reflist}}
===Works Cited===
{{Refbegin}}
* {{cite book |last=Algren |first=Nelson |year=1963 |title=Who Lost an American? |location=New York |publisher=Macmillan |ref=harv}}
* {{cite book |last=Anderson |first=Sherwood |year=1933 |title=Death in the Woods and Other Stories |location=New York |publisher=Liveright |pages=95–108 |ref=harv}}
* {{cite book |last=Anderson |first=Sherwood |year=1984 |editor-last=Modlin |editor-first=Charles |title=Selected Letters |location=Knoxville |publisher=University of Tennessee Press |ref=harv}}
* {{cite book |last=Apple |first=Max |year=1986 |title=The Oranging of America |location=London |publisher=Faber and Faber |ref=harv}}
* {{cite book |last=Baker |first=Carlos |year=1969 |title=Ernest Hemingway: A Life Story |location=New York |publisher=Scribner’s |ref=harv}}
* {{cite book |last=Boddy |first=Kasia |year=2008 |title=Boxing: A Cultural History |location=London |publisher=Reaktion Books |ref=harv}}
* {{cite book |editor-last=Bruccoli |editor-first=Matthew J. |year=1971 |title=Ernest Hemingway’s Apprenticeship: Oak Park, 1916–1917 |location=Chicago |publisher=NCR Microcard |ref=harv}}
* {{cite book |last=Callaghan |first=Morley E. |year=1963 |title=That Summer in Paris |location=New York |publisher=Coward-McCann |ref=harv}}
* {{cite book |last=Dearborn |first=Mary V. |year=1999 |title=Mailer: A Biography |location=Boston |publisher=Houghton |ref=harv}}
* {{cite book |last=Donaldson |first=Scott |year=1999 |title=Hemingway vs. Fitzgerald: The Rise and Fall of a Literary Friendship |location=New York |publisher=Overlook Press |ref=harv}}
* {{cite book |last=Early |first=Gerald |year=1989 |title=Tuxedo Junction: Essays on American Culture |location=New York |publisher=Ecco Press |pages=183–195 |ref=harv}}
* {{cite book |last=Fiedler |first=Leslie |year=1964 |title=Waiting for the End |location=London |publisher=Penguin |ref=harv}}
* {{cite book |last=Gunn |first=Peter |year=1972 |title=Byron: Selected Letters and Journals |location=London |publisher=Penguin |ref=harv}}
* {{cite book |last=Healy |first=Thomas |year=1996 |title=A Hurting Game |location=London |publisher=Picador |ref=harv}}
* {{cite book |last=Heller |first=Peter |year=1994 |title=In This Corner...! 42 World Champions Tell Their Stories |location=New York |publisher=Da Capo Press |ref=harv}}
* {{cite book |last=Hemingway |first=Ernest |year=1966 |title=The Short Stories of Ernest Hemingway |location=New York |publisher=Scribner’s |ref=harv}}
* {{cite book |last=Hemingway |first=Ernest |year=1985 |editor-last=Baker |editor-first=Carlos |title=Ernest Hemingway: Selected Letters, 1917–1961 |location=London |publisher=Panther |ref=harv}}
* {{cite book |last=Hemingway |first=Ernest |year=2009 |title=A Moveable Feast: The Restored Edition |location=New York |publisher=Scribner’s |ref=harv}}
* {{cite book |last=Hemingway |first=Ernest |year=1976 |title=The Sun Also Rises |location=London |publisher=Flamingo |ref=harv}}
* {{cite journal |last=Inglis |first=David L. |year=1974 |title=Morley Callaghan and the Hemingway Boxing Legend |journal=Notes on Contemporary Literature |pages=4–7 |ref=harv}}
* {{cite book |last=Kazin |first=Alfred |year=1973 |title=Bright Book of Life |location=Boston |publisher=Little, Brown & Co. |ref=harv}}
* {{cite book |last=Lennon |first=J. Michael |year=2003 |title=The Spooky Art: Some Thoughts on Writing |location=New York |publisher=Random House |ref=harv}}
* {{cite book |last=Liebling |first=A. J. |year=1982 |title=The Sweet Science |location=London |publisher=Penguin |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1955 |title=The Deer Park |location=New York |publisher=G.P. Putnam’s Sons |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1959 |title=Advertisements for Myself |location=New York |publisher=G.P. Putnam’s Sons |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1963 |title=The Presidential Papers |location=New York |publisher=G.P. Putnam’s Sons |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1965 |title=An American Dream |location=New York |publisher=Dial Press |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1966 |title=Cannibals and Christians |location=New York |publisher=Dial Press |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1968 |title=The Armies of the Night |location=New York |publisher=New American Library |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1971a |title=King of the Hill |location=New York |publisher=New American Library |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1971b |title=The Prisoner of Sex |location=Boston |publisher=Little, Brown & Co. |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1972 |title=Existential Errands |location=Boston |publisher=Little, Brown & Co. |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1973 |title=Marilyn |location=New York |publisher=Grosset & Dunlap |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1975 |title=The Fight |location=Boston |publisher=Little, Brown & Co. |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1982 |title=Pieces and Pontifications |location=Boston |publisher=Little, Brown & Co. |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1991 |title=Harlot’s Ghost |location=New York |publisher=Random House |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1998 |title=The Time of Our Time |location=New York |publisher=Random House |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=2006 |title=The Big Empty |location=New York |publisher=Nation Books |ref=harv}}
* {{cite journal |last=Messenger |first=Christian |year=1987 |title=Norman Mailer: Boxing and the Art of His Narrative |journal=Modern Fiction Studies |pages=85–104 |ref=harv}}
* {{cite book |last=Michaels |first=Walter Benn |year=1995 |title=Our America |location=Durham |publisher=Duke University Press |ref=harv}}
* {{cite book |last=Monteiro |first=George |year=1990 |editor-last=Benson |editor-first=Jackson J. |title=This is My Pal Bugs: Ernest Hemingway’s “The Battler” |location=Durham |publisher=Duke University Press |pages=224–228 |ref=harv}}
* {{cite book |last=Oates |first=Joyce Carol |year=1974 |title=New Heaven, New Earth |location=New York |publisher=Vanguard Press |ref=harv}}
* {{cite book |last=Oates |first=Joyce Carol |year=1988a |title=On Boxing |location=London |publisher=Pan |ref=harv}}
* {{cite book |last=Oates |first=Joyce Carol |year=1988b |editor-last=Halpern |editor-first=Daniel |title=Our Private Lives |location=New York |publisher=Ecco Press |pages=301–309 |ref=harv}}
* {{cite book |last=Poirier |first=Richard |year=1972 |title=Mailer |location=London |publisher=Fontana |ref=harv}}
* {{cite book |last=Roberts |first=Randy |year=1986 |title=Papa Jack: Jack Johnson and the Era of White Hopes |location=London |publisher=Robson Books |ref=harv}}
* {{cite book |last=St. John |first=Bruce |year=1965 |title=John Sloan’s New York Scene |location=New York |publisher=Harper |ref=harv}}
* {{cite book |last=Weatherby |first=W. J. |year=1977 |title=Squaring-Off: Mailer v. Baldwin |location=London |publisher=Robson Books |ref=harv}}
{{Refbegin}}

{{Review}}
{{DEFAULTSORT:Mailer, Hemingway, and Boxing}}
[[Category:Articles (MR)]]

The Mailer Review/Volume 4, 2010/Mailer, Hemingway, and Boxing

2025-04-19T19:58:04Z

KaraCroissant: fixed typo

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{{Byline|last=Boddy|first=Kasia |url=http://prmlr.us/mr04bod |abstract=This article explores the literary and cultural intersections of boxing, masculinity, and authorship in the works of Hemingway, Mailer, and others. It highlights how these writers engaged with boxing both as metaphor and material, using the sport to shape their public personas and literary styles.}}
{{dc|dc=I|n 1998, Norman Mailer published ''The Time of Our Time''}}, a 1,300 page retrospective of his own work, covering not simply of the “fifty years of American time” which had passed since his first novel, ''The Naked and the Dead'', had appeared but also the previous nineteen, as Mailer had understood them.{{sfn|Mailer|1998}} The book begins with two “preludes,” the first, an account of the “historic afternoon” in June 1929 when Morley Callaghan floored Ernest Hemingway in a boxing ring at the American Club in Paris, is entitled "Boxing with Hemingway."

It is often assumed that the relationship between Mailer, Hemingway and boxing is a matter of simple repetition. As Hemingway sought to “square up” Turgenev, Maupassant and Tolstoy in order to become the heavy weight “champion” of the literary world, so Mailer aspired to become the next generation's “novelist as giant” by taking on and superseding Hemingway.{{sfn|Hemingway|1981|p=673}}{{sfn|Mailer|1966|p=96}} Mailer himself then became “the man to beat for the men and women who punch out words” so Max Apple imagines being “Inside Norman Mailer” while Joyce Carol Oates fantasizes about “eat[ing] Mailer’s heart.”{{sfn|Healy|1996|p=173}}{{sfn|Healy|1986|p=49}}{{sfn|Oates|1988|p=335}} But it may not be as straightforward as all that.

Mailer was certainly happy to use boxing to express competitiveness. If the original Romantic writer as boxer Lord Byron had dismissed the “quarrels of authors” as an inferior form of sparring, mere evidence of “an irritable set,” Mailer believed that regular spats with other male writers at parties, during protest marches and, mostly, on TV was an essential part of “keep[ing] in shape.”{{sfn|Gunn|1972|p=142}}{{sfn|Mailer|1966|p=217}} The chat show provided an ideal forum for literary quarrels which Mailer repeatedly imagined as boxing matches. After an appearance with Nelson Algren, for example, he concluded that “[t]wo middleweight artists had fought a draw.”{{sfn|Mailer|1966|p=178}} His much publicized quarrel with Gore Vidal on "The Dick Cavett Show" in 1971 was a less satisfactory affair. Sharing the couch with the two men was Janet Flanner, whom Mailer accused of being “Mr. Vidal’s manager” instead of the “referee;” at the end of the Show, Cavett asked the audience to “let us know who you think won.”{{sfn|Mailer|1982|p=65}}{{sfn|Mailer|1982|p=73}}

How seriously should we take all this? Mailer once declared himself the “Ezzard Charles of the heavyweight division” and argued that to claim the title in the sixties was hardly hubris when the competition “was so minor.”{{sfn|Mailer|1971|p=161}}{{sfn|Mailer|1966|p=124}} To announce that “‘I’m going to be the champ until one of you knocks me off ’” was, Mailer suggested, simply a way of offering Baldwin, Bellow and the others a little encouragement.{{sfn|Mailer|1982|p=70}} But “champ” was just one of many “half-heroic and three-quarters comic” advertisements for himself that he cultivated.{sfn|Mailer|1971|p=153}} In The "Armies of the Night” (1968), for example, he noted the instability of his speaking voice at the Pentagon demonstration against the Vietnam war; how, without any plan, his accent shifted from Irish to Texan, from “Marlon Brando’s voice in "The Wild One" to some “Woo-eeeee’s" and grunts which showed “hints of Cassius Clay.”{{sfn|Mailer|1968}}{{sfn|Mailer|1968|p=127}}{{sfn|Mailer|1968|p=48}} Eventually he tried “to imitate a most high and executive voice,” but that too came out as “[s]hades of Cassius Clay.”{{sfn|Mailer|1968|p=60}} The extent to which Mailer played with, or cultivated for effect, a “false legend of much machismo” is often forgotten.{{sfn|Mailer|1982|p=21}}

Mailer's humor, and his self-mocking presentation of manliness as an elaborately constructed masquerade, has often been missed in discussions of his relationship with Hemingway. Most commentators read their respective claims of champ (or should that be “dumb ox”?) as indicators of a straightforward genealogy of decline of an easy to understand (and thus easy to dismiss) machismo; the passage from writer to writer providing a pale imitation of the “series of punches on the nose” said to connect the bare knuckle fighter Bob Fitzsimmons to his feeble, gloved successors.{{sfn|Liebling|1982|p=1}} As John Whalen-Bridge has noted, it was not unusual for Mailer’s obituaries to announce that he had “wanted,” and failed, “to be the Hemingway of his generation,” thus refusing to recognize “that Mailer, in presenting himself as a 'poor man's papa' offered a parodic, postmodern rejuvenation and not a wannabe.”{{sfn|mailer|2010|p=181-82}}

While it would be misleading to deny that, for both, to talk of writing in relation to boxing was a way of talking about ambition and manliness as well as literature, the precise “equation of masculinity with greatness in literature," as Oates puts it, is hardly self-evident.{{sfn|Oates|1988|p=303}}

'''BOXING AS AMERICAN CRAFT'''

For Mailer, Hemingway represented a distinct variety of the “quintessentially American”— the kind that responds to “legitimate” fears of “the river,” or “chaos,” by writing about, and indeed enacting, the effort to secure “the camp.”{{sfn|Mailer|1982|p=92}} By constructing, and reducing, style, Hemingway created both a circumscribed “mold into which everything else had to fit” and a kind of “rabbit’s foot.”{{sfn|Kazin|1973|p=5}}

Hemingway’s view of boxing is closely connected to this conception of style—what Alfred Kazin describes as the modernist “dream of literature as perfect order.”{{sfn|Kazin|1973|p=15}} But, of course, it was only ever a dream. In practice, as "The Sun Also Rises" (1926) suggests, boxing and writing are seldom perfectly ordered.{{sfn|Hemingway|1926}} Boxing is first introduced into the novel as the sport of amateurs such as Robert Cohn, whose dilettante dabbling in the gymnasiums of Princeton and Paris is straightforwardly aligned with his “very poor novel” from a “fairly good publisher.”{{sfn|Hemingway|1926|p=10}}{{sfn|Hemingway|1926|p=9}} Cohn is contrasted with two professionals: first Jake himself, a journalist who is happiest after a “good morning’s work,” and then Bill Gorton, who has “made a lot of money on his last book, and was going to make a lot more.”{{sfn|Hemingway|1926|p=13}}{{sfn|Hemingway|1926|p=34}} Gorton arrives in Paris from New York Where he has seen a “whole crop of great light heavyweights. Any one of them was a good prospect to grow up, put on weight and trim Dempsey.”{{sfn|Hemingway|1926|p=33-34}} The suggestion is that Gorton is himself a literary contender, although his experience of crooked prize fighting in Vienna reminds us how impure the profession of boxing (and, by extension, the profession of writing) really is.

Bullfighting is like boxing "should" be—Jake describes a bull having "a left and a right just like a boxer."{{sfn|Hemingway|1926|p=116}} Pedro Romero, the only completely admirable character in the novel, represents the professional ideal. His "work"—neither he nor Jake call it "sport" or "art"—is characterized by its "sincerity" (he does not "simulate") and its "absolute purity of line."{{sfn|Hemingway|1926|p=140}}{{sfn|Hemingway|1926|p=144}} “It was not brilliant bull-fighting,” Jake says, “it was only perfect bull-fighting.”{{sfn|Hemingway|1926|p=178}} But such perfection can only exist in what Jake characterizes as the primitive culture of Spain; elsewhere, all that fighters or writers can do is try to work as “hard” and as “clean” as the modern world will allow.{{sfn|Hemingway|1926|p=181}}{{sfn|Hemingway|1926|p=14}}

Mailer evoked the boxing-and-bullfighting combination in “The Deer Park,” his third novel and the one in which he most directly confronts the Hemingway persona and style.{{sfn|Mailer|1955}} It is the story of an Irish-American orphan called Sergius O’Shaugnessy, who before the story begins had “boxed [his] way into the middleweight semi-finals of an Air Force enlisted man's tournament” and therefore into flying school.{{sfn|Mailer|1955|p=45}} O’Shaugnessy goes first to Hollywood, where the producers are initially dismissive ("I didn’t even know the athlete could read;" and then, when he gets depressed—becoming “a boxer without a punch”—he goes to Mexico. There he plans to learn to be the “first great and recognized American matador” , but finally he gives up his novel on bullfighting as “inevitably imitative” of Hemingway.{{sfn|Mailer|1955|p=198}}{{sfn|Mailer|1955|p=325}}{{sfn|Mailer|1955|p=352}}{{sfn|Mailer|1955|p=353}} O’Shaugnessy’s crisis of confidence reflected that of his creator. On receiving the novel’s proofs, Mailer decided that "The Deer Park" needed substantial revision. He would abandon its “poetic prose,” rip up its “silk,” smash its “porcelain,” create a first person voice “bigger” and more “muscular” than himself, and, “like a fighter who throws his right two seconds after the bell,” think much more closely about variations in pace.{{sfn|Mailer|1959|p=235}}{{sfn|Mailer|1959|p=239}} In leaving the controlled Hemingway style behind, in other words, the novel would regain punch. His next book, "Advertisements for Myself" (1959), he later said, was the first one to be “written in what became my style.”{{sfn|Mailer|1959}}{{sfn|Mailer|1982|p=145}}

That style was never again going to be confused with Hemingway’s—not that it ever really was. However much O’Shaugnessy might worry about imitation, no one had ever thought of Mailer as a pure and orderly minimalist. And yet, throughout his career Mailer nevertheless felt the need to speak out forcefully against the modernist credo of technique as mere “craft,” its tendency to reach for “a grab bag of procedures, tricks, lore, formal gymnastics, symbolic superstructures—methodology, in short.”{{sfn|Mailer|2003|p=104}} “Craft” was a dirty, or at least dismissive, word—one Mailer elsewhere associates with “light and middleweight” boxers. Heavyweights are always something more than “hardworking craftsmen”; they have “inner lives.”{{sfn|Mailer|1972|p=10}} As late as "Harlot’s Ghost" (1991), Mailer was linking a devotion “to craft” and “Procedures ”with a misplaced desire for order—here employed by the CIA all over the globe—with the American camp-building (or Hemingwayesque) tradition.{{sfn|Mailer|1991}} Hemingway himself crops up many times in the novel. The narrator, Harry Hubbard, recalls getting an “A”on a college paper about Shakespearean quality of the “consciously chosen irony of the later style.”{{sfn|Mailer|1991|p=167}} When he expands on this to Rodman Knowles Gardiner, the Shakespeare scholar retorts,“‘Why concern yourself with the copyist?’” But Gardiner himself is a kind of copyist, naming his daughter for
Hemingway’s first wife, Hadley, whose hair (“cut short like a boy’s”) is also in imitation of the original.{{sfn|Mailer|1991|p=167}}
Harry marries the girl. Still other characters are associated either with Hemingway hangouts—Oak Park or Sloppy Joe’s bar in Havana—or quote his "bon mots". But the key connection comes in the form of the narrator’s father, Cal Hubbard, who bears a considerable “degree of resemblance” to the writer in build, mustache and presence; he’s a drunk and a “prodigious philanderer” who’s fond of big-game hunting and cross-country skiing and who hangs elephant tusks and a pair of miniature boxing gloves said to belong to Jack Dempsey above his drinks cabinet.{{sfn|Mailer|1991|p=166-7}}{{sfn|Mailer|1991|p=114}} He is also, as a CIA operative, a great proponent of “protocol,” “craft,” and the “rules of procedure.”{{sfn|Mailer|1991|p=869}}{{sfn|Mailer|1991|p=445}} {{sfn|Mailer|1991|p=241}}

Harry Hubbard is only half Hubbard, of course—his mother is a Silberzweig—and as well as reading Hemingway, he enjoys Irwin Shaw’s "The Young Lions" because “Noah Ackerman, the Jew, had appealed to me.”{{sfn|Mailer|1991|p=145}}
Harry also reflects upon the character of Robert Cohn—whose upper class New York background he shares—and to some extent, he belongs to the ranks of Cohn’s literary “avengers.”{{sfn|Mailer|1991|p=422}}{{sfn|Fiedler|1964|p=71}} "Harlot’s Ghost" reveals the limits of methodology and “purity of intent” and instead asserts the virtues of division and dialectic, of ongoing “war”and “relation.”{{sfn|Mailer|1991|p=1021}}{{sfn|Mailer|1991|p=594}}

And yet, in Mailer’s eyes Hemingway was divided, too. He may have been a craftsman but he was not a "mere" craftsman. As much as D.H. Lawrence or Henry Miller—indeed, every major figure in the Mailer pantheon—Hemingway was a “great writer, for he contained a cauldron of boiling opposites.”{{sfn|Mailer|1971|p=137}} Reviewing Morley Callaghan’s "That Summer in Paris" in 1963, Mailer declared that Hemingway’s bravery was “an act of will”; the “heroic”product of a lifelong struggle with “cowardice” and an ability to carry “a weight of anxiety within him” which would have “suffocated any man smaller than himself."{{sfn|Mailer|1966|p=159}} His decision to reprint these comments as the first “prelude” to "The Time Of Our Time" suggests that they should be thought of, in some way, as initiating his own work.{{sfn|Mailer|1998|p=4}} What Hemingway’s example initiated was not a style or methodology—not camp—building—but a fascination with the futile effort involved in such constructions and an awareness of the incapacity of all camps to remain secure, to keep the river away.

For all that Hemingway strove to be “classic,” “sophisticated,” “purer,” and “graceful,” for all that he represented the ideals of “scrupulosity,”“manners,” and “gravity”, the chaos of his “inner” life was still apparent to Mailer.{{sfn|Mailer|1982|p=912}}{{sfn|Mailer|1972|p=10}} In other words, like Cal Hubbard,"[t]he two halves of his soul were far apart."{{sfn|Mailer|1991|p=117}} The question was one of balance. At his best, like Hubbard, Hemingway’s “strength was that he had managed to find some inner cooperation between these disparate halves.”{{sfn|Mailer|1991|p=117}} At “his worst” shortly before his death, the “old moldering” writer was adding to “the nausea he once cleared away.”{{sfn|Mailer|1959|p=474}}{{sfn|Mailer|1959|p=477}}{{sfn|Mailer|1959|p=474}}

'''BEING MACHO IS NO FUN'''{{sfn|Mailer|2006|p=185}}

Nowhere in Hemingway’s fiction does what Mailer called the “continuing battle” of “being a man” emerge more clearly than in his representation of boxers.{{sfn|Mailer|1959|p=222}} To consider a boxer (especially a heavyweight) is to consider a man who should—at least in the world into which Hemingway was born—epitomize a straightforward, unambiguous Anglo-Saxon heterosexual manliness. But, for one reason or another, Hemingway’s boxers are unable to fulfill the brief. Cooperation between one’s disparate halves— “the Champ and the Fraud” —is not always possible.{{sfn|Mailer|1971|p=160}}

Consider “The Light of the World” (1933), in which the teenage narrator and his friend, Tom, encounter a motley crew of late-night travelers at a rail-way station: “five whores . . . and six white men and four Indians.”{{sfn|Hemingway|1933}}{{sfn|Hemingway|1966|p=385}} Among the prostitutes are two “big” women, Alice and Peroxide, who argue about who really knew “Steve” or “Stanley” Ketchel (they also can’t agree on the first name). The cook remembers Stanley Ketchel’s 1909 fight with Jack Johnson, in particular how Ketchel had floored Johnson in the 12th round just before Johnson knocked him out. Peroxide attributes Ketchel’s defeat to a punch by Johnson (“the big black bastard” when Ketchel, “the only man she ever loved,” smiled at her in the audience.{{sfn|Hemingway|1966|p=389}}{{sfn|Hemingway|1966|p=388}} Alice remembers Steve Ketchel telling her she was “a lovely piece.”{{sfn|Hemingway|1966|p=390}} Both women refer continuously to Ketchel’s “whiteness”—“I never saw a man as clean and as white and as beautiful,” says Peroxide.{{sfn|Hemingway|1966|p=388}} “White,” as Walter Benn Michaels notes, “becomes an adjective describing character instead of skin;” and so, Ketchel is figured as a kind of Christ-like figure, while Johnson, “that black son of a bitch from hell,” is the devil.{{sfn|Michaels|1988|p=193}}{{sfn|Hemingway|1966|p=389}}

Ketchel’s pseudo-divinity is further suggested by such statements as “I loved him like you love God;” “His own father shot and killed him. Yes, by Christ, his own father;” and, of course, the title.{{sfn|Hemingway|1966|p=388}} Philip Young points out that Hemingway placed this story after “the most pessimistic of all his stories,” “A Clean, Well-Lighted Place,” in Winner Take Nothing, “as if the point of the story is really that the light of the world has gone out.”{{sfn|Young|1966|p=50}}

But there seems to be more going on under the surface of this particular iceberg. First, the confusion of names and facts is important. Stanley Ketchel was not killed by his father—that was Steve Ketchel, a lightweight boxer, who never got near Johnson. Stanley was shot in 1910 by the husband of a woman with whom he was having an affair. Second, of all boxers, Stanley Ketchel was perhaps the most unlikely possible candidate for Redeemer. His nickname was the “Michigan Assassin,” and, according to one reporter, “he couldn’t get "enough" blood.”{{sfn|Roberts|1986|p=82}} While the prostitutes may be seeking salvation, the story that they tell is absurd. So what is going on? Howard Hannum argues that much of the dialogue between the two women “has the quality of counterpunching,” as if they are restaging Ketchel’s contest against Johnson: here, the (bleached) blonde versus the heavyweight.{{sfn|Roberts|1986|p=325}} But the cook’s role also needs to be considered. The discussion of whiteness begins when the narrator notices a “white man” speaking; “his face was white and his hands were white and thin.”{{sfn|Hemingway|1966|p=385}} The other men tease the cook about the whiteness of his hands (“he puts lemon juice on his hands”) and hint that he is gay.{{sfn|Hemingway|1966|p=386}} Are these two things connected? And, if they are, what does that suggest about clean, white, beautiful Ketchel? When asked his age, Tom joins in the sexual bantering with hints at “inversion”—“I’m ninety-six and he’s sixty-nine”—but throughout the boys remain uneasy and confused.{{sfn|Hemingway|1966|p=387}} By the end of the story, the narrator seems quite smitten with Alice (“she had the prettiest face I ever saw.”{{sfn|Hemingway|1966|p=391}} Tom notices this and says it is time to leave. The supposedly natural order of whites beating blacks, men having sex with women, and “huge” whores being unappealing has been unsettled.{{sfn|Hemingway|1966|p=386}} When the cook asks where the boys are going, Tom replies, “the other way from you.”{{sfn|Hemingway|1966|p=391}}

Racial and sexual ambiguities also trouble “The Battler,” one of the Nick Adams initiation stories in "In Our Time" (1925).{{sfn|Hemingway|1925}} The story begins with Nick himself having just survived a battle with a brakeman on a freight train. He has been thrown off the train and lands with a scuffed knee and bruise on the face, of which he is rather proud— “He wished he could see it”—but he is still standing.{{sfn|Hemingway|1966|p=129}} “He was all right.”{{sfn|Hemingway|1966|p=129}} Nick then ventures into another battling arena—a fire-lit camp that seems to be a refuge but which also turns out to be a kind of boxing ring. There he encounters Ad Francis, an ex-champion prizefighter whose bruises are more impressive, and much more disgusting, than his own:

<blockquote>In the firelight Nick saw that his face was misshapen. His nose was sunken, his eyes were like slits, he had queer-shaped lips. Nick did not perceive all this at once, he only saw the man’s face was queerly formed and mutilated. It was like putty in color. Dead looking in the firelight.{{sfn|Hemingway|1966|p=131}}</blockquote>

That “Nick did not perceive all this at once” suggests that he kept looking away.{{sfn|Hemingway|1966|p=131}} “Don’t you like my pan?” the fighter asks, revealing even worse: “He had only one ear. It was thickened and tight against the side of his head. Where the other one should have been there was a stump.”{{sfn|Hemingway|1966|p=131}} Although Nick is “a little sick,” he counters Ad’s pugnacious assertions with gusto:

<blockquote>'It must have made him [the brakeman] feel good to bust you,’the man said seriously. ‘I’ll bust him.’. . . . . . . . . . . ‘All you kids are tough.’‘You got to be tough,’ Nick said.‘That’s what I said.’</blockquote>

Nick’s pleasure at establishing a rapport with a fellow battler is short-lived, however. Ad, he discovers, is unstable (“crazy”), and depends on his companion Bugs to stop him from battling.{{sfn|Hemingway|1966|p=132}} When Ad tries to start a fight with Nick, in “an ugly parody of a boxing match,” Bugs intervenes by knocking him out with a stick from behind in a manner that recalls Hemingway’s very first story, “A Matter of Color.”{{sfn|Strychacz|1989|p=252}}{{sfn|Bruccoli|1971|p=98-100}} Color is also important here as Nick is obviously startled by the fact that Bugs is black, and makes a great deal of his “negro's voice,” the “negro” way he walks, and his “long nigger’s legs.”{{sfn|Hemingway|1966|p=133}} Although it has been argued that the story reveals Hemingway’s racism, these almost compulsively repeated epithets (like those describing whiteness in “The Light of the World”) seem to be Nick’s as he struggles to understand the relationship between the two men. White prizefighters, after all, were not supposed to have black friends. Bugs tells Nick a story about Ad which adds to his confusion. Ad had a woman manager, and it was always being “written up in the papers all about brothers and sisters and how she loved her brother and how he loved his sister, and then they got married in New York and that made a lot of unpleasantness.”{{sfn|Hemingway|1966|p=136-137}} Nick vaguely remembers this, but then Bugs adds,“[O]f course they wasn’t really brother and sister no more than a rabbit, but there was a lot of people didn’t like it either way.”{{sfn|Hemingway|1966|p=137}} Bugs repeatedly stresses how “awful good-looking” the woman was, and how she “looked enough like him to be twins.”{{sfn|Strychacz|1989|p=252}} Some have read this admiring comment (along with the description of Ad’s face as “queerly formed” and his lips as “queer shaped” as a suggestion that the two men may be lovers.{{sfn|Hemingway|1966|p=131}} Less directly, like “The Light of the World,” the story slides anxiously between taboos—incest becomes homosexuality becomes miscegenation. The “perplexing behavior” of boxers once more promises to reveal the perplexing nature of masculinity, and again the boy flees.{{sfn|Brenner|1990|p=159}}

What boxers reveal again and again is that the biggest of men are just “not big enough” to take on the “dark” and ambiguous world that surrounds the most well-regulated and well-lit ring, as the narrator of “Fifty Grand” notes.{{sfn|Hemingway|1966|p=320}} The first quotation above is from Mailer’s response to a question from his son, John Buffalo Mailer, about the relation between boxing and writing. A writer, he said, like a fighter, can come to realize that he’s “[b]ig, but not big enough.”{{sfn|Mailer|2006|p=189}} This is an insight that Nick Adams tries to avoid in “The Killers” (1927){{sfn|Hemingway|1927}} Two men show up in a small-town café and hold the staff hostage as they wait for the man they want to kill, Ole Andreson, a former heavyweight boxer. When Nick, who has been in the café, tells Andreson about the men, the boxer says that nothing can be done to save him and turns his face to the wall. Little more than a page of this eleven-page story is devoted to Nick’s encounter with Andreson, but it changes everything. The gangsters dub Nick “bright boy,” but the story reveals how little he knows about power and powerlessness.{{sfn|Hemingway|1927|p=283}} In an attempt to escape his revelation—that the heavyweight, the epitome of masculinity, is not prepared to fight back—Nick decides to move on. “I can’t stand to think about him waiting in the room and knowing he’s going to get it.”{{sfn|Hemingway|1927|p=289}} As in the case of “The Battler” and “The Light of the World,” the story ends with Nick preparing to “get out of this town.”{{sfn|Hemingway|1927|p=289}}

'''BOXING AS AMERICAN WAR'''

The boxers in these stories reveal the ways in which seemingly solid distinctions between hypermasculinity and homosexuality, between whiteness and blackness or Jewishness—confront and often threaten to collapse into each other. As Walter Benn Michaels remarks of "The Sun Also Rises," “Hemingway’s obsessive commitment to distinguishing between Cohn and Jake only makes sense in the light of their being in some sense indistinguishable.”{{sfn|Michaels|1995|p=27}} For all their differences, Robert Cohn and Jake Barnes are both “taken in hand” by Brett Ashley, “manipulated” in a way that recalls the boxer dolls that Jake nearly trips over on the Boulevard des Capuchines.{{sfn|Hemingway|1976|p=8}} There, a “girl assistant lackadaisically pulls the threads that make the dolls dance, while she stands with “folded hands,” “looking away.”{{sfn|Hemingway|1927|p=32}}

America (condensed into American masculinity) was, to use a favorite Mailer word, “schizoid,” and the boxing match—for Mailer much more persistently than for Hemingway—provided a metaphor or structure within which to explore its violently felt divisions. Like a literary Tex Rickard or Don King, Mailer specialized in setting up big matches: an essential masculinity is pitted against an essential femininity; an idealized heterosexuality confronts a mythical homosexuality; imaginary “blacks” encounter imaginary “whites.” The continuing clash of one hero against each other is what constitutes “[e]xistential politics,” and “form . . . is the record of a war . . . as seen in a moment of rest.{{sfn|Mailer|1963|p=6}}{{sfn|Mailer|1966|p=370}} In fiction then, Mailer’s characters became the embodiments of opposing positions which need to be argued through; in non-fiction, he favored the Q&A, in which he could have “A Rousing Club Fight” with an interviewer, or sometimes enter the “arena” with an imagined alter ego.{{sfn|Mailer|1963|p=125}}{{sfn|Mailer|1972|p=182-90}} And sometimes genres—in particular, fiction and history—argue with each other. “[T]he element which is exciting, disturbing, nightmarish perhaps, is that incompatibles have come to bed.”{{sfn|Mailer|1959|p=342}}

If all relationships have a comparable dialectic structure, then it makes equal sense to use the language of sex to describe boxing—the first fifteen seconds of a fight are equivalent “to the first kiss in a love affair”—and the language of boxing to describe sex.{{sfn|Mailer|1972|p=29}} For the narrator of "The Time of Her Time," for example, the "dialectic" of sex stages conflicts between Jewishness and non-Jewishness, high culture and low culture, and even the competing therapeutic claims of Sigmund Freud and Wilhelm Reich.{{sfn|Mailer|1959}}{{sfn|Mailer|1959|p=495}} If conflict is the model for the relationship between men and women, men additionally face an internal battle between heterosexuality and homosexuality (Mailer does not think that women have this problem). So the brutal outcome of the 1962 fight between Emile Griffith and Benny (Kid) Paret is said to dramatize the "biological force" with which men disavow their inherent homosexuality.{{sfn|Mailer|1963|p=243}} Paret had taunted Griffith with homophobic remarks at the weigh-in and during the fight, and Griffith responded by beating him to death. For Mailer, this is an example of the ring not doing its usual job of containing and controlling (or sublimating) sexual desire.

The boxing ring also enacts, and thus mostly contains, another conflict that Mailer saw as fundamental to American culture of "our time," one between blacks and whites ("Time" x). Again, the challenge is to foreground and disrupt familiar stereotypical dichotomies: between whites, who are civilized, sophisticated, cerebral, literate, and literary; and blacks, who are primitive, illiterate, attuned to the pleasures of the body, and fluent in its language.{{sfn|Mailer|1959|p=341}} James Baldwin (and many others) complained about Mailer’s tendency to see "us as goddam romantic black symbols." But Mailer saw everyone and everything symbolically. For Patterson vs. Liston, therefore, read Art vs. Magic, Love vs. Sex, God vs. the Devil.

'''HEMINGWAY AND ALI: EXISTENTIAL EGO'''

“I think there is a wonderful study to be made about the similarities between Ernest Hemingway and Muhammad Ali,” Mailer told Michael Lennon in 1980, making a start himself. Both men, he argued, “come out of that same American urgency to be the only planet in existence". "To be the sun"—and at the heart of each was a dialectical struggle that was somehow both personal and national.{{sfn|Mailer|1982|p=161-162}} The fact that "the mightiest victim of injustice in America" was also “the mightiest narcissist in the land,” he observed of Ali in 1971, proved that "the twentieth century was nothing if not a tangle of opposition."{{sfn|Mailer|1972|p=28}} "Ego" (later renamed "King of the Hill"), an account of Ali’s comeback fight against Joe Frazier, is not only about a "dialogue between bodies," but about a dialogue within Ali himself.{{sfn|Mailer|1971|p=19}} For Mailer, the triumph of the fight’s end is that Ali has somehow managed to reconcile his two "sides"—he could dance, displaying "exquisite" grace, figured as black and feminine—but he could also "stand," revealing, for the first time, qualities of endurance to "moral and physical torture," figured as white and masculine.{{sfn|Mailer|1972|p=86}}{{sfn|Mailer|1972|p=93}}

Troublesome "contradictions" also "[fall] away" in "The Fight" (1974), an account of Ali’s "Rumble in the Jungle" with George Foreman.{{sfn|Mailer|1974}} Once again, the issue is survival as much as victory. Mailer models his essay on Hazlitt’s 1821 piece of the same name. As Hazlitt’s narrator-protagonist begins by announcing his desire to escape the sentimental complications of daily life, Mailer declares his disappointing love affair with himself. As Hazlitt travels companionably to the heart of the country, discussing Cobbett and Rousseau en route, Mailer flies Pan Am to Conrad’s "Heart of Darkness" in Vachel Lindsay’s "Congo,"” and on the return journey, plays dice with the air stewardess. Both men experience a "restoration of being" through journeys to watch boxing.{{sfn|Mailer|1974|p=239}} But while Hazlitt ends by simply acknowledging the ephemeral achievement of both the boxing match and his own essay, Mailer wants more—nothing less, in fact, than the restoration of the title "champ among writers."{{sfn|Mailer|1974|p=33}} The book plays with various versions of magical thinking, but all are designed to the same end: "the powers of regeneration in an artist."{{sfn|Mailer|1974|p=162}} Ali works magic on Mailer by showing him that regeneration is possible; and set against his example is that of Hemingway, whose suicide fourteen years earlier haunts the book.{{sfn|Mailer|1974|p=123}}{{sfn|Mailer|1974|p=162}} Ali, in other words, is both Hemingway and a kind of anti-Hemingway.

"'BOXING WITH HEMINGWAY"'

So what does it mean to box with another writer? For Hemingway, at least in his youth, the analogy expressed the inevitability of succession. Once a great boxer or writer had lost his crown, there was no reclaiming it. The old must give way to the new. So in 1924 he complained to Ezra Pound that the writers Ford Madox Ford was selecting for transatlantic review were the literary equivalents of Great White Hope Jim Jeffries, dragged out of retirement for one last fight: "The thing to do with Ford is to kill him.... I am fond of Ford. This ain’t personal. It’s literary."{{sfn|Hemingway|1985|p=116}} Killing is also what Hemingway envisaged for Sherwood Anderson, reimagined as the has-been heavyweight Ole Andreson in "The Killers;" "a sock on the jaw" was not enough to settle the score. In an early draft of the story, the fighter was called Nerone; Hemingway changed the name to Anderson and then, finally, to Andreson.

For all that he joshed about minor and major contenders, Mailer’s sense of literary influence was—like everything else in his worldview—less teleological than dialectical, less a matter of drastic, once-and-for-all Oedipal action than a conversation between competing tastes and loyalties.{{sfn|Mailer|1982|p=149}} To develop as a writer, Mailer did not want to kill Hemingway off so much as to continue to spar with him, while also sparring with (among many others along the way) Henry Miller and Herman Melville. If “Prelude—I” of "The Time of Our Time" evokes Hemingway, the presiding figure of its concluding "Acknowledgments and Appreciations" is Dos Passos, whose 1936 trilogy "USA" Mailer once described as "the most successful portrait of America in the first half of the twentieth century."{{sfn|Bruce/Webster|1982|p=173}} Setting up one "great American author" or "literary athlete" against another while, at the same time, looking forward to other juxtapositions—that was what boxing meant to Mailer: a way of exposing the truth that, in the ring or on the page, "no two Americas will prove identical."{{sfn|Mailer|1982|p=87}}{{sfn|Mailer|1982|p=92}}{{sfn|Mailer|1998|p=x}} Nothing, as he liked to say, "is settled after all."{{sfn|Mailer|1982|p=86}}

{{Review}}
===Citations===

{{Reflist}}
===Works Cited===
{{Refbegin}}
* {{cite book |last=Algren |first=Nelson |year=1963 |title=Who Lost an American? |location=New York |publisher=Macmillan |ref=harv}}
* {{cite book |last=Anderson |first=Sherwood |year=1933 |title=Death in the Woods and Other Stories |location=New York |publisher=Liveright |pages=95–108 |ref=harv}}
* {{cite book |last=Anderson |first=Sherwood |year=1984 |editor-last=Modlin |editor-first=Charles |title=Selected Letters |location=Knoxville |publisher=University of Tennessee Press |ref=harv}}
* {{cite book |last=Apple |first=Max |year=1986 |title=The Oranging of America |location=London |publisher=Faber and Faber |ref=harv}}
* {{cite book |last=Baker |first=Carlos |year=1969 |title=Ernest Hemingway: A Life Story |location=New York |publisher=Scribner’s |ref=harv}}
* {{cite book |last=Boddy |first=Kasia |year=2008 |title=Boxing: A Cultural History |location=London |publisher=Reaktion Books |ref=harv}}
* {{cite book |editor-last=Bruccoli |editor-first=Matthew J. |year=1971 |title=Ernest Hemingway’s Apprenticeship: Oak Park, 1916–1917 |location=Chicago |publisher=NCR Microcard |ref=harv}}
* {{cite book |last=Callaghan |first=Morley E. |year=1963 |title=That Summer in Paris |location=New York |publisher=Coward-McCann |ref=harv}}
* {{cite book |last=Dearborn |first=Mary V. |year=1999 |title=Mailer: A Biography |location=Boston |publisher=Houghton |ref=harv}}
* {{cite book |last=Donaldson |first=Scott |year=1999 |title=Hemingway vs. Fitzgerald: The Rise and Fall of a Literary Friendship |location=New York |publisher=Overlook Press |ref=harv}}
* {{cite book |last=Early |first=Gerald |year=1989 |title=Tuxedo Junction: Essays on American Culture |location=New York |publisher=Ecco Press |pages=183–195 |ref=harv}}
* {{cite book |last=Fiedler |first=Leslie |year=1964 |title=Waiting for the End |location=London |publisher=Penguin |ref=harv}}
* {{cite book |last=Gunn |first=Peter |year=1972 |title=Byron: Selected Letters and Journals |location=London |publisher=Penguin |ref=harv}}
* {{cite book |last=Healy |first=Thomas |year=1996 |title=A Hurting Game |location=London |publisher=Picador |ref=harv}}
* {{cite book |last=Heller |first=Peter |year=1994 |title=In This Corner...! 42 World Champions Tell Their Stories |location=New York |publisher=Da Capo Press |ref=harv}}
* {{cite book |last=Hemingway |first=Ernest |year=1966 |title=The Short Stories of Ernest Hemingway |location=New York |publisher=Scribner’s |ref=harv}}
* {{cite book |last=Hemingway |first=Ernest |year=1985 |editor-last=Baker |editor-first=Carlos |title=Ernest Hemingway: Selected Letters, 1917–1961 |location=London |publisher=Panther |ref=harv}}
* {{cite book |last=Hemingway |first=Ernest |year=2009 |title=A Moveable Feast: The Restored Edition |location=New York |publisher=Scribner’s |ref=harv}}
* {{cite book |last=Hemingway |first=Ernest |year=1976 |title=The Sun Also Rises |location=London |publisher=Flamingo |ref=harv}}
* {{cite journal |last=Inglis |first=David L. |year=1974 |title=Morley Callaghan and the Hemingway Boxing Legend |journal=Notes on Contemporary Literature |pages=4–7 |ref=harv}}
* {{cite book |last=Kazin |first=Alfred |year=1973 |title=Bright Book of Life |location=Boston |publisher=Little, Brown & Co. |ref=harv}}
* {{cite book |last=Lennon |first=J. Michael |year=2003 |title=The Spooky Art: Some Thoughts on Writing |location=New York |publisher=Random House |ref=harv}}
* {{cite book |last=Liebling |first=A. J. |year=1982 |title=The Sweet Science |location=London |publisher=Penguin |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1955 |title=The Deer Park |location=New York |publisher=G.P. Putnam’s Sons |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1959 |title=Advertisements for Myself |location=New York |publisher=G.P. Putnam’s Sons |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1963 |title=The Presidential Papers |location=New York |publisher=G.P. Putnam’s Sons |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1965 |title=An American Dream |location=New York |publisher=Dial Press |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1966 |title=Cannibals and Christians |location=New York |publisher=Dial Press |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1968 |title=The Armies of the Night |location=New York |publisher=New American Library |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1971a |title=King of the Hill |location=New York |publisher=New American Library |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1971b |title=The Prisoner of Sex |location=Boston |publisher=Little, Brown & Co. |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1972 |title=Existential Errands |location=Boston |publisher=Little, Brown & Co. |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1973 |title=Marilyn |location=New York |publisher=Grosset & Dunlap |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1975 |title=The Fight |location=Boston |publisher=Little, Brown & Co. |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1982 |title=Pieces and Pontifications |location=Boston |publisher=Little, Brown & Co. |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1991 |title=Harlot’s Ghost |location=New York |publisher=Random House |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1998 |title=The Time of Our Time |location=New York |publisher=Random House |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=2006 |title=The Big Empty |location=New York |publisher=Nation Books |ref=harv}}
* {{cite journal |last=Messenger |first=Christian |year=1987 |title=Norman Mailer: Boxing and the Art of His Narrative |journal=Modern Fiction Studies |pages=85–104 |ref=harv}}
* {{cite book |last=Michaels |first=Walter Benn |year=1995 |title=Our America |location=Durham |publisher=Duke University Press |ref=harv}}
* {{cite book |last=Monteiro |first=George |year=1990 |editor-last=Benson |editor-first=Jackson J. |title=This is My Pal Bugs: Ernest Hemingway’s “The Battler” |location=Durham |publisher=Duke University Press |pages=224–228 |ref=harv}}
* {{cite book |last=Oates |first=Joyce Carol |year=1974 |title=New Heaven, New Earth |location=New York |publisher=Vanguard Press |ref=harv}}
* {{cite book |last=Oates |first=Joyce Carol |year=1988a |title=On Boxing |location=London |publisher=Pan |ref=harv}}
* {{cite book |last=Oates |first=Joyce Carol |year=1988b |editor-last=Halpern |editor-first=Daniel |title=Our Private Lives |location=New York |publisher=Ecco Press |pages=301–309 |ref=harv}}
* {{cite book |last=Poirier |first=Richard |year=1972 |title=Mailer |location=London |publisher=Fontana |ref=harv}}
* {{cite book |last=Roberts |first=Randy |year=1986 |title=Papa Jack: Jack Johnson and the Era of White Hopes |location=London |publisher=Robson Books |ref=harv}}
* {{cite book |last=St. John |first=Bruce |year=1965 |title=John Sloan’s New York Scene |location=New York |publisher=Harper |ref=harv}}
* {{cite book |last=Weatherby |first=W. J. |year=1977 |title=Squaring-Off: Mailer v. Baldwin |location=London |publisher=Robson Books |ref=harv}}
{{Refbegin}}

{{Review}}
{{DEFAULTSORT:Mailer, Hemingway, and Boxing}}
[[Category:Articles (MR)]]

The Mailer Review/Volume 4, 2010/Mailer, Hemingway, and Boxing

2025-04-19T19:54:59Z

KaraCroissant: reformatted in text citations, made small copy editing adjustments

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{{Byline|last=Boddy|first=Kasia |url=http://prmlr.us/mr04bod |abstract=This article explores the literary and cultural intersections of boxing, masculinity, and authorship in the works of Hemingway, Mailer, and others. It highlights how these writers engaged with boxing both as metaphor and material, using the sport to shape their public personas and literary styles.}}
{{dc|dc=I|n 1998, Norman Mailer published ''The Time of Our Time''}}, a 1,300 page retrospective of his own work, covering not simply of the “fifty years of American time” which had passed since his first novel, ''The Naked and the Dead'', had appeared but also the previous nineteen, as Mailer had understood them.{{sfn|Mailer|1998}} The book begins with two “preludes,” the first, an account of the “historic afternoon” in June 1929 when Morley Callaghan floored Ernest Hemingway in a boxing ring at the American Club in Paris, is entitled "Boxing with Hemingway."

It is often assumed that the relationship between Mailer, Hemingway and boxing is a matter of simple repetition. As Hemingway sought to “square up” Turgenev, Maupassant and Tolstoy in order to become the heavy weight “champion” of the literary world, so Mailer aspired to become the next generation's “novelist as giant” by taking on and superseding Hemingway.{{sfn|Hemingway|1981|p=673}}{{sfn|Mailer|1966|p=96}} Mailer himself then became “the man to beat for the men and women who punch out words” so Max Apple imagines being “Inside Norman Mailer” while Joyce Carol Oates fantasizes about “eat[ing] Mailer’s heart.”{{sfn|Healy|1996|p=173}}{{sfn|Healy|1986|p=49}}{{sfn|Oates|1988|p=335}} But it may not be as straightforward as all that.

Mailer was certainly happy to use boxing to express competitiveness. If the original Romantic writer as boxer Lord Byron had dismissed the “quarrels of authors” as an inferior form of sparring, mere evidence of “an irritable set,” Mailer believed that regular spats with other male writers at parties, during protest marches and, mostly, on TV was an essential part of “keep[ing] in shape.”{{sfn|Gunn|1972|p=142}}{{sfn|Mailer|1966|p=217}} The chat show provided an ideal forum for literary quarrels which Mailer repeatedly imagined as boxing matches. After an appearance with Nelson Algren, for example, he concluded that “[t]wo middleweight artists had fought a draw.”{{sfn|Mailer|1966|p=178}} His much publicized quarrel with Gore Vidal on "The Dick Cavett Show" in 1971 was a less satisfactory affair. Sharing the couch with the two men was Janet Flanner, whom Mailer accused of being “Mr. Vidal’s manager” instead of the “referee;” at the end of the Show, Cavett asked the audience to “let us know who you think won.”{{sfn|Mailer|1982|p=65}}{{sfn|Mailer|1982|p=73}}

How seriously should we take all this? Mailer once declared himself the “Ezzard Charles of the heavyweight division” and argued that to claim the title in the sixties was hardly hubris when the competition “was so minor.”{{sfn|Mailer|1971|p=161}}{{sfn|Mailer|1966|p=124}} To announce that “‘I’m going to be the champ until one of you knocks me off ’” was, Mailer suggested, simply a way of offering Baldwin, Bellow and the others a little encouragement.{{sfn|Mailer|1982|p=70}} But “champ” was just one of many “half-heroic and three-quarters comic” advertisements for himself that he cultivated.{sfn|Mailer|1971|p=153}} In The "Armies of the Night” (1968), for example, he noted the instability of his speaking voice at the Pentagon demonstration against the Vietnam war; how, without any plan, his accent shifted from Irish to Texan, from “Marlon Brando’s voice in "The Wild One" to some “Woo-eeeee’s" and grunts which showed “hints of Cassius Clay.”{{sfn|Mailer|1968}}{{sfn|Mailer|1968|p=127}}{{sfn|Mailer|1968|p=48}} Eventually he tried “to imitate a most high and executive voice,” but that too came out as “[s]hades of Cassius Clay.”{{sfn|Mailer|1968|p=60}} The extent to which Mailer played with, or cultivated for effect, a “false legend of much machismo” is often forgotten.{{sfn|Mailer|1982|p=21}}

Mailer's humor, and his self-mocking presentation of manliness as an elaborately constructed masquerade, has often been missed in discussions of his relationship with Hemingway. Most commentators read their respective claims of champ (or should that be “dumb ox”?) as indicators of a straightforward genealogy of decline of an easy to understand (and thus easy to dismiss) machismo; the passage from writer to writer providing a pale imitation of the “series of punches on the nose” said to connect the bare knuckle fighter Bob Fitzsimmons to his feeble, gloved successors.{{sfn|Liebling|1982|p=1}} As John Whalen-Bridge has noted, it was not unusual for Mailer’s obituaries to announce that he had “wanted,” and failed, “to be the Hemingway of his generation,” thus refusing to recognize “that Mailer, in presenting himself as a 'poor man's papa' offered a parodic, postmodern rejuvenation and not a wannabe.”{{sfn|mailer|2010|p=181-82}}

While it would be misleading to deny that, for both, to talk of writing in relation to boxing was a way of talking about ambition and manliness as well as literature, the precise “equation of masculinity with greatness in literature," as Oates puts it, is hardly self-evident.{{sfn|Oates|1988|p=303}}

'''BOXING AS AMERICAN CRAFT'''

For Mailer, Hemingway represented a distinct variety of the “quintessentially American”— the kind that responds to “legitimate” fears of “the river,” or “chaos,” by writing about, and indeed enacting, the effort to secure “the camp.”{{sfn|Mailer|1982|p=92}} By constructing, and reducing, style, Hemingway created both a circumscribed “mold into which everything else had to fit” and a kind of “rabbit’s foot.”{{sfn|Kazin|1973|p=5}}

Hemingway’s view of boxing is closely connected to this conception of style—what Alfred Kazin describes as the modernist “dream of literature as perfect order.”{{sfn|Kazin|1973|p=15}} But, of course, it was only ever a dream. In practice, as "The Sun Also Rises" (1926) suggests, boxing and writing are seldom perfectly ordered.{{sfn|Hemingway|1926}} Boxing is first introduced into the novel as the sport of amateurs such as Robert Cohn, whose dilettante dabbling in the gymnasiums of Princeton and Paris is straightforwardly aligned with his “very poor novel” from a “fairly good publisher.”{{sfn|Hemingway|1926|p=10}}{{sfn|Hemingway|1926|p=9}} Cohn is contrasted with two professionals: first Jake himself, a journalist who is happiest after a “good morning’s work,” and then Bill Gorton, who has “made a lot of money on his last book, and was going to make a lot more.”{{sfn|Hemingway|1926|p=13}}{{sfn|Hemingway|1926|p=34}} Gorton arrives in Paris from New York Where he has seen a “whole crop of great light heavyweights. Any one of them was a good prospect to grow up, put on weight and trim Dempsey.”{{sfn|Hemingway|1926|p=33-34}} The suggestion is that Gorton is himself a literary contender, although his experience of crooked prize fighting in Vienna reminds us how impure the profession of boxing (and, by extension, the profession of writing) really is.

Bullfighting is like boxing "should" be—Jake describes a bull having "a left and a right just like a boxer."{{sfn|Hemingway|1926|p=116}} Pedro Romero, the only completely admirable character in the novel, represents the professional ideal. His "work"—neither he nor Jake call it "sport" or "art"—is characterized by its "sincerity" (he does not "simulate") and its "absolute purity of line."{{sfn|Hemingway|1926|p=140}}{{sfn|Hemingway|1926|p=144}} “It was not brilliant bull-fighting,” Jake says, “it was only perfect bull-fighting.”{{sfn|Hemingway|1926|p=178}} But such perfection can only exist in what Jake characterizes as the primitive culture of Spain; elsewhere, all that fighters or writers can do is try to work as “hard” and as “clean” as the modern world will allow.{{sfn|Hemingway|1926|p=181}}{{sfn|Hemingway|1926|p=14}}

Mailer evoked the boxing-and-bullfighting combination in “The Deer Park,” his third novel and the one in which he most directly confronts the Hemingway persona and style.{{sfn|Mailer|1955}} It is the story of an Irish-American orphan called Sergius O’Shaugnessy, who before the story begins had “boxed [his] way into the middleweight semi-finals of an Air Force enlisted man's tournament” and therefore into flying school.{{sfn|Mailer|1955|p=45}} O’Shaugnessy goes first to Hollywood, where the producers are initially dismissive ("I didn’t even know the athlete could read;" and then, when he gets depressed—becoming “a boxer without a punch”—he goes to Mexico. There he plans to learn to be the “first great and recognized American matador” , but finally he gives up his novel on bullfighting as “inevitably imitative” of Hemingway.{{sfn|Mailer|1955|p=198}}{{sfn|Mailer|1955|p=325}}{{sfn|Mailer|1955|p=352}}{{sfn|Mailer|1955|p=353}} O’Shaugnessy’s crisis of confidence reflected that of his creator. On receiving the novel’s proofs, Mailer decided that "The Deer Park" needed substantial revision. He would abandon its “poetic prose,” rip up its “silk,” smash its “porcelain,” create a first person voice “bigger” and more “muscular” than himself, and, “like a fighter who throws his right two seconds after the bell,” think much more closely about variations in pace.{{sfn|Mailer|1959|p=235}}{{sfn|Mailer|1959|p=239}} In leaving the controlled Hemingway style behind, in other words, the novel would regain punch. His next book, "Advertisements for Myself" (1959), he later said, was the first one to be “written in what became my style.”{{sfn|Mailer|1959}}{{sfn|Mailer|1982|p=145}}

That style was never again going to be confused with Hemingway’s—not that it ever really was. However much O’Shaugnessy might worry about imitation, no one had ever thought of Mailer as a pure and orderly minimalist. And yet, throughout his career Mailer nevertheless felt the need to speak out forcefully against the modernist credo of technique as mere “craft,” its tendency to reach for “a grab bag of procedures, tricks, lore, formal gymnastics, symbolic superstructures—methodology, in short.”{{sfn|Mailer|2003|p=104}} “Craft” was a dirty, or at least dismissive, word—one Mailer elsewhere associates with “light and middleweight” boxers. Heavyweights are always something more than “hardworking craftsmen”; they have “inner lives.”{{sfn|Mailer|1972|p=10}} As late as "Harlot’s Ghost" (1991), Mailer was linking a devotion “to craft” and “Procedures ”with a misplaced desire for order—here employed by the CIA all over the globe—with the American camp-building (or Hemingwayesque) tradition.{{sfn|Mailer|1991}} Hemingway himself crops up many times in the novel. The narrator, Harry Hubbard, recalls getting an “A”on a college paper about Shakespearean quality of the “consciously chosen irony of the later style.”{{sfn|Mailer|1991|p=167}} When he expands on this to Rodman Knowles Gardiner, the Shakespeare scholar retorts,“‘Why concern yourself with the copyist?’” But Gardiner himself is a kind of copyist, naming his daughter for
Hemingway’s first wife, Hadley, whose hair (“cut short like a boy’s”) is also in imitation of the original.{{sfn|Mailer|1991|p=167}}
Harry marries the girl. Still other characters are associated either with Hemingway hangouts—Oak Park or Sloppy Joe’s bar in Havana—or quote his "bon mots". But the key connection comes in the form of the narrator’s father, Cal Hubbard, who bears a considerable “degree of resemblance” to the writer in build, mustache and presence; he’s a drunk and a “prodigious philanderer” who’s fond of big-game hunting and cross-country skiing and who hangs elephant tusks and a pair of miniature boxing gloves said to belong to Jack Dempsey above his drinks cabinet.{{sfn|Mailer|1991|p=166-7}}{{sfn|Mailer|1991|p=114}} He is also, as a CIA operative, a great proponent of “protocol,” “craft,” and the “rules of procedure.”{{sfn|Mailer|1991|p=869}}{{sfn|Mailer|1991|p=445}} {{sfn|Mailer|1991|p=241}}

Harry Hubbard is only half Hubbard, of course—his mother is a Silberzweig—and as well as reading Hemingway, he enjoys Irwin Shaw’s "The Young Lions" because “Noah Ackerman, the Jew, had appealed to me.”{{sfn|Mailer|1991|p=145}}
Harry also reflects upon the character of Robert Cohn—whose upper class New York background he shares—and to some extent, he belongs to the ranks of Cohn’s literary “avengers.”{{sfn|Mailer|1991|p=422}}{{sfn|Fiedler|1964|p=71}} "Harlot’s Ghost" reveals the limits of methodology and “purity of intent” and instead asserts the virtues of division and dialectic, of ongoing “war”and “relation.”{{sfn|Mailer|1991|p=1021}}{{sfn|Mailer|1991|p=594}}

And yet, in Mailer’s eyes Hemingway was divided, too. He may have been a craftsman but he was not a "mere" craftsman. As much as D.H. Lawrence or Henry Miller—indeed, every major figure in the Mailer pantheon—Hemingway was a “great writer, for he contained a cauldron of boiling opposites.”{{sfn|Mailer|1971|p=137}} Reviewing Morley Callaghan’s "That Summer in Paris" in 1963, Mailer declared that Hemingway’s bravery was “an act of will”; the “heroic”product of a lifelong struggle with “cowardice” and an ability to carry “a weight of anxiety within him” which would have “suffocated any man smaller than himself."{{sfn|Mailer|1966|p=159}} His decision to reprint these comments as the first “prelude” to "The Time Of Our Time" suggests that they should be thought of, in some way, as initiating his own work.{{sfn|Mailer|1998|p=4}} What Hemingway’s example initiated was not a style or methodology—not camp—building—but a fascination with the futile effort involved in such constructions and an awareness of the incapacity of all camps to remain secure, to keep the river away.

For all that Hemingway strove to be “classic,” “sophisticated,” “purer,” and “graceful,” for all that he represented the ideals of “scrupulosity,”“manners,” and “gravity”, the chaos of his “inner” life was still apparent to Mailer.{{sfn|Mailer|1982|p=912}}{{sfn|Mailer|1972|p=10}} In other words, like Cal Hubbard,"[t]he two halves of his soul were far apart."{{sfn|Mailer|1991|p=117}} The question was one of balance. At his best, like Hubbard, Hemingway’s “strength was that he had managed to find some inner cooperation between these disparate halves.”{{sfn|Mailer|1991|p=117}} At “his worst” shortly before his death, the “old moldering” writer was adding to “the nausea he once cleared away.”{{sfn|Mailer|1959|p=474}}{{sfn|Mailer|1959|p=477}}{{sfn|Mailer|1959|p=474}}

'''BEING MACHO IS NO FUN'''{{sfn|Mailer|2006|p=185}}

Nowhere in Hemingway’s fiction does what Mailer called the “continuing battle” of “being a man” emerge more clearly than in his representation of boxers.{{sfn|Mailer|1959|p=222}} To consider a boxer (especially a heavyweight) is to consider a man who should—at least in the world into which Hemingway was born—epitomize a straightforward, unambiguous Anglo-Saxon heterosexual manliness. But, for one reason or another, Hemingway’s boxers are unable to fulfill the brief. Cooperation between one’s disparate halves— “the Champ and the Fraud” —is not always possible.{{sfn|Mailer|1971|p=160}}

Consider “The Light of the World” (1933), in which the teenage narrator and his friend, Tom, encounter a motley crew of late-night travelers at a rail-way station: “five whores . . . and six white men and four Indians.”{{sfn|Hemingway|1933}}{{sfn|Hemingway|1966|p=385}} Among the prostitutes are two “big” women, Alice and Peroxide, who argue about who really knew “Steve” or “Stanley” Ketchel (they also can’t agree on the first name). The cook remembers Stanley Ketchel’s 1909 fight with Jack Johnson, in particular how Ketchel had floored Johnson in the 12th round just before Johnson knocked him out. Peroxide attributes Ketchel’s defeat to a punch by Johnson (“the big black bastard” when Ketchel, “the only man she ever loved,” smiled at her in the audience.{{sfn|Hemingway|1966|p=389}}{{sfn|Hemingway|1966|p=388}} Alice remembers Steve Ketchel telling her she was “a lovely piece.”{{sfn|Hemingway|1966|p=390}} Both women refer continuously to Ketchel’s “whiteness”—“I never saw a man as clean and as white and as beautiful,” says Peroxide.{{sfn|Hemingway|1966|p=388}} “White,” as Walter Benn Michaels notes, “becomes an adjective describing character instead of skin;” and so, Ketchel is figured as a kind of Christ-like figure, while Johnson, “that black son of a bitch from hell,” is the devil.{{sfn|Michaels|1988|p=193}}{{sfn|Hemingway|1966|p=389}}

Ketchel’s pseudo-divinity is further suggested by such statements as “I loved him like you love God;” “His own father shot and killed him. Yes, by Christ, his own father;” and, of course, the title.{{sfn|Hemingway|1966|p=388}} Philip Young points out that Hemingway placed this story after “the most pessimistic of all his stories,” “A Clean, Well-Lighted Place,” in Winner Take Nothing, “as if the point of the story is really that the light of the world has gone out.”{{sfn|Young|1966|p=50}}

But there seems to be more going on under the surface of this particular iceberg. First, the confusion of names and facts is important. Stanley Ketchel was not killed by his father—that was Steve Ketchel, a lightweight boxer, who never got near Johnson. Stanley was shot in 1910 by the husband of a woman with whom he was having an affair. Second, of all boxers, Stanley Ketchel was perhaps the most unlikely possible candidate for Redeemer. His nickname was the “Michigan Assassin,” and, according to one reporter, “he couldn’t get "enough" blood.”{{sfn|Roberts|1986|p=82}} While the prostitutes may be seeking salvation, the story that they tell is absurd. So what is going on? Howard Hannum argues that much of the dialogue between the two women “has the quality of counterpunching,” as if they are restaging Ketchel’s contest against Johnson: here, the (bleached) blonde versus the heavyweight.{{sfn|Roberts|1986|p=325}} But the cook’s role also needs to be considered. The discussion of whiteness begins when the narrator notices a “white man” speaking; “his face was white and his hands were white and thin.”{{sfn|Hemingway|1966|p=385}} The other men tease the cook about the whiteness of his hands (“he puts lemon juice on his hands”) and hint that he is gay.{{sfn|Hemingway|1966|p=386}} Are these two things connected? And, if they are, what does that suggest about clean, white, beautiful Ketchel? When asked his age, Tom joins in the sexual bantering with hints at “inversion”—“I’m ninety-six and he’s sixty-nine”—but throughout the boys remain uneasy and confused.{{sfn|Hemingway|1966|p=387}} By the end of the story, the narrator seems quite smitten with Alice (“she had the prettiest face I ever saw.”{{sfn|Hemingway|1966|p=391}} Tom notices this and says it is time to leave. The supposedly natural order of whites beating blacks, men having sex with women, and “huge” whores being unappealing has been unsettled.{{sfn|Hemingway|1966|p=386}} When the cook asks where the boys are going, Tom replies, “the other way from you.”{{sfn|Hemingway|1966|p=391}}

Racial and sexual ambiguities also trouble “The Battler,” one of the Nick Adams initiation stories in "In Our Time" (1925).{{sfn|Hemingway|1925}} The story begins with Nick himself having just survived a battle with a brakeman on a freight train. He has been thrown off the train and lands with a scuffed knee and bruise on the face, of which he is rather proud— “He wished he could see it”—but he is still standing.{{sfn|Hemingway|1966|p=129}} “He was all right.”{{sfn|Hemingway|1966|p=129}} Nick then ventures into another battling arena—a fire-lit camp that seems to be a refuge but which also turns out to be a kind of boxing ring. There he encounters Ad Francis, an ex-champion prizefighter whose bruises are more impressive, and much more disgusting, than his own:

<blockqoute>In the firelight Nick saw that his face was misshapen. His nose was sunken, his eyes were like slits, he had queer-shaped lips. Nick did not perceive all this at once, he only saw the man’s face was queerly formed and mutilated. It was like putty in color. Dead looking in the firelight.{{sfn|Hemingway|1966|p=131}}</blockquote>

That “Nick did not perceive all this at once” suggests that he kept looking away.{{sfn|Hemingway|1966|p=131}} “Don’t you like my pan?” the fighter asks, revealing even worse: “He had only one ear. It was thickened and tight against the side of his head. Where the other one should have been there was a stump.”{{sfn|Hemingway|1966|p=131}} Although Nick is “a little sick,” he counters Ad’s pugnacious assertions with gusto:

<blockqoute>'It must have made him [the brakeman] feel good to bust you,’the man said seriously. ‘I’ll bust him.’. . . . . . . . . . . ‘All you kids are tough.’‘You got to be tough,’ Nick said.‘That’s what I said.’</blockquote>

Nick’s pleasure at establishing a rapport with a fellow battler is short-lived, however. Ad, he discovers, is unstable (“crazy”), and depends on his companion Bugs to stop him from battling.{{sfn|Hemingway|1966|p=132}} When Ad tries to start a fight with Nick, in “an ugly parody of a boxing match,” Bugs intervenes by knocking him out with a stick from behind in a manner that recalls Hemingway’s very first story, “A Matter of Color.”{{sfn|Strychacz|1989|p=252}}{{sfn|Bruccoli|1971|p=98-100}} Color is also important here as Nick is obviously startled by the fact that Bugs is black, and makes a great deal of his “negro's voice,” the “negro” way he walks, and his “long nigger’s legs.”{{sfn|Hemingway|1966|p=133}} Although it has been argued that the story reveals Hemingway’s racism, these almost compulsively repeated epithets (like those describing whiteness in “The Light of the World”) seem to be Nick’s as he struggles to understand the relationship between the two men. White prizefighters, after all, were not supposed to have black friends. Bugs tells Nick a story about Ad which adds to his confusion. Ad had a woman manager, and it was always being “written up in the papers all about brothers and sisters and how she loved her brother and how he loved his sister, and then they got married in New York and that made a lot of unpleasantness.”{{sfn|Hemingway|1966|p=136-137}} Nick vaguely remembers this, but then Bugs adds,“[O]f course they wasn’t really brother and sister no more than a rabbit, but there was a lot of people didn’t like it either way.”{{sfn|Hemingway|1966|p=137}} Bugs repeatedly stresses how “awful good-looking” the woman was, and how she “looked enough like him to be twins.”{{sfn|Strychacz|1989|p=252}} Some have read this admiring comment (along with the description of Ad’s face as “queerly formed” and his lips as “queer shaped” as a suggestion that the two men may be lovers.{{sfn|Hemingway|1966|p=131}} Less directly, like “The Light of the World,” the story slides anxiously between taboos—incest becomes homosexuality becomes miscegenation. The “perplexing behavior” of boxers once more promises to reveal the perplexing nature of masculinity, and again the boy flees.{{sfn|Brenner|1990|p=159}}

What boxers reveal again and again is that the biggest of men are just “not big enough” to take on the “dark” and ambiguous world that surrounds the most well-regulated and well-lit ring, as the narrator of “Fifty Grand” notes.{{sfn|Hemingway|1966|p=320}} The first quotation above is from Mailer’s response to a question from his son, John Buffalo Mailer, about the relation between boxing and writing. A writer, he said, like a fighter, can come to realize that he’s “[b]ig, but not big enough.”{{sfn|Mailer|2006|p=189}} This is an insight that Nick Adams tries to avoid in “The Killers” (1927){{sfn|Hemingway|1927}} Two men show up in a small-town café and hold the staff hostage as they wait for the man they want to kill, Ole Andreson, a former heavyweight boxer. When Nick, who has been in the café, tells Andreson about the men, the boxer says that nothing can be done to save him and turns his face to the wall. Little more than a page of this eleven-page story is devoted to Nick’s encounter with Andreson, but it changes everything. The gangsters dub Nick “bright boy,” but the story reveals how little he knows about power and powerlessness.{{sfn|Hemingway|1927|p=283}} In an attempt to escape his revelation—that the heavyweight, the epitome of masculinity, is not prepared to fight back—Nick decides to move on. “I can’t stand to think about him waiting in the room and knowing he’s going to get it.”{{sfn|Hemingway|1927|p=289}} As in the case of “The Battler” and “The Light of the World,” the story ends with Nick preparing to “get out of this town.”{{sfn|Hemingway|1927|p=289}}

'''BOXING AS AMERICAN WAR'''

The boxers in these stories reveal the ways in which seemingly solid distinctions between hypermasculinity and homosexuality, between whiteness and blackness or Jewishness—confront and often threaten to collapse into each other. As Walter Benn Michaels remarks of "The Sun Also Rises," “Hemingway’s obsessive commitment to distinguishing between Cohn and Jake only makes sense in the light of their being in some sense indistinguishable.”{{sfn|Michaels|1995|p=27}} For all their differences, Robert Cohn and Jake Barnes are both “taken in hand” by Brett Ashley, “manipulated” in a way that recalls the boxer dolls that Jake nearly trips over on the Boulevard des Capuchines.{{sfn|Hemingway|1976|p=8}} There, a “girl assistant lackadaisically pulls the threads that make the dolls dance, while she stands with “folded hands,” “looking away.”{{sfn|Hemingway|1927|p=32}}

America (condensed into American masculinity) was, to use a favorite Mailer word, “schizoid,” and the boxing match—for Mailer much more persistently than for Hemingway—provided a metaphor or structure within which to explore its violently felt divisions. Like a literary Tex Rickard or Don King, Mailer specialized in setting up big matches: an essential masculinity is pitted against an essential femininity; an idealized heterosexuality confronts a mythical homosexuality; imaginary “blacks” encounter imaginary “whites.” The continuing clash of one hero against each other is what constitutes “[e]xistential politics,” and “form . . . is the record of a war . . . as seen in a moment of rest.{{sfn|Mailer|1963|p=6}}{{sfn|Mailer|1966|p=370}} In fiction then, Mailer’s characters became the embodiments of opposing positions which need to be argued through; in non-fiction, he favored the Q&A, in which he could have “A Rousing Club Fight” with an interviewer, or sometimes enter the “arena” with an imagined alter ego.{{sfn|Mailer|1963|p=125}}{{sfn|Mailer|1972|p=182-90}} And sometimes genres—in particular, fiction and history—argue with each other. “[T]he element which is exciting, disturbing, nightmarish perhaps, is that incompatibles have come to bed.”{{sfn|Mailer|1959|p=342}}

If all relationships have a comparable dialectic structure, then it makes equal sense to use the language of sex to describe boxing—the first fifteen seconds of a fight are equivalent “to the first kiss in a love affair”—and the language of boxing to describe sex.{{sfn|Mailer|1972|p=29}} For the narrator of "The Time of Her Time," for example, the "dialectic" of sex stages conflicts between Jewishness and non-Jewishness, high culture and low culture, and even the competing therapeutic claims of Sigmund Freud and Wilhelm Reich.{{sfn|Mailer|1959}}{{sfn|Mailer|1959|p=495}} If conflict is the model for the relationship between men and women, men additionally face an internal battle between heterosexuality and homosexuality (Mailer does not think that women have this problem). So the brutal outcome of the 1962 fight between Emile Griffith and Benny (Kid) Paret is said to dramatize the "biological force" with which men disavow their inherent homosexuality.{{sfn|Mailer|1963|p=243}} Paret had taunted Griffith with homophobic remarks at the weigh-in and during the fight, and Griffith responded by beating him to death. For Mailer, this is an example of the ring not doing its usual job of containing and controlling (or sublimating) sexual desire.

The boxing ring also enacts, and thus mostly contains, another conflict that Mailer saw as fundamental to American culture of "our time," one between blacks and whites ("Time" x). Again, the challenge is to foreground and disrupt familiar stereotypical dichotomies: between whites, who are civilized, sophisticated, cerebral, literate, and literary; and blacks, who are primitive, illiterate, attuned to the pleasures of the body, and fluent in its language.{{sfn|Mailer|1959|p=341}} James Baldwin (and many others) complained about Mailer’s tendency to see "us as goddam romantic black symbols." But Mailer saw everyone and everything symbolically. For Patterson vs. Liston, therefore, read Art vs. Magic, Love vs. Sex, God vs. the Devil.

'''HEMINGWAY AND ALI: EXISTENTIAL EGO'''

“I think there is a wonderful study to be made about the similarities between Ernest Hemingway and Muhammad Ali,” Mailer told Michael Lennon in 1980, making a start himself. Both men, he argued, “come out of that same American urgency to be the only planet in existence". "To be the sun"—and at the heart of each was a dialectical struggle that was somehow both personal and national.{{sfn|Mailer|1982|p=161-162}} The fact that "the mightiest victim of injustice in America" was also “the mightiest narcissist in the land,” he observed of Ali in 1971, proved that "the twentieth century was nothing if not a tangle of opposition."{{sfn|Mailer|1972|p=28}} "Ego" (later renamed "King of the Hill"), an account of Ali’s comeback fight against Joe Frazier, is not only about a "dialogue between bodies," but about a dialogue within Ali himself.{{sfn|Mailer|1971|p=19}} For Mailer, the triumph of the fight’s end is that Ali has somehow managed to reconcile his two "sides"—he could dance, displaying "exquisite" grace, figured as black and feminine—but he could also "stand," revealing, for the first time, qualities of endurance to "moral and physical torture," figured as white and masculine.{{sfn|Mailer|1972|p=86}}{{sfn|Mailer|1972|p=93}}

Troublesome "contradictions" also "[fall] away" in "The Fight" (1974), an account of Ali’s "Rumble in the Jungle" with George Foreman.{{sfn|Mailer|1974}} Once again, the issue is survival as much as victory. Mailer models his essay on Hazlitt’s 1821 piece of the same name. As Hazlitt’s narrator-protagonist begins by announcing his desire to escape the sentimental complications of daily life, Mailer declares his disappointing love affair with himself. As Hazlitt travels companionably to the heart of the country, discussing Cobbett and Rousseau en route, Mailer flies Pan Am to Conrad’s "Heart of Darkness" in Vachel Lindsay’s "Congo,"” and on the return journey, plays dice with the air stewardess. Both men experience a "restoration of being" through journeys to watch boxing.{{sfn|Mailer|1974|p=239}} But while Hazlitt ends by simply acknowledging the ephemeral achievement of both the boxing match and his own essay, Mailer wants more—nothing less, in fact, than the restoration of the title "champ among writers."{{sfn|Mailer|1974|p=33}} The book plays with various versions of magical thinking, but all are designed to the same end: "the powers of regeneration in an artist."{{sfn|Mailer|1974|p=162}} Ali works magic on Mailer by showing him that regeneration is possible; and set against his example is that of Hemingway, whose suicide fourteen years earlier haunts the book.{{sfn|Mailer|1974|p=123}}{{sfn|Mailer|1974|p=162}} Ali, in other words, is both Hemingway and a kind of anti-Hemingway.

"'BOXING WITH HEMINGWAY"'

So what does it mean to box with another writer? For Hemingway, at least in his youth, the analogy expressed the inevitability of succession. Once a great boxer or writer had lost his crown, there was no reclaiming it. The old must give way to the new. So in 1924 he complained to Ezra Pound that the writers Ford Madox Ford was selecting for transatlantic review were the literary equivalents of Great White Hope Jim Jeffries, dragged out of retirement for one last fight: "The thing to do with Ford is to kill him.... I am fond of Ford. This ain’t personal. It’s literary."{{sfn|Hemingway|1985|p=116}} Killing is also what Hemingway envisaged for Sherwood Anderson, reimagined as the has-been heavyweight Ole Andreson in "The Killers;" "a sock on the jaw" was not enough to settle the score. In an early draft of the story, the fighter was called Nerone; Hemingway changed the name to Anderson and then, finally, to Andreson.

For all that he joshed about minor and major contenders, Mailer’s sense of literary influence was—like everything else in his worldview—less teleological than dialectical, less a matter of drastic, once-and-for-all Oedipal action than a conversation between competing tastes and loyalties.{{sfn|Mailer|1982|p=149}} To develop as a writer, Mailer did not want to kill Hemingway off so much as to continue to spar with him, while also sparring with (among many others along the way) Henry Miller and Herman Melville. If “Prelude—I” of "The Time of Our Time" evokes Hemingway, the presiding figure of its concluding "Acknowledgments and Appreciations" is Dos Passos, whose 1936 trilogy "USA" Mailer once described as "the most successful portrait of America in the first half of the twentieth century."{{sfn|Bruce/Webster|1982|p=173}} Setting up one "great American author" or "literary athlete" against another while, at the same time, looking forward to other juxtapositions—that was what boxing meant to Mailer: a way of exposing the truth that, in the ring or on the page, "no two Americas will prove identical."{{sfn|Mailer|1982|p=87}}{{sfn|Mailer|1982|p=92}}{{sfn|Mailer|1998|p=x}} Nothing, as he liked to say, "is settled after all."{{sfn|Mailer|1982|p=86}}

{{Review}}
===Citations===

{{Reflist}}
===Works Cited===
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* {{cite book |last=Oates |first=Joyce Carol |year=1988a |title=On Boxing |location=London |publisher=Pan |ref=harv}}
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* {{cite book |last=Poirier |first=Richard |year=1972 |title=Mailer |location=London |publisher=Fontana |ref=harv}}
* {{cite book |last=Roberts |first=Randy |year=1986 |title=Papa Jack: Jack Johnson and the Era of White Hopes |location=London |publisher=Robson Books |ref=harv}}
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{{Refbegin}}

{{Review}}
{{DEFAULTSORT:Mailer, Hemingway, and Boxing}}
[[Category:Articles (MR)]]

The Mailer Review/Volume 4, 2010/Mailer, Hemingway, and Boxing

2025-04-19T18:36:40Z

KaraCroissant:

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{{Byline|last=Boddy|first=Kasia |url=http://prmlr.us/mr04bod |abstract=This article explores the literary and cultural intersections of boxing, masculinity, and authorship in the works of Hemingway, Mailer, and others. It highlights how these writers engaged with boxing both as metaphor and material, using the sport to shape their public personas and literary styles.}}
{{dc|dc=I|n 1998, Norman Mailer published ''The Time of Our Time''}}, a 1,300 page retrospective of his own work, covering not simply of the “fifty years of American time” which had passed since his first novel, ''The Naked and the Dead'', had appeared but also the previous nineteen, as Mailer had understood them.{{sfn|Mailer|1998}} The book begins with two “preludes,” the first, an account of the “historic afternoon” in June 1929 when Morley Callaghan floored Ernest Hemingway in a boxing ring at the American Club in Paris, is entitled “''Boxing with Hemingway''."

It is often assumed that the relationship between Mailer, Hemingway and boxing is a matter of simple repetition. As Hemingway sought to “square up” Turgenev, Maupassant and Tolstoy in order to become the heavy weight “champion” of the literary world {{sfn|Hemingway|1981|p=673}}, so Mailer aspired to become the next generation's “novelist as giant” by taking on and superseding Hemingway.{{sfn|Mailer|1966|p=96}} Mailer himself then became “the man to beat for the men and women who punch out words”{{sfn|Healy|1996|p=173}} so Max Apple imagines being “Inside Norman Mailer”{{sfn|Healy|1986|p=49}} while Joyce Carol Oates fantasizes about “eat[ing] Mailer’s heart.”{{sfn|Oates|1988|p=335}} But it may not be as straightforward as all that.

Mailer was certainly happy to use boxing to express competitiveness. If the
original Romantic writer as boxer Lord Byron had dismissed the
“quarrels of authors” as an inferior form of sparring, mere evidence of “an irritable set” (''Gunn 142''){{sfn|Gunn|1972|p=142}}, Mailer believed that regular spats with other male writers at parties, during protest marches and, mostly, on TV was an essential part of “keep[ing] in shape” (''Cannibals 217''){{sfn|Mailer|1966|p=217}}. The chat show provided an ideal forum for literary quarrels which Mailer repeatedly imagined as boxing matches. After an appearance with Nelson Algren, for example, he concluded that “[t]wo middleweight artists had fought a draw” (''Cannibals 178''){{sfn|Mailer|1966|p=178}}.His much publicized quarrel with Gore Vidal on ''The Dick Cavett Show'' in 1971 was a less satisfactory affair. Sharing the couch with the two men was Janet Flanner, whom Mailer accused of being “Mr. Vidal’s manager” instead of the “referee” (Mailer, ''Pieces 65''){{sfn|Mailer|1982|p=65}}; at the end of the Show, Cavett asked the audience to “let us know who you think won” (73){{sfn|Mailer|1982|p=73}}.

How seriously should we take all this? Mailer once declared himself the “Ezzard Charles of the heavyweight division” (''Pontifications 161''){{sfn|Mailer|1971|p=161}} and argued that to claim the title in the sixties was hardly hubris when the competition “was so minor” (''Cannibals 124''){{sfn|Mailer|1966|p=124}}. To announce that “‘I’m going to be the champ until one of you knocks me off ’” was, Mailer suggested, simply a way of offering Baldwin, Bellow and the others a little encouragement (''Pieces 70''){{sfn|Mailer|1982|p=70}}. But “champ” was just one of many “half-heroic and three-quarters comic” advertisements for himself that he cultivated (''Pontifications 153''){{sfn|Mailer|1971|p=153}}. In The ''Armies of the Night (1968){{sfn|Mailer|1968}}'', for example, he noted the instability of his speaking voice at the Pentagon demonstration against the Vietnam war; how, without any plan, his accent shifted from Irish to Texan, from “Marlon Brando’s voice in ''The Wild One''” (127){{sfn|Mailer|1968|p=127}} to some “Woo-eeeee’s" and grunts which showed “hints of Cassius Clay” (48){{sfn|Mailer|1968|p=48}}. Eventually he tried “to imitate a most high and executive voice,” but that too came out as “[s]hades of Cassius Clay” (60){{sfn|Mailer|1968|p=60}}. The extent to which Mailer played with, or cultivated for effect, a “false legend of much machismo” is often forgotten (''Pieces 21''){{sfn|Mailer|1982|p=21}}.

Mailer's humor, and his self-mocking presentation of manliness as an elaborately constructed masquerade, has often been missed in discussions of his relationship with Hemingway. Most commentators read their respective claims of champ (or should that be “dumb ox”?) as indicators of a straightforward genealogy of decline of an easy to understand (and thus easy to dismiss) machismo; the passage from writer to writer providing a pale imitation of the “series of punches on the nose” said to connect the bare knuckle fighter Bob Fitzsimmons to his feeble, gloved successors (Liebling 1){{sfn|Liebling|1982|p=1}}. As John Whalen-Bridge has noted, it was not unusual for Mailer’s obituaries to announce that he had “wanted,” and failed, “to be the Hemingway of his generation,” thus refusing to recognize “that Mailer, in presenting himself as a 'poor man's papa' offered a parodic, postmodern rejuvenation and not a wannabe” (181–82){{sfn|mailer|2010|p=181-82}}.

While it would be misleading to deny that, for both, to talk of writing in relation to boxing was a way of talking about ambition and manliness as well as literature, the precise “equation of masculinity with greatness in literature," as Oates puts it, is hardly self-evident (“Hemingway Mystique” 303){{sfn|Oates|1988|p=303}}.

'''BOXING AS AMERICAN CRAFT'''
For Mailer, Hemingway represented a distinct variety of the “quintessentially American”— the kind that responds to “legitimate” fears of “the river,” or “chaos,” by writing about, and indeed enacting, the effort to secure “the camp” (''Pieces 92''){{sfn|Mailer|1982|p=92}}. By constructing, and reducing, style, Hemingway created both a circumscribed “mold into which everything else had to fit” and a kind of “rabbit’s foot” (Kazin 5){{sfn|Kazin|1973|p=5}}.

Hemingway’s view of boxing is closely connected to this conception of style—what Alfred Kazin describes as the modernist “dream of literature as perfect order” (15){{sfn|Kazin|1973|p=15}}. But, of course, it was only ever a dream. In practice, as ''The Sun Also Rises'' (1926){{sfn|Hemingway|1926}} suggests, boxing and writing are seldom perfectly ordered. Boxing is first introduced into the novel as the sport of amateurs such as Robert Cohn, whose dilettante dabbling in the gymnasiums of Princeton and Paris is straightforwardly aligned with his “very poor novel” (10){{sfn|Hemingway|1926|p=10}} from a “fairly good publisher”(9){{sfn|Hemingway|1926|p=9}}. Cohn is contrasted with two professionals: first Jake himself, a journalist who is happiest after a “good morning’s work” (13){{sfn|Hemingway|1926|p=13}}, and then Bill Gorton, who has “made a lot of money on his last book, and was going to make a lot more” (34){{sfn|Hemingway|1926|p=34}}. Gorton arrives in Paris from New York Where he has seen a “whole crop of great light heavyweights. Any one of them was a good prospect to grow up, put on weight and trim Dempsey” (33-34){{sfn|Hemingway|1926|p=33-34}}. The suggestion is that Gorton is himself a literary contender, although his experience of crooked prize fighting in Vienna reminds us how impure the profession of boxing (and, by extension, the profession of writing) really is.

Bullfighting is like boxing ''should'' be—Jake describes a bull having "a left and a right just like a boxer" (116){{sfn|Hemingway|1926|p=116}}. Pedro Romero, the only completely admirable character in the novel, represents the professional ideal. His "work"—neither he nor Jake call it "sport" or "art" (140){{sfn|Hemingway|1926|p=140}}—is characterized by its "sincerity" (he does not "simulate") and its "absolute purity of line" (144){{sfn|Hemingway|1926|p=144}}.“It was not brilliant bull-fighting,” Jake says,“it was only perfect bull-fighting” (178){{sfn|Hemingway|1926|p=178}}. But such perfection can only exist in what Jake characterizes as the primitive culture of Spain; elsewhere, all that fighters or writers can do is try to work as “hard” (181){{sfn|Hemingway|1926|p=181}} and as “clean” (14){{sfn|Hemingway|1926|p=14}} as the modern world will allow.

Mailer evoked the boxing-and-bullfighting combination in ''The Deer Park'' (1955){{sfn|Mailer|1955}}, his third novel and the one in which he most directly confronts the Hemingway persona and style. It is the story of an Irish-American orphan called Sergius O’Shaugnessy, who before the story begins had “boxed [his] way into the middleweight semi-finals of an Air Force enlisted man's tournament” (45){{sfn|Mailer|1955|p=45}} and therefore into flying school. O’Shaugnessy goes first to Hollywood, where the producers are initially dismissive ("I didn’t even know the athlete could read" (198)){{sfn|Mailer|1955|p=198}}; and then, when he gets depressed—becoming “a boxer without a punch” (325){{sfn|Mailer|1955|p=325}}—he goes to Mexico. There he plans to learn to be the “first great and recognized American matador” (352){{sfn|Mailer|1955|p=352}}, but finally he gives up his novel on bullfighting as “inevitably imitative” of Hemingway (353){{sfn|Mailer|1955|p=353}}. O’Shaugnessy’s crisis of confidence reflected that of his creator. On receiving the novel’s proofs, Mailer decided that ''The Deer Park'' needed substantial revision. He would abandon its “poetic prose,” rip up its “silk,” smash its “porcelain,” create a first person voice “bigger” and more “muscular” than himself (''Advertisements'' 235–37){{sfn|Mailer|1959|p=235}}, and, “like a fighter who throws his right two seconds after the bell,” think much more closely about variations in pace (239){{sfn|Mailer|1959|p=239}}. In leaving the controlled Hemingway style behind, in other words, the novel would regain punch. His next book, ''Advertisements for Myself'' (1959){{sfn|Mailer|1959}}, he later said, was the first one to be “written in what became my style” (''Pontifications'' 145){{sfn|Mailer|1982|p=145}}.

That style was never again going to be confused with Hemingway’s—not that it ever really was.However much O’Shaugnessy might worry about imitation, no one had ever thought of Mailer as a pure and orderly minimalist. And yet, throughout his career Mailer nevertheless felt the need to speak out forcefully against the modernist credo of technique as mere “craft,” its tendency to reach for “a grab bag of procedures, tricks, lore, formal gymnastics, symbolic superstructures—methodology, in short” (''Spooky'' 104){{sfn|Mailer|2003|p=104}}.“Craft” was a dirty, or at least dismissive, word—one Mailer elsewhere associates with “light and middleweight” boxers. Heavyweights are always something more than “hardworking craftsmen”; they have “inner lives”(''Existential'' 10){{sfn|Mailer|1972|p=10}}. As late as ''Harlot’s Ghost'' (1991){{sfn|Mailer|1991}}, Mailer was linking a devotion “to craft” and “Procedures ”with a misplaced desire for order—here employed by the CIA all over the globe—with the American camp-building (or Hemingwayesque) tradition. Hemingway himself crops up many times in the novel. The narrator, Harry Hubbard, recalls getting an “A”on a college paper about Shakespearean quality of the “consciously chosen irony of the later style” (167){{sfn|Mailer|1991|p=167}}. When he expands on this to Rodman Knowles Gardiner, the Shakespeare scholar retorts,“‘Why concern yourself with the copyist?’” But Gardiner himself is a kind of copyist, naming his daughter for
Hemingway’s first wife, Hadley, whose hair (“cut short like a boy’s”) is also in imitation of the original (''Harlot’s'' 167){{sfn|Mailer|1991|p=167}}.
Harry marries the girl. Still other characters are associated either with Hemingway hangouts—Oak Park or Sloppy Joe’s bar in Havana—or quote his ''bon mots''. But the key connection comes in the form of the narrator’s father, Cal Hubbard, who bears a considerable “degree of resemblance” (116–7){{sfn|Mailer|1991|p=166-7}} to the writer in build, mustache
and presence; he’s a drunk and a
“prodigious philanderer” (114){{sfn|Mailer|1991|p=114}} who’s fond of big-game hunting and cross-country skiing and who hangs elephant tusks and a pair of miniature boxing gloves said to belong to Jack Dempsey above
his drinks cabinet. He is also, as a CIA operative, a great proponent of “protocol” (869){{sfn|Mailer|1991|p=869}},
“craft” (445){{sfn|Mailer|1991|p=445}} and the “rules of procedure” (241){{sfn|Mailer|1991|p=241}}.

Harry Hubbard is only half Hubbard, of course—his mother is a Silberzweig—and as well as reading Hemingway, he enjoys Irwin Shaw’s ''The Young Lions'' because “Noah Ackerman, the Jew, had appealed to me” (145){{sfn|Mailer|1991|p=145}}.
Harry also reflects upon the character of Robert Cohn (422){{sfn|Mailer|1991|p=422}}—whose upper class New York background he shares—and to some extent, he belongs to the ranks of Cohn’s literary “avengers” (Fiedler 71){{sfn|Fiedler|1964|p=71}}. ''Harlot’s Ghost'' reveals the limits of methodology and “purity of intent” (1021){{sfn|Mailer|1991|p=1021}} and instead asserts the virtues of division and dialectic, of ongoing “war”and “relation”(594){{sfn|Mailer|1991|p=594}}.

And yet, in Mailer’s eyes Hemingway was divided, too. He may have been a craftsman but he was not a ''mere'' craftsman. As much as D.H. Lawrence or Henry Miller—indeed, every major figure in the Mailer pantheon—Hemingway was a “great writer, for he contained a cauldron of boiling opposites” (Mailer, ''Prisoner'' 137){{sfn|Mailer|1971|p=137}}. Reviewing Morley Callaghan’s ''That Summer in Paris'' in 1963, Mailer declared that Hemingway’s bravery was “an act of will”; the “heroic”product of a lifelong struggle with “cowardice” and an ability to carry “a weight of anxiety within him” which would have “suffocated any man smaller than himself" (''Cannibals'' 159){{sfn|Mailer|1966|p=159}}. His decision to reprint these comments as the first “prelude” to ''The Time Of Our Time'' suggests that they should be thought of, in some way, as initiating his own work (''Time'' 4){{sfn|Mailer|1998|p=4}}. What Hemingway’s example initiated was not a style or methodology—not camp—building—but a fascination with the futile effort involved in such constructions and an awareness of the incapacity of all camps to remain secure, to keep the river away.

For all that Hemingway strove to be “classic,” “sophisticated,” “purer,” and “graceful,” for all that he represented the ideals of “scrupulosity,”“manners,” and “gravity” (''Pieces'' 912){{sfn|Mailer|1982|p=912}}, the chaos of his “inner” life was still apparent to Mailer (''Existential'' 10){{sfn|Mailer|1972|p=10}}. In other words, like Cal Hubbard,"[t]he two halves of his soul were far apart" (''Harlot’s'' 117){{sfn|Mailer|1991|p=117}}. The question was one of balance. At his best, like Hubbard, Hemingway’s “strength was that he had managed to find some inner cooperation between these disparate halves” (''Harlot’s'' 117){{sfn|Mailer|1991|p=117}}. At “his worst” (''Advertisements'' 474){{sfn|Mailer|1959|p=474}} shortly before his death, the “old moldering” (477){{sfn|Mailer|1959|p=477}} writer was adding to “the nausea he once cleared away” (474){{sfn|Mailer|1959|p=474}}.

'''“BEING MACHO IS NO FUN”''' (''THE BIG EMPTY 185''){{sfn|Mailer|2006|p=185}} Nowhere in Hemingway’s fiction does what Mailer called the “continuing battle” of “being a man” emerge more clearly than in his representation of boxers (''Advertisements'' 222){{sfn|Mailer|1959|p=222}}. T o consider a boxer (especially a heavyweight) is to consider a man who should—at least in the world into which Hemingway was born—epitomize a straightforward, unambiguous Anglo-Saxon heterosexual manliness. But, for one reason or another, Hemingway’s boxers are unable to fulfill the brief. Cooperation between one’s disparate halves— “the Champ and the Fraud” —is not always possible (''Pontifications'' 160){{sfn|Mailer|1971|p=160}}.

Consider “The Light of the World” (1933){{sfn|Hemingway|1933}}, in which the teenage narrator and his friend, Tom, encounter a motley crew of late-night travelers at a rail-way station: “five whores . . . and six white men and four Indians” (Hemingway, ''Short Stories'' 385){{sfn|Hemingway|1966|p=385}}. Among the prostitutes are two “big” women, Alice and Peroxide, who argue about who really knew “Steve” or “Stanley” Ketchel (they also can’t agree on the first name). The cook remembers Stanley Ketchel’s 1909 fight with Jack Johnson, in particular how Ketchel had floored Johnson in the 12th round just before Johnson knocked him out. Peroxide attributes Ketchel’s defeat to a punch by Johnson (“the big black bastard” (389)){{sfn|Hemingway|1966|p=389}} when Ketchel, “the only man she ever loved” (388){{sfn|Hemingway|1966|p=388}}, smiled at her in the audience. Alice remembers Steve Ketchel telling her she was “a lovely piece” (390){{sfn|Hemingway|1966|p=390}}. Both women refer continuously to Ketchel’s “whiteness”—“I never saw a man as clean and as white and as beautiful,” says Peroxide (388){{sfn|Hemingway|1966|p=388}}. “White,” as Walter Benn Michaels notes, “becomes an adjective describing character instead of skin” (“The Souls” 193){{sfn|Michaels|1988|p=193}}; and so, Ketchel is figured as a kind of Christ-like figure, while Johnson, “that black son of a bitch from hell” (Hemingway,“The Light” 389){{sfn|Hemingway|1966|p=389}}, is the devil.

Ketchel’s pseudo-divinity is further suggested by such statements as “I loved him like you love God”; “His own father shot and killed him. Yes, by Christ, his own father” (388){{sfn|Hemingway|1966|p=388}}; and, of course, the title. Philip Young points out that Hemingway placed this story after “the most pessimistic of all his stories,” “A Clean, Well-Lighted Place,” in Winner Take Nothing, “as if the point of the story is really that the light of the world has gone out” (50){{sfn|Young|1966|p=50}}.

But there seems to be more going on under the surface of this particular iceberg. First, the confusion of names and facts is important. Stanley Ketchel was not killed by his father—that was Steve Ketchel, a lightweight boxer, who never got near Johnson. Stanley was shot in 1910 by the husband of a woman with whom he was having an affair. Second, of all boxers, Stanley Ketchel was perhaps the most unlikely possible candidate for Redeemer. His nickname was the “Michigan Assassin,” and, according to one reporter, “he couldn’t get ''enough'' blood” (Roberts 82){{sfn|Roberts|1986|p=82}}. While the prostitutes may be seeking salvation, the story that they tell is absurd. So what is going on? Howard Hannum argues that much of the dialogue between the two women “has the quality of counterpunching,” as if they are restaging Ketchel’s contest against Johnson: here, the (bleached) blonde versus the heavyweight (325){{sfn|Roberts|1986|p=325}}. But the cook’s role also needs to be considered. The discussion of whiteness begins when the narrator notices a “white man” speaking; “his face was white and his hands were white and thin” (Hemingway, “The Light” 385){{sfn|Hemingway|1966|p=385}}. The other men tease the cook about the whiteness of his hands (“he puts lemon juice on his hands” (386)){{sfn|Hemingway|1966|p=386}} and hint that he is gay. Are these two things connected? And, if they are, what does that suggest about clean, white, beautiful Ketchel? When asked his age, Tom joins in the sexual bantering with hints at “inversion”—“I’m ninety-six and he’s sixty-nine” (387){{sfn|Hemingway|1966|p=387}}—but throughout the boys remain uneasy and confused. By the end of the story, the narrator seems quite smitten with Alice (“she had the prettiest face I ever saw” (391)){{sfn|Hemingway|1966|p=391}}. Tom notices this and says it is time to leave. The supposedly natural order of whites beating blacks, men having sex with women, and “huge” whores being unappealing has been unsettled (386){{sfn|Hemingway|1966|p=386}}. When the cook asks where the boys are going, Tom replies, “the other way from you” (391){{sfn|Hemingway|1966|p=391}}.

Racial and sexual ambiguities also trouble “The Battler,” one of the Nick Adams initiation stories in ''In Our Time'' (1925){{sfn|Hemingway|1925}}. The story begins with Nick himself having just survived a battle with a brakeman on a freight train. He has been thrown off the train and lands with a scuffed knee and bruise on the face, of which he is rather proud— “He wished he could see it” (“Battler” 129){{sfn|Hemingway|1966|p=129}}—but he is still standing. “He was all right” (129). Nick then ventures into another battling arena—a fire-lit camp that seems to be a refuge but which also turns out to be a kind of boxing ring. There he encounters Ad Francis, an ex-champion prizefighter whose bruises are more impressive, and much more disgusting, than his own:

In the firelight Nick saw that his face was misshapen. His nose was sunken, his eyes were like slits, he had queer-shaped lips. Nick did not perceive all this at once, he only saw the man’s face was queerly formed and mutilated. It was like putty in color. Dead looking in the firelight. (131){{sfn|Hemingway|1966|p=131}}

That “Nick did not perceive all this at once” suggests that he kept looking
away (131). “Don’t you like my pan?” the fighter asks, revealing even worse: “He had only one ear. It was thickened and tight against the side of his head.
Where the other one should have been there was a stump” (131). Although Nick is “a little sick,” he counters Ad’s pugnacious assertions with gusto:

‘It must have made him [the brakeman] feel good to bust you,’the man said seriously. ‘I’ll bust him.’. . . . . . . . . . . ‘All you kids are tough.’‘You got to be tough,’ Nick said.‘That’s what I said.’ (131)

Nick’s pleasure at establishing a rapport with a fellow battler is short-lived, however. Ad, he discovers, is unstable (“crazy”), and depends on his companion Bugs to stop him from battling (132){{sfn|Hemingway|1966|p=132}}. When Ad tries to start a fight with Nick, in “an ugly parody of a boxing match” (Strychacz 252){{sfn|Strychacz|1989|p=252}}, Bugs intervenes by knocking him out with a stick from behind in a manner that recalls Hemingway’s very first story, “A Matter of Color” (Bruccoli 98-100){{sfn|Bruccoli|1971|p=98-100}}. Color is also important here as Nick is obviously startled by the fact that Bugs is black, and makes a great deal of his “negro's voice,” the “negro” way he walks, and his “long nigger’s legs” (Hemingway,“Battler” 133){{sfn|Hemingway|1966|p=133}}. Although it has been argued that the story reveals Hemingway’s racism, these almost compulsively repeated epithets (like those describing whiteness in “The Light of the World”) seem to be Nick’s as he struggles to understand the relationship between the two men. White prizefighters, after all, were not supposed to have black friends. Bugs tells Nick a story about Ad which adds to his confusion. Ad had a woman manager, and it was always being “written up in the papers all about brothers and sisters and how she loved her brother and how he loved his sister, and then they got married in New York and that made a lot of unpleasantness” (136-37){{sfn|Hemingway|1966|p=136-137}}. Nick vaguely remembers this, but then Bugs adds,“[O]f course they wasn’t really brother and sister no more than a rabbit, but there was a lot of people didn’t like it either way” (137){{sfn|Hemingway|1966|p=137}}. Bugs repeatedly stresses how “awful good-looking” the woman was, and how she “looked enough like him to be twins” (137). Some have read this admiring comment (along with the description of Ad’s face as “queerly formed” and his lips as “queer shaped” (131)){{sfn|Hemingway|1966|p=131}} as a suggestion that the two men may be lovers. Less directly, like “The Light of the World,” the story slides anxiously between taboos—incest becomes homosexuality becomes miscegenation. The “perplexing behavior” of boxers once more promises to reveal the perplexing nature of masculinity, and again the boy flees (Brenner 159){{sfn|Brenner|1990|p=159}}.

What boxers reveal again and again is that the biggest of men are just “not big enough” to take on the “dark” and ambiguous world that surrounds the most well-regulated and well-lit ring, as the narrator of “Fifty Grand” notes (Hemingway 320){{sfn|Hemingway|1966|p=320}}. The first quotation above is from Mailer’s response to a question from his son, John Buffalo Mailer, about the relation between boxing and writing. A writer, he said, like a fighter, can come to realize that he’s “[b]ig, but not big enough” (''Big Empty'' 189){{sfn|Mailer|2006|p=189}}. This is an insight that Nick Adams tries to avoid in “The Killers” (1927){{sfn|Hemingway|1927}}. Two men show up in a small-town café and hold the staff hostage as they wait for the man they want to kill, Ole Andreson, a former heavyweight boxer. When Nick, who has been in the café, tells Andreson about the men, the boxer says that nothing can be done to save him and turns his face to the wall. Little more than a page of this eleven-page story is devoted to Nick’s encounter with Andreson, but it changes everything. The gangsters dub Nick “bright boy,” but the story reveals how little he knows about power and powerlessness (Hemingway,“Killers” 283){{sfn|Hemingway|1927|p=283}}. In an attempt to escape his revelation—that the heavyweight, the epitome of masculinity, is not prepared to fight back—Nick decides to move on. “I can’t stand to think about him waiting in the room and knowing he’s going to get it” (289){{sfn|Hemingway|1927|p=289}}. As in the case of “The Battler” and “The Light of the World,” the story ends with Nick preparing to “get out of this town” (289).

'''BOXING AS AMERICAN WAR'''
The boxers in these stories reveal the ways in which seemingly solid distinctions between hypermasculinity and homosexuality, between whiteness and blackness or Jewishness—confront and often threaten to collapse into each other. As Walter Benn Michaels remarks of ''The Sun Also Rises'', “Hemingway’s obsessive commitment to distinguishing between Cohn and Jake only makes sense in the light of their being in some sense indistinguishable” (''Our America'' 27){{sfn|Michaels|1995|p=27}}. For all their differences, Robert Cohn and Jake Barnes are both “taken in hand” by Brett Ashley, “manipulated” in a way that recalls the boxer dolls that Jake nearly trips over on the Boulevard des Capuchines (Hemingway, ''The Sun'' 8){{sfn|Hemingway|1976|p=8}}. There, a “girl assistant lackadaisically pulls the threads that make the dolls dance, while she stands with “folded hands,” “looking away” (32){{sfn|Hemingway|1927|p=32}}.

America (condensed into American masculinity) was, to use a favorite Mailer word, “schizoid,” and the boxing match—for Mailer much more persistently than for Hemingway—provided a metaphor or structure within which to explore its violently felt divisions. Like a literary Tex Rickard or Don King, Mailer specialized in setting up big matches: an essential masculinity is pitted against an essential femininity; an idealized heterosexuality confronts a mythical homosexuality; imaginary “blacks” encounter imaginary “whites.” The continuing clash of one hero against each other is what constitutes “[e]xistential politics” (Mailer, ''Presidential'' 6){{sfn|Mailer|1963|p=6}}, and “form . . . is the record of a war . . . as seen in a moment of rest (''Cannibals'' 370){{sfn|Mailer|1966|p=370}}. In fiction then, Mailer’s characters became the embodiments of opposing positions which need to be argued through; in non-fiction, he favored the Q&A, in which he could have “A Rousing Club Fight” with an interviewer (''Presidential'' 125){{sfn|Mailer|1963|p=125}}, or sometimes enter the “arena” with an imagined alter ego (Existential 182-90){{sfn|Mailer|1972|p=182-90}}. And sometimes genres—in particular, fiction and history—argue with each other. “[T]he element which is exciting, disturbing, nightmarish perhaps, is that incompatibles have come to bed” (''Advertisements'' 342){{sfn|Mailer|1959|p=342}}.

If all relationships have a comparable dialectic structure, then it makes equal sense to use the language of sex to describe boxing—the first fifteen seconds of a fight are equivalent “to the first kiss in a love affair”—and the language of boxing to describe sex (Existential 29){{sfn|Mailer|1972|p=29}}. For the narrator of “''The Time of Her Time''” (1959){{sfn|Mailer|1959}}, for example, the ''dialectic'' of sex stages conflicts between Jewishness and non-Jewishness, high culture and low culture, and even the competing therapeutic claims of Sigmund Freud and Wilhelm Reich (''Advertisements'' 495){{sfn|Mailer|1959|p=495}}. If conflict is the model for the relationship between men and women, men additionally face an internal battle between heterosexuality and homosexuality (Mailer does not think that women have this problem). So the brutal outcome of the 1962 fight between Emile Griffith and Benny (Kid) Paret is said to dramatize the ''biological force'' with which men disavow their inherent homosexuality (''Presidential'' 243){{sfn|Mailer|1963|p=243}}. Paret had taunted Griffith with homophobic remarks at the weigh-in and during the fight, and Griffith responded by beating him to death. For Mailer, this is an example of the ring not doing its usual job of containing and controlling (or sublimating) sexual desire.

The boxing ring also enacts, and thus mostly contains, another conflict that Mailer saw as fundamental to American culture of ''our time'', one between blacks and whites (''Time'' x). Again, the challenge is to foreground and disrupt familiar stereotypical dichotomies: between whites, who are civilized, sophisticated, cerebral, literate, and literary; and blacks, who are primitive, illiterate, attuned to the pleasures of the body, and fluent in its language (''Advertisements'' 341){{sfn|Mailer|1959|p=341}}. James Baldwin (and many others) complained about Mailer’s tendency to see “''us as goddam romantic black symbols''” (''Weatherby'' 78){{sfn|Mailer|1977|p=78}}. But Mailer saw everyone and everything symbolically. For Patterson vs. Liston, therefore, read Art vs. Magic, Love vs. Sex, God vs. the Devil.

'''HEMINGWAY AND ALI: EXISTENTIAL EGO''' “I think there is a wonderful study to be made about the similarities between Ernest Hemingway and Muhammad Ali,” Mailer told Michael Lennon in 1980, making a start himself. Both men, he argued, “''come out of that same American urgency to be the only planet in existence''. ''To be the sun''”—and at the heart of each was a dialectical struggle that was somehow both personal and national (''Pontifications'' 161–162){{sfn|Mailer|1982|p=161-162}}. The fact that “''the mightiest victim of injustice in America''” was also “the mightiest narcissist in the land,” he observed of Ali in 1971, proved that “''the twentieth century was nothing if not a tangle of opposition''” (''Existential'' 28){{sfn|Mailer|1972|p=28}}. “''Ego''” (later renamed “''King of the Hill''”), an account of Ali’s comeback fight against Joe Frazier, is not only about a “''dialogue between bodies''” (''Norman'' 19){{sfn|Mailer|1971|p=19}} but about a dialogue within Ali himself. For Mailer, the triumph of the fight’s end is that Ali has somehow managed to reconcile his two ''sides''—he could dance, displaying ''exquisite'' grace, figured as black and feminine (86){{sfn|Mailer|1972|p=86}}—but he could also ''stand'', revealing, for the first time, qualities of endurance to ''moral and physical torture'', figured as white and masculine (93){{sfn|Mailer|1972|p=93}}.

Troublesome ''contradictions'' also “''[fall] away''” in ''The Fight'' (1974){{sfn|Mailer|1974}}, an account of Ali’s “''Rumble in the Jungle''” with George Foreman. Once again, the issue is survival as much as victory. Mailer models his essay on Hazlitt’s 1821 piece of the same name. As Hazlitt’s narrator-protagonist begins by announcing his desire to escape the sentimental complications of daily life, Mailer declares his disappointing love affair with himself. As Hazlitt travels companionably to the heart of the country, discussing Cobbett and Rousseau en route, Mailer flies Pan Am to Conrad’s “''Heart of Darkness''” in Vachel Lindsay’s “''Congo'',” and on the return journey, plays dice with the air stewardess. Both men experience a “''restoration of being''” through journeys to watch boxing (''The Fight'' 239){{sfn|Mailer|1974|p=239}}. But while Hazlitt ends by simply acknowledging the ephemeral achievement of both the boxing match and his own essay, Mailer wants more—nothing less, in fact, than the restoration of the title “''champ among writers''” (33){{sfn|Mailer|1974|p=33}}. The book plays with various versions of magical thinking, but all are designed to the same end: “''the powers of regeneration in an artist''” (162){{sfn|Mailer|1974|p=162}}. Ali works magic on Mailer by showing him that regeneration is possible; and set against his example is that of Hemingway, whose suicide fourteen years earlier haunts the book (123, 162){{sfn|Mailer|1974|p=123}}{{sfn|Mailer|1974|p=162}}. Ali, in other words, is both Hemingway and a kind of anti-Hemingway.

'''BOXING WITH HEMINGWAY'''
So what does it mean to box with another writer? For Hemingway, at least in his youth, the analogy expressed the inevitability of succession. Once a great boxer or writer had lost his crown, there was no reclaiming it. The old must give way to the new. So in 1924 he complained to Ezra Pound that the writers Ford Madox Ford was selecting for transatlantic review were the literary equivalents of Great White Hope Jim Jeffries, dragged out of retirement for one last fight: “''The thing to do with Ford is to kill him.... I am fond of Ford. This ain’t personal. It’s literary''” (''Ernest'' 116){{sfn|Hemingway|1985|p=116}}. Killing is also what Hemingway envisaged for Sherwood Anderson, reimagined as the has-been heavyweight Ole Andreson in “''The Killers''”; “''a sock on the jaw''” was not enough to settle the score.In an early draft of the story, the fighter was called Nerone; Hemingway changed the name to Anderson and then, finally, to Andreson.

For all that he joshed about minor and major contenders, Mailer’s sense of literary influence was—like everything else in his worldview—less teleological than dialectical, less a matter of drastic, once-and-for-all Oedipal action than a conversation between competing tastes and loyalties (Mailer, ''Pontifications'' 149){{sfn|Mailer|1982|p=149}}. To develop as a writer, Mailer did not want to kill Hemingway off so much as to continue to spar with him, while also sparring with (among many others along the way) Henry Miller and Herman Melville. If “''Prelude—I''” of ''The Time of Our Time'' evokes Hemingway, the presiding figure of its concluding “''Acknowledgments and Appreciations''” is Dos Passos, whose 1936 trilogy ''USA'' Mailer once described as “''the most successful portrait of America in the first half of the twentieth century''” (Bruce and Webster 173){{sfn|Bruce/Webster|1982|p=173}}. Setting up one “''great American author''” (Mailer, ''Pieces'' 87){{sfn|Mailer|1982|p=87}} or “''literary athlete''” (92){{sfn|Mailer|1982|p=92}} against another while, at the same time, looking forward to other juxtapositions—that was what boxing meant to Mailer: a way of exposing the truth that, in the ring or on the page, “''no two Americas will prove identical''” (''Time'' x){{sfn|Mailer|1998|p=x}}. Nothing, as he liked to say, “''is settled after all''” (''Pieces'' 86){{sfn|Mailer|1982|p=86}}.

{{Review}}
===Citations===

{{Reflist}}
===Works Cited===
{{Refbegin}}
* {{cite book |last=Algren |first=Nelson |year=1963 |title=Who Lost an American? |location=New York |publisher=Macmillan |ref=harv}}
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* {{cite book |last=Anderson |first=Sherwood |year=1984 |editor-last=Modlin |editor-first=Charles |title=Selected Letters |location=Knoxville |publisher=University of Tennessee Press |ref=harv}}
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* {{cite book |last=Boddy |first=Kasia |year=2008 |title=Boxing: A Cultural History |location=London |publisher=Reaktion Books |ref=harv}}
* {{cite book |editor-last=Bruccoli |editor-first=Matthew J. |year=1971 |title=Ernest Hemingway’s Apprenticeship: Oak Park, 1916–1917 |location=Chicago |publisher=NCR Microcard |ref=harv}}
* {{cite book |last=Callaghan |first=Morley E. |year=1963 |title=That Summer in Paris |location=New York |publisher=Coward-McCann |ref=harv}}
* {{cite book |last=Dearborn |first=Mary V. |year=1999 |title=Mailer: A Biography |location=Boston |publisher=Houghton |ref=harv}}
* {{cite book |last=Donaldson |first=Scott |year=1999 |title=Hemingway vs. Fitzgerald: The Rise and Fall of a Literary Friendship |location=New York |publisher=Overlook Press |ref=harv}}
* {{cite book |last=Early |first=Gerald |year=1989 |title=Tuxedo Junction: Essays on American Culture |location=New York |publisher=Ecco Press |pages=183–195 |ref=harv}}
* {{cite book |last=Fiedler |first=Leslie |year=1964 |title=Waiting for the End |location=London |publisher=Penguin |ref=harv}}
* {{cite book |last=Gunn |first=Peter |year=1972 |title=Byron: Selected Letters and Journals |location=London |publisher=Penguin |ref=harv}}
* {{cite book |last=Healy |first=Thomas |year=1996 |title=A Hurting Game |location=London |publisher=Picador |ref=harv}}
* {{cite book |last=Heller |first=Peter |year=1994 |title=In This Corner...! 42 World Champions Tell Their Stories |location=New York |publisher=Da Capo Press |ref=harv}}
* {{cite book |last=Hemingway |first=Ernest |year=1966 |title=The Short Stories of Ernest Hemingway |location=New York |publisher=Scribner’s |ref=harv}}
* {{cite book |last=Hemingway |first=Ernest |year=1985 |editor-last=Baker |editor-first=Carlos |title=Ernest Hemingway: Selected Letters, 1917–1961 |location=London |publisher=Panther |ref=harv}}
* {{cite book |last=Hemingway |first=Ernest |year=2009 |title=A Moveable Feast: The Restored Edition |location=New York |publisher=Scribner’s |ref=harv}}
* {{cite book |last=Hemingway |first=Ernest |year=1976 |title=The Sun Also Rises |location=London |publisher=Flamingo |ref=harv}}
* {{cite journal |last=Inglis |first=David L. |year=1974 |title=Morley Callaghan and the Hemingway Boxing Legend |journal=Notes on Contemporary Literature |pages=4–7 |ref=harv}}
* {{cite book |last=Kazin |first=Alfred |year=1973 |title=Bright Book of Life |location=Boston |publisher=Little, Brown & Co. |ref=harv}}
* {{cite book |last=Lennon |first=J. Michael |year=2003 |title=The Spooky Art: Some Thoughts on Writing |location=New York |publisher=Random House |ref=harv}}
* {{cite book |last=Liebling |first=A. J. |year=1982 |title=The Sweet Science |location=London |publisher=Penguin |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1955 |title=The Deer Park |location=New York |publisher=G.P. Putnam’s Sons |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1959 |title=Advertisements for Myself |location=New York |publisher=G.P. Putnam’s Sons |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1963 |title=The Presidential Papers |location=New York |publisher=G.P. Putnam’s Sons |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1965 |title=An American Dream |location=New York |publisher=Dial Press |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1966 |title=Cannibals and Christians |location=New York |publisher=Dial Press |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1968 |title=The Armies of the Night |location=New York |publisher=New American Library |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1971a |title=King of the Hill |location=New York |publisher=New American Library |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1971b |title=The Prisoner of Sex |location=Boston |publisher=Little, Brown & Co. |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1972 |title=Existential Errands |location=Boston |publisher=Little, Brown & Co. |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1973 |title=Marilyn |location=New York |publisher=Grosset & Dunlap |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1975 |title=The Fight |location=Boston |publisher=Little, Brown & Co. |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1982 |title=Pieces and Pontifications |location=Boston |publisher=Little, Brown & Co. |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1991 |title=Harlot’s Ghost |location=New York |publisher=Random House |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1998 |title=The Time of Our Time |location=New York |publisher=Random House |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=2006 |title=The Big Empty |location=New York |publisher=Nation Books |ref=harv}}
* {{cite journal |last=Messenger |first=Christian |year=1987 |title=Norman Mailer: Boxing and the Art of His Narrative |journal=Modern Fiction Studies |pages=85–104 |ref=harv}}
* {{cite book |last=Michaels |first=Walter Benn |year=1995 |title=Our America |location=Durham |publisher=Duke University Press |ref=harv}}
* {{cite book |last=Monteiro |first=George |year=1990 |editor-last=Benson |editor-first=Jackson J. |title=This is My Pal Bugs: Ernest Hemingway’s “The Battler” |location=Durham |publisher=Duke University Press |pages=224–228 |ref=harv}}
* {{cite book |last=Oates |first=Joyce Carol |year=1974 |title=New Heaven, New Earth |location=New York |publisher=Vanguard Press |ref=harv}}
* {{cite book |last=Oates |first=Joyce Carol |year=1988a |title=On Boxing |location=London |publisher=Pan |ref=harv}}
* {{cite book |last=Oates |first=Joyce Carol |year=1988b |editor-last=Halpern |editor-first=Daniel |title=Our Private Lives |location=New York |publisher=Ecco Press |pages=301–309 |ref=harv}}
* {{cite book |last=Poirier |first=Richard |year=1972 |title=Mailer |location=London |publisher=Fontana |ref=harv}}
* {{cite book |last=Roberts |first=Randy |year=1986 |title=Papa Jack: Jack Johnson and the Era of White Hopes |location=London |publisher=Robson Books |ref=harv}}
* {{cite book |last=St. John |first=Bruce |year=1965 |title=John Sloan’s New York Scene |location=New York |publisher=Harper |ref=harv}}
* {{cite book |last=Weatherby |first=W. J. |year=1977 |title=Squaring-Off: Mailer v. Baldwin |location=London |publisher=Robson Books |ref=harv}}
{{Refbegin}}

{{Review}}
{{DEFAULTSORT:Mailer, Hemingway, and Boxing}}
[[Category:Articles (MR)]]

The Mailer Review/Volume 4, 2010/Mailer, Hemingway, and Boxing

2025-04-19T18:33:51Z

KaraCroissant: fixed citation list

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{{Byline|last=Boddy|first=Kasia |url=http://prmlr.us/mr04bod |abstract=This article explores the literary and cultural intersections of boxing, masculinity, and authorship in the works of Hemingway, Mailer, and others. It highlights how these writers engaged with boxing both as metaphor and material, using the sport to shape their public personas and literary styles.}}
{{dc|dc=I|n 1998, Norman Mailer published ''The Time of Our Time''}}, a 1,300 page retrospective of his own work, covering not simply of the “fifty years of American time” which had passed since his first novel, ''The Naked and the Dead'', had appeared but also the previous nineteen, as Mailer had understood them (ix){{sfn|Mailer|1998}}. The book begins with two “preludes,” the first, an account of the “historic afternoon” in June 1929 when Morley Callaghan floored Ernest Hemingway in a boxing ring at the American Club in Paris, is entitled “''Boxing with Hemingway''."

It is often assumed that the relationship between Mailer, Hemingway and boxing is a matter of simple repetition. As Hemingway sought to “square up” Turgenev, Maupassant and Tolstoy in order to become the heavy weight “champion” of the literary world (Hemingway, ''Selected Letters 673''){{sfn|Hemingway|1981|p=673}},so Mailer aspired to become the next generation's “novelist as giant” by taking on and superseding Hemingway (Mailer, ''Cannibals 96''){{sfn|Mailer|1966|p=96}}. Mailer himself then became “the man to beat for the men and women who punch out words” (''Healy 173''){{sfn|Healy|1996|p=173}} so Max Apple imagines being “Inside Norman Mailer” (49){{sfn|Healy|1986|p=49}} while Joyce Carol Oates fantasizes about “eat[ing] Mailer’s heart” (''Our Private Lives 335''){{sfn|Oates|1988|p=335}}. But it may not be as straightforward as all that.

Mailer was certainly happy to use boxing to express competitiveness. If the
original Romantic writer as boxer Lord Byron had dismissed the
“quarrels of authors” as an inferior form of sparring, mere evidence of “an irritable set” (''Gunn 142''){{sfn|Gunn|1972|p=142}}, Mailer believed that regular spats with other male writers at parties, during protest marches and, mostly, on TV was an essential part of “keep[ing] in shape” (''Cannibals 217''){{sfn|Mailer|1966|p=217}}. The chat show provided an ideal forum for literary quarrels which Mailer repeatedly imagined as boxing matches. After an appearance with Nelson Algren, for example, he concluded that “[t]wo middleweight artists had fought a draw” (''Cannibals 178''){{sfn|Mailer|1966|p=178}}.His much publicized quarrel with Gore Vidal on ''The Dick Cavett Show'' in 1971 was a less satisfactory affair. Sharing the couch with the two men was Janet Flanner, whom Mailer accused of being “Mr. Vidal’s manager” instead of the “referee” (Mailer, ''Pieces 65''){{sfn|Mailer|1982|p=65}}; at the end of the Show, Cavett asked the audience to “let us know who you think won” (73){{sfn|Mailer|1982|p=73}}.

How seriously should we take all this? Mailer once declared himself the “Ezzard Charles of the heavyweight division” (''Pontifications 161''){{sfn|Mailer|1971|p=161}} and argued that to claim the title in the sixties was hardly hubris when the competition “was so minor” (''Cannibals 124''){{sfn|Mailer|1966|p=124}}. To announce that “‘I’m going to be the champ until one of you knocks me off ’” was, Mailer suggested, simply a way of offering Baldwin, Bellow and the others a little encouragement (''Pieces 70''){{sfn|Mailer|1982|p=70}}. But “champ” was just one of many “half-heroic and three-quarters comic” advertisements for himself that he cultivated (''Pontifications 153''){{sfn|Mailer|1971|p=153}}. In The ''Armies of the Night (1968){{sfn|Mailer|1968}}'', for example, he noted the instability of his speaking voice at the Pentagon demonstration against the Vietnam war; how, without any plan, his accent shifted from Irish to Texan, from “Marlon Brando’s voice in ''The Wild One''” (127){{sfn|Mailer|1968|p=127}} to some “Woo-eeeee’s" and grunts which showed “hints of Cassius Clay” (48){{sfn|Mailer|1968|p=48}}. Eventually he tried “to imitate a most high and executive voice,” but that too came out as “[s]hades of Cassius Clay” (60){{sfn|Mailer|1968|p=60}}. The extent to which Mailer played with, or cultivated for effect, a “false legend of much machismo” is often forgotten (''Pieces 21''){{sfn|Mailer|1982|p=21}}.

Mailer's humor, and his self-mocking presentation of manliness as an elaborately constructed masquerade, has often been missed in discussions of his relationship with Hemingway. Most commentators read their respective claims of champ (or should that be “dumb ox”?) as indicators of a straightforward genealogy of decline of an easy to understand (and thus easy to dismiss) machismo; the passage from writer to writer providing a pale imitation of the “series of punches on the nose” said to connect the bare knuckle fighter Bob Fitzsimmons to his feeble, gloved successors (Liebling 1){{sfn|Liebling|1982|p=1}}. As John Whalen-Bridge has noted, it was not unusual for Mailer’s obituaries to announce that he had “wanted,” and failed, “to be the Hemingway of his generation,” thus refusing to recognize “that Mailer, in presenting himself as a 'poor man's papa' offered a parodic, postmodern rejuvenation and not a wannabe” (181–82){{sfn|mailer|2010|p=181-82}}.

While it would be misleading to deny that, for both, to talk of writing in relation to boxing was a way of talking about ambition and manliness as well as literature, the precise “equation of masculinity with greatness in literature," as Oates puts it, is hardly self-evident (“Hemingway Mystique” 303){{sfn|Oates|1988|p=303}}.

'''BOXING AS AMERICAN CRAFT'''
For Mailer, Hemingway represented a distinct variety of the “quintessentially American”— the kind that responds to “legitimate” fears of “the river,” or “chaos,” by writing about, and indeed enacting, the effort to secure “the camp” (''Pieces 92''){{sfn|Mailer|1982|p=92}}. By constructing, and reducing, style, Hemingway created both a circumscribed “mold into which everything else had to fit” and a kind of “rabbit’s foot” (Kazin 5){{sfn|Kazin|1973|p=5}}.

Hemingway’s view of boxing is closely connected to this conception of style—what Alfred Kazin describes as the modernist “dream of literature as perfect order” (15){{sfn|Kazin|1973|p=15}}. But, of course, it was only ever a dream. In practice, as ''The Sun Also Rises'' (1926){{sfn|Hemingway|1926}} suggests, boxing and writing are seldom perfectly ordered. Boxing is first introduced into the novel as the sport of amateurs such as Robert Cohn, whose dilettante dabbling in the gymnasiums of Princeton and Paris is straightforwardly aligned with his “very poor novel” (10){{sfn|Hemingway|1926|p=10}} from a “fairly good publisher”(9){{sfn|Hemingway|1926|p=9}}. Cohn is contrasted with two professionals: first Jake himself, a journalist who is happiest after a “good morning’s work” (13){{sfn|Hemingway|1926|p=13}}, and then Bill Gorton, who has “made a lot of money on his last book, and was going to make a lot more” (34){{sfn|Hemingway|1926|p=34}}. Gorton arrives in Paris from New York Where he has seen a “whole crop of great light heavyweights. Any one of them was a good prospect to grow up, put on weight and trim Dempsey” (33-34){{sfn|Hemingway|1926|p=33-34}}. The suggestion is that Gorton is himself a literary contender, although his experience of crooked prize fighting in Vienna reminds us how impure the profession of boxing (and, by extension, the profession of writing) really is.

Bullfighting is like boxing ''should'' be—Jake describes a bull having "a left and a right just like a boxer" (116){{sfn|Hemingway|1926|p=116}}. Pedro Romero, the only completely admirable character in the novel, represents the professional ideal. His "work"—neither he nor Jake call it "sport" or "art" (140){{sfn|Hemingway|1926|p=140}}—is characterized by its "sincerity" (he does not "simulate") and its "absolute purity of line" (144){{sfn|Hemingway|1926|p=144}}.“It was not brilliant bull-fighting,” Jake says,“it was only perfect bull-fighting” (178){{sfn|Hemingway|1926|p=178}}. But such perfection can only exist in what Jake characterizes as the primitive culture of Spain; elsewhere, all that fighters or writers can do is try to work as “hard” (181){{sfn|Hemingway|1926|p=181}} and as “clean” (14){{sfn|Hemingway|1926|p=14}} as the modern world will allow.

Mailer evoked the boxing-and-bullfighting combination in ''The Deer Park'' (1955){{sfn|Mailer|1955}}, his third novel and the one in which he most directly confronts the Hemingway persona and style. It is the story of an Irish-American orphan called Sergius O’Shaugnessy, who before the story begins had “boxed [his] way into the middleweight semi-finals of an Air Force enlisted man's tournament” (45){{sfn|Mailer|1955|p=45}} and therefore into flying school. O’Shaugnessy goes first to Hollywood, where the producers are initially dismissive ("I didn’t even know the athlete could read" (198)){{sfn|Mailer|1955|p=198}}; and then, when he gets depressed—becoming “a boxer without a punch” (325){{sfn|Mailer|1955|p=325}}—he goes to Mexico. There he plans to learn to be the “first great and recognized American matador” (352){{sfn|Mailer|1955|p=352}}, but finally he gives up his novel on bullfighting as “inevitably imitative” of Hemingway (353){{sfn|Mailer|1955|p=353}}. O’Shaugnessy’s crisis of confidence reflected that of his creator. On receiving the novel’s proofs, Mailer decided that ''The Deer Park'' needed substantial revision. He would abandon its “poetic prose,” rip up its “silk,” smash its “porcelain,” create a first person voice “bigger” and more “muscular” than himself (''Advertisements'' 235–37){{sfn|Mailer|1959|p=235}}, and, “like a fighter who throws his right two seconds after the bell,” think much more closely about variations in pace (239){{sfn|Mailer|1959|p=239}}. In leaving the controlled Hemingway style behind, in other words, the novel would regain punch. His next book, ''Advertisements for Myself'' (1959){{sfn|Mailer|1959}}, he later said, was the first one to be “written in what became my style” (''Pontifications'' 145){{sfn|Mailer|1982|p=145}}.

That style was never again going to be confused with Hemingway’s—not that it ever really was.However much O’Shaugnessy might worry about imitation, no one had ever thought of Mailer as a pure and orderly minimalist. And yet, throughout his career Mailer nevertheless felt the need to speak out forcefully against the modernist credo of technique as mere “craft,” its tendency to reach for “a grab bag of procedures, tricks, lore, formal gymnastics, symbolic superstructures—methodology, in short” (''Spooky'' 104){{sfn|Mailer|2003|p=104}}.“Craft” was a dirty, or at least dismissive, word—one Mailer elsewhere associates with “light and middleweight” boxers. Heavyweights are always something more than “hardworking craftsmen”; they have “inner lives”(''Existential'' 10){{sfn|Mailer|1972|p=10}}. As late as ''Harlot’s Ghost'' (1991){{sfn|Mailer|1991}}, Mailer was linking a devotion “to craft” and “Procedures ”with a misplaced desire for order—here employed by the CIA all over the globe—with the American camp-building (or Hemingwayesque) tradition. Hemingway himself crops up many times in the novel. The narrator, Harry Hubbard, recalls getting an “A”on a college paper about Shakespearean quality of the “consciously chosen irony of the later style” (167){{sfn|Mailer|1991|p=167}}. When he expands on this to Rodman Knowles Gardiner, the Shakespeare scholar retorts,“‘Why concern yourself with the copyist?’” But Gardiner himself is a kind of copyist, naming his daughter for
Hemingway’s first wife, Hadley, whose hair (“cut short like a boy’s”) is also in imitation of the original (''Harlot’s'' 167){{sfn|Mailer|1991|p=167}}.
Harry marries the girl. Still other characters are associated either with Hemingway hangouts—Oak Park or Sloppy Joe’s bar in Havana—or quote his ''bon mots''. But the key connection comes in the form of the narrator’s father, Cal Hubbard, who bears a considerable “degree of resemblance” (116–7){{sfn|Mailer|1991|p=166-7}} to the writer in build, mustache
and presence; he’s a drunk and a
“prodigious philanderer” (114){{sfn|Mailer|1991|p=114}} who’s fond of big-game hunting and cross-country skiing and who hangs elephant tusks and a pair of miniature boxing gloves said to belong to Jack Dempsey above
his drinks cabinet. He is also, as a CIA operative, a great proponent of “protocol” (869){{sfn|Mailer|1991|p=869}},
“craft” (445){{sfn|Mailer|1991|p=445}} and the “rules of procedure” (241){{sfn|Mailer|1991|p=241}}.

Harry Hubbard is only half Hubbard, of course—his mother is a Silberzweig—and as well as reading Hemingway, he enjoys Irwin Shaw’s ''The Young Lions'' because “Noah Ackerman, the Jew, had appealed to me” (145){{sfn|Mailer|1991|p=145}}.
Harry also reflects upon the character of Robert Cohn (422){{sfn|Mailer|1991|p=422}}—whose upper class New York background he shares—and to some extent, he belongs to the ranks of Cohn’s literary “avengers” (Fiedler 71){{sfn|Fiedler|1964|p=71}}. ''Harlot’s Ghost'' reveals the limits of methodology and “purity of intent” (1021){{sfn|Mailer|1991|p=1021}} and instead asserts the virtues of division and dialectic, of ongoing “war”and “relation”(594){{sfn|Mailer|1991|p=594}}.

And yet, in Mailer’s eyes Hemingway was divided, too. He may have been a craftsman but he was not a ''mere'' craftsman. As much as D.H. Lawrence or Henry Miller—indeed, every major figure in the Mailer pantheon—Hemingway was a “great writer, for he contained a cauldron of boiling opposites” (Mailer, ''Prisoner'' 137){{sfn|Mailer|1971|p=137}}. Reviewing Morley Callaghan’s ''That Summer in Paris'' in 1963, Mailer declared that Hemingway’s bravery was “an act of will”; the “heroic”product of a lifelong struggle with “cowardice” and an ability to carry “a weight of anxiety within him” which would have “suffocated any man smaller than himself" (''Cannibals'' 159){{sfn|Mailer|1966|p=159}}. His decision to reprint these comments as the first “prelude” to ''The Time Of Our Time'' suggests that they should be thought of, in some way, as initiating his own work (''Time'' 4){{sfn|Mailer|1998|p=4}}. What Hemingway’s example initiated was not a style or methodology—not camp—building—but a fascination with the futile effort involved in such constructions and an awareness of the incapacity of all camps to remain secure, to keep the river away.

For all that Hemingway strove to be “classic,” “sophisticated,” “purer,” and “graceful,” for all that he represented the ideals of “scrupulosity,”“manners,” and “gravity” (''Pieces'' 912){{sfn|Mailer|1982|p=912}}, the chaos of his “inner” life was still apparent to Mailer (''Existential'' 10){{sfn|Mailer|1972|p=10}}. In other words, like Cal Hubbard,"[t]he two halves of his soul were far apart" (''Harlot’s'' 117){{sfn|Mailer|1991|p=117}}. The question was one of balance. At his best, like Hubbard, Hemingway’s “strength was that he had managed to find some inner cooperation between these disparate halves” (''Harlot’s'' 117){{sfn|Mailer|1991|p=117}}. At “his worst” (''Advertisements'' 474){{sfn|Mailer|1959|p=474}} shortly before his death, the “old moldering” (477){{sfn|Mailer|1959|p=477}} writer was adding to “the nausea he once cleared away” (474){{sfn|Mailer|1959|p=474}}.

'''“BEING MACHO IS NO FUN”''' (''THE BIG EMPTY 185''){{sfn|Mailer|2006|p=185}} Nowhere in Hemingway’s fiction does what Mailer called the “continuing battle” of “being a man” emerge more clearly than in his representation of boxers (''Advertisements'' 222){{sfn|Mailer|1959|p=222}}. T o consider a boxer (especially a heavyweight) is to consider a man who should—at least in the world into which Hemingway was born—epitomize a straightforward, unambiguous Anglo-Saxon heterosexual manliness. But, for one reason or another, Hemingway’s boxers are unable to fulfill the brief. Cooperation between one’s disparate halves— “the Champ and the Fraud” —is not always possible (''Pontifications'' 160){{sfn|Mailer|1971|p=160}}.

Consider “The Light of the World” (1933){{sfn|Hemingway|1933}}, in which the teenage narrator and his friend, Tom, encounter a motley crew of late-night travelers at a rail-way station: “five whores . . . and six white men and four Indians” (Hemingway, ''Short Stories'' 385){{sfn|Hemingway|1966|p=385}}. Among the prostitutes are two “big” women, Alice and Peroxide, who argue about who really knew “Steve” or “Stanley” Ketchel (they also can’t agree on the first name). The cook remembers Stanley Ketchel’s 1909 fight with Jack Johnson, in particular how Ketchel had floored Johnson in the 12th round just before Johnson knocked him out. Peroxide attributes Ketchel’s defeat to a punch by Johnson (“the big black bastard” (389)){{sfn|Hemingway|1966|p=389}} when Ketchel, “the only man she ever loved” (388){{sfn|Hemingway|1966|p=388}}, smiled at her in the audience. Alice remembers Steve Ketchel telling her she was “a lovely piece” (390){{sfn|Hemingway|1966|p=390}}. Both women refer continuously to Ketchel’s “whiteness”—“I never saw a man as clean and as white and as beautiful,” says Peroxide (388){{sfn|Hemingway|1966|p=388}}. “White,” as Walter Benn Michaels notes, “becomes an adjective describing character instead of skin” (“The Souls” 193){{sfn|Michaels|1988|p=193}}; and so, Ketchel is figured as a kind of Christ-like figure, while Johnson, “that black son of a bitch from hell” (Hemingway,“The Light” 389){{sfn|Hemingway|1966|p=389}}, is the devil.

Ketchel’s pseudo-divinity is further suggested by such statements as “I loved him like you love God”; “His own father shot and killed him. Yes, by Christ, his own father” (388){{sfn|Hemingway|1966|p=388}}; and, of course, the title. Philip Young points out that Hemingway placed this story after “the most pessimistic of all his stories,” “A Clean, Well-Lighted Place,” in Winner Take Nothing, “as if the point of the story is really that the light of the world has gone out” (50){{sfn|Young|1966|p=50}}.

But there seems to be more going on under the surface of this particular iceberg. First, the confusion of names and facts is important. Stanley Ketchel was not killed by his father—that was Steve Ketchel, a lightweight boxer, who never got near Johnson. Stanley was shot in 1910 by the husband of a woman with whom he was having an affair. Second, of all boxers, Stanley Ketchel was perhaps the most unlikely possible candidate for Redeemer. His nickname was the “Michigan Assassin,” and, according to one reporter, “he couldn’t get ''enough'' blood” (Roberts 82){{sfn|Roberts|1986|p=82}}. While the prostitutes may be seeking salvation, the story that they tell is absurd. So what is going on? Howard Hannum argues that much of the dialogue between the two women “has the quality of counterpunching,” as if they are restaging Ketchel’s contest against Johnson: here, the (bleached) blonde versus the heavyweight (325){{sfn|Roberts|1986|p=325}}. But the cook’s role also needs to be considered. The discussion of whiteness begins when the narrator notices a “white man” speaking; “his face was white and his hands were white and thin” (Hemingway, “The Light” 385){{sfn|Hemingway|1966|p=385}}. The other men tease the cook about the whiteness of his hands (“he puts lemon juice on his hands” (386)){{sfn|Hemingway|1966|p=386}} and hint that he is gay. Are these two things connected? And, if they are, what does that suggest about clean, white, beautiful Ketchel? When asked his age, Tom joins in the sexual bantering with hints at “inversion”—“I’m ninety-six and he’s sixty-nine” (387){{sfn|Hemingway|1966|p=387}}—but throughout the boys remain uneasy and confused. By the end of the story, the narrator seems quite smitten with Alice (“she had the prettiest face I ever saw” (391)){{sfn|Hemingway|1966|p=391}}. Tom notices this and says it is time to leave. The supposedly natural order of whites beating blacks, men having sex with women, and “huge” whores being unappealing has been unsettled (386){{sfn|Hemingway|1966|p=386}}. When the cook asks where the boys are going, Tom replies, “the other way from you” (391){{sfn|Hemingway|1966|p=391}}.

Racial and sexual ambiguities also trouble “The Battler,” one of the Nick Adams initiation stories in ''In Our Time'' (1925){{sfn|Hemingway|1925}}. The story begins with Nick himself having just survived a battle with a brakeman on a freight train. He has been thrown off the train and lands with a scuffed knee and bruise on the face, of which he is rather proud— “He wished he could see it” (“Battler” 129){{sfn|Hemingway|1966|p=129}}—but he is still standing. “He was all right” (129). Nick then ventures into another battling arena—a fire-lit camp that seems to be a refuge but which also turns out to be a kind of boxing ring. There he encounters Ad Francis, an ex-champion prizefighter whose bruises are more impressive, and much more disgusting, than his own:

In the firelight Nick saw that his face was misshapen. His nose was sunken, his eyes were like slits, he had queer-shaped lips. Nick did not perceive all this at once, he only saw the man’s face was queerly formed and mutilated. It was like putty in color. Dead looking in the firelight. (131){{sfn|Hemingway|1966|p=131}}

That “Nick did not perceive all this at once” suggests that he kept looking
away (131). “Don’t you like my pan?” the fighter asks, revealing even worse: “He had only one ear. It was thickened and tight against the side of his head.
Where the other one should have been there was a stump” (131). Although Nick is “a little sick,” he counters Ad’s pugnacious assertions with gusto:

‘It must have made him [the brakeman] feel good to bust you,’the man said seriously. ‘I’ll bust him.’. . . . . . . . . . . ‘All you kids are tough.’‘You got to be tough,’ Nick said.‘That’s what I said.’ (131)

Nick’s pleasure at establishing a rapport with a fellow battler is short-lived, however. Ad, he discovers, is unstable (“crazy”), and depends on his companion Bugs to stop him from battling (132){{sfn|Hemingway|1966|p=132}}. When Ad tries to start a fight with Nick, in “an ugly parody of a boxing match” (Strychacz 252){{sfn|Strychacz|1989|p=252}}, Bugs intervenes by knocking him out with a stick from behind in a manner that recalls Hemingway’s very first story, “A Matter of Color” (Bruccoli 98-100){{sfn|Bruccoli|1971|p=98-100}}. Color is also important here as Nick is obviously startled by the fact that Bugs is black, and makes a great deal of his “negro's voice,” the “negro” way he walks, and his “long nigger’s legs” (Hemingway,“Battler” 133){{sfn|Hemingway|1966|p=133}}. Although it has been argued that the story reveals Hemingway’s racism, these almost compulsively repeated epithets (like those describing whiteness in “The Light of the World”) seem to be Nick’s as he struggles to understand the relationship between the two men. White prizefighters, after all, were not supposed to have black friends. Bugs tells Nick a story about Ad which adds to his confusion. Ad had a woman manager, and it was always being “written up in the papers all about brothers and sisters and how she loved her brother and how he loved his sister, and then they got married in New York and that made a lot of unpleasantness” (136-37){{sfn|Hemingway|1966|p=136-137}}. Nick vaguely remembers this, but then Bugs adds,“[O]f course they wasn’t really brother and sister no more than a rabbit, but there was a lot of people didn’t like it either way” (137){{sfn|Hemingway|1966|p=137}}. Bugs repeatedly stresses how “awful good-looking” the woman was, and how she “looked enough like him to be twins” (137). Some have read this admiring comment (along with the description of Ad’s face as “queerly formed” and his lips as “queer shaped” (131)){{sfn|Hemingway|1966|p=131}} as a suggestion that the two men may be lovers. Less directly, like “The Light of the World,” the story slides anxiously between taboos—incest becomes homosexuality becomes miscegenation. The “perplexing behavior” of boxers once more promises to reveal the perplexing nature of masculinity, and again the boy flees (Brenner 159){{sfn|Brenner|1990|p=159}}.

What boxers reveal again and again is that the biggest of men are just “not big enough” to take on the “dark” and ambiguous world that surrounds the most well-regulated and well-lit ring, as the narrator of “Fifty Grand” notes (Hemingway 320){{sfn|Hemingway|1966|p=320}}. The first quotation above is from Mailer’s response to a question from his son, John Buffalo Mailer, about the relation between boxing and writing. A writer, he said, like a fighter, can come to realize that he’s “[b]ig, but not big enough” (''Big Empty'' 189){{sfn|Mailer|2006|p=189}}. This is an insight that Nick Adams tries to avoid in “The Killers” (1927){{sfn|Hemingway|1927}}. Two men show up in a small-town café and hold the staff hostage as they wait for the man they want to kill, Ole Andreson, a former heavyweight boxer. When Nick, who has been in the café, tells Andreson about the men, the boxer says that nothing can be done to save him and turns his face to the wall. Little more than a page of this eleven-page story is devoted to Nick’s encounter with Andreson, but it changes everything. The gangsters dub Nick “bright boy,” but the story reveals how little he knows about power and powerlessness (Hemingway,“Killers” 283){{sfn|Hemingway|1927|p=283}}. In an attempt to escape his revelation—that the heavyweight, the epitome of masculinity, is not prepared to fight back—Nick decides to move on. “I can’t stand to think about him waiting in the room and knowing he’s going to get it” (289){{sfn|Hemingway|1927|p=289}}. As in the case of “The Battler” and “The Light of the World,” the story ends with Nick preparing to “get out of this town” (289).

'''BOXING AS AMERICAN WAR'''
The boxers in these stories reveal the ways in which seemingly solid distinctions between hypermasculinity and homosexuality, between whiteness and blackness or Jewishness—confront and often threaten to collapse into each other. As Walter Benn Michaels remarks of ''The Sun Also Rises'', “Hemingway’s obsessive commitment to distinguishing between Cohn and Jake only makes sense in the light of their being in some sense indistinguishable” (''Our America'' 27){{sfn|Michaels|1995|p=27}}. For all their differences, Robert Cohn and Jake Barnes are both “taken in hand” by Brett Ashley, “manipulated” in a way that recalls the boxer dolls that Jake nearly trips over on the Boulevard des Capuchines (Hemingway, ''The Sun'' 8){{sfn|Hemingway|1976|p=8}}. There, a “girl assistant lackadaisically pulls the threads that make the dolls dance, while she stands with “folded hands,” “looking away” (32){{sfn|Hemingway|1927|p=32}}.

America (condensed into American masculinity) was, to use a favorite Mailer word, “schizoid,” and the boxing match—for Mailer much more persistently than for Hemingway—provided a metaphor or structure within which to explore its violently felt divisions. Like a literary Tex Rickard or Don King, Mailer specialized in setting up big matches: an essential masculinity is pitted against an essential femininity; an idealized heterosexuality confronts a mythical homosexuality; imaginary “blacks” encounter imaginary “whites.” The continuing clash of one hero against each other is what constitutes “[e]xistential politics” (Mailer, ''Presidential'' 6){{sfn|Mailer|1963|p=6}}, and “form . . . is the record of a war . . . as seen in a moment of rest (''Cannibals'' 370){{sfn|Mailer|1966|p=370}}. In fiction then, Mailer’s characters became the embodiments of opposing positions which need to be argued through; in non-fiction, he favored the Q&A, in which he could have “A Rousing Club Fight” with an interviewer (''Presidential'' 125){{sfn|Mailer|1963|p=125}}, or sometimes enter the “arena” with an imagined alter ego (Existential 182-90){{sfn|Mailer|1972|p=182-90}}. And sometimes genres—in particular, fiction and history—argue with each other. “[T]he element which is exciting, disturbing, nightmarish perhaps, is that incompatibles have come to bed” (''Advertisements'' 342){{sfn|Mailer|1959|p=342}}.

If all relationships have a comparable dialectic structure, then it makes equal sense to use the language of sex to describe boxing—the first fifteen seconds of a fight are equivalent “to the first kiss in a love affair”—and the language of boxing to describe sex (Existential 29){{sfn|Mailer|1972|p=29}}. For the narrator of “''The Time of Her Time''” (1959){{sfn|Mailer|1959}}, for example, the ''dialectic'' of sex stages conflicts between Jewishness and non-Jewishness, high culture and low culture, and even the competing therapeutic claims of Sigmund Freud and Wilhelm Reich (''Advertisements'' 495){{sfn|Mailer|1959|p=495}}. If conflict is the model for the relationship between men and women, men additionally face an internal battle between heterosexuality and homosexuality (Mailer does not think that women have this problem). So the brutal outcome of the 1962 fight between Emile Griffith and Benny (Kid) Paret is said to dramatize the ''biological force'' with which men disavow their inherent homosexuality (''Presidential'' 243){{sfn|Mailer|1963|p=243}}. Paret had taunted Griffith with homophobic remarks at the weigh-in and during the fight, and Griffith responded by beating him to death. For Mailer, this is an example of the ring not doing its usual job of containing and controlling (or sublimating) sexual desire.

The boxing ring also enacts, and thus mostly contains, another conflict that Mailer saw as fundamental to American culture of ''our time'', one between blacks and whites (''Time'' x). Again, the challenge is to foreground and disrupt familiar stereotypical dichotomies: between whites, who are civilized, sophisticated, cerebral, literate, and literary; and blacks, who are primitive, illiterate, attuned to the pleasures of the body, and fluent in its language (''Advertisements'' 341){{sfn|Mailer|1959|p=341}}. James Baldwin (and many others) complained about Mailer’s tendency to see “''us as goddam romantic black symbols''” (''Weatherby'' 78){{sfn|Mailer|1977|p=78}}. But Mailer saw everyone and everything symbolically. For Patterson vs. Liston, therefore, read Art vs. Magic, Love vs. Sex, God vs. the Devil.

'''HEMINGWAY AND ALI: EXISTENTIAL EGO''' “I think there is a wonderful study to be made about the similarities between Ernest Hemingway and Muhammad Ali,” Mailer told Michael Lennon in 1980, making a start himself. Both men, he argued, “''come out of that same American urgency to be the only planet in existence''. ''To be the sun''”—and at the heart of each was a dialectical struggle that was somehow both personal and national (''Pontifications'' 161–162){{sfn|Mailer|1982|p=161-162}}. The fact that “''the mightiest victim of injustice in America''” was also “the mightiest narcissist in the land,” he observed of Ali in 1971, proved that “''the twentieth century was nothing if not a tangle of opposition''” (''Existential'' 28){{sfn|Mailer|1972|p=28}}. “''Ego''” (later renamed “''King of the Hill''”), an account of Ali’s comeback fight against Joe Frazier, is not only about a “''dialogue between bodies''” (''Norman'' 19){{sfn|Mailer|1971|p=19}} but about a dialogue within Ali himself. For Mailer, the triumph of the fight’s end is that Ali has somehow managed to reconcile his two ''sides''—he could dance, displaying ''exquisite'' grace, figured as black and feminine (86){{sfn|Mailer|1972|p=86}}—but he could also ''stand'', revealing, for the first time, qualities of endurance to ''moral and physical torture'', figured as white and masculine (93){{sfn|Mailer|1972|p=93}}.

Troublesome ''contradictions'' also “''[fall] away''” in ''The Fight'' (1974){{sfn|Mailer|1974}}, an account of Ali’s “''Rumble in the Jungle''” with George Foreman. Once again, the issue is survival as much as victory. Mailer models his essay on Hazlitt’s 1821 piece of the same name. As Hazlitt’s narrator-protagonist begins by announcing his desire to escape the sentimental complications of daily life, Mailer declares his disappointing love affair with himself. As Hazlitt travels companionably to the heart of the country, discussing Cobbett and Rousseau en route, Mailer flies Pan Am to Conrad’s “''Heart of Darkness''” in Vachel Lindsay’s “''Congo'',” and on the return journey, plays dice with the air stewardess. Both men experience a “''restoration of being''” through journeys to watch boxing (''The Fight'' 239){{sfn|Mailer|1974|p=239}}. But while Hazlitt ends by simply acknowledging the ephemeral achievement of both the boxing match and his own essay, Mailer wants more—nothing less, in fact, than the restoration of the title “''champ among writers''” (33){{sfn|Mailer|1974|p=33}}. The book plays with various versions of magical thinking, but all are designed to the same end: “''the powers of regeneration in an artist''” (162){{sfn|Mailer|1974|p=162}}. Ali works magic on Mailer by showing him that regeneration is possible; and set against his example is that of Hemingway, whose suicide fourteen years earlier haunts the book (123, 162){{sfn|Mailer|1974|p=123}}{{sfn|Mailer|1974|p=162}}. Ali, in other words, is both Hemingway and a kind of anti-Hemingway.

'''BOXING WITH HEMINGWAY'''
So what does it mean to box with another writer? For Hemingway, at least in his youth, the analogy expressed the inevitability of succession. Once a great boxer or writer had lost his crown, there was no reclaiming it. The old must give way to the new. So in 1924 he complained to Ezra Pound that the writers Ford Madox Ford was selecting for transatlantic review were the literary equivalents of Great White Hope Jim Jeffries, dragged out of retirement for one last fight: “''The thing to do with Ford is to kill him.... I am fond of Ford. This ain’t personal. It’s literary''” (''Ernest'' 116){{sfn|Hemingway|1985|p=116}}. Killing is also what Hemingway envisaged for Sherwood Anderson, reimagined as the has-been heavyweight Ole Andreson in “''The Killers''”; “''a sock on the jaw''” was not enough to settle the score.In an early draft of the story, the fighter was called Nerone; Hemingway changed the name to Anderson and then, finally, to Andreson.

For all that he joshed about minor and major contenders, Mailer’s sense of literary influence was—like everything else in his worldview—less teleological than dialectical, less a matter of drastic, once-and-for-all Oedipal action than a conversation between competing tastes and loyalties (Mailer, ''Pontifications'' 149){{sfn|Mailer|1982|p=149}}. To develop as a writer, Mailer did not want to kill Hemingway off so much as to continue to spar with him, while also sparring with (among many others along the way) Henry Miller and Herman Melville. If “''Prelude—I''” of ''The Time of Our Time'' evokes Hemingway, the presiding figure of its concluding “''Acknowledgments and Appreciations''” is Dos Passos, whose 1936 trilogy ''USA'' Mailer once described as “''the most successful portrait of America in the first half of the twentieth century''” (Bruce and Webster 173){{sfn|Bruce/Webster|1982|p=173}}. Setting up one “''great American author''” (Mailer, ''Pieces'' 87){{sfn|Mailer|1982|p=87}} or “''literary athlete''” (92){{sfn|Mailer|1982|p=92}} against another while, at the same time, looking forward to other juxtapositions—that was what boxing meant to Mailer: a way of exposing the truth that, in the ring or on the page, “''no two Americas will prove identical''” (''Time'' x){{sfn|Mailer|1998|p=x}}. Nothing, as he liked to say, “''is settled after all''” (''Pieces'' 86){{sfn|Mailer|1982|p=86}}.

{{Review}}
===Citations===

{{Reflist}}
===Works Cited===
{{Refbegin}}
* {{cite book |last=Algren |first=Nelson |year=1963 |title=Who Lost an American? |location=New York |publisher=Macmillan |ref=harv}}
* {{cite book |last=Anderson |first=Sherwood |year=1933 |title=Death in the Woods and Other Stories |location=New York |publisher=Liveright |pages=95–108 |ref=harv}}
* {{cite book |last=Anderson |first=Sherwood |year=1984 |editor-last=Modlin |editor-first=Charles |title=Selected Letters |location=Knoxville |publisher=University of Tennessee Press |ref=harv}}
* {{cite book |last=Apple |first=Max |year=1986 |title=The Oranging of America |location=London |publisher=Faber and Faber |ref=harv}}
* {{cite book |last=Baker |first=Carlos |year=1969 |title=Ernest Hemingway: A Life Story |location=New York |publisher=Scribner’s |ref=harv}}
* {{cite book |last=Boddy |first=Kasia |year=2008 |title=Boxing: A Cultural History |location=London |publisher=Reaktion Books |ref=harv}}
* {{cite book |editor-last=Bruccoli |editor-first=Matthew J. |year=1971 |title=Ernest Hemingway’s Apprenticeship: Oak Park, 1916–1917 |location=Chicago |publisher=NCR Microcard |ref=harv}}
* {{cite book |last=Callaghan |first=Morley E. |year=1963 |title=That Summer in Paris |location=New York |publisher=Coward-McCann |ref=harv}}
* {{cite book |last=Dearborn |first=Mary V. |year=1999 |title=Mailer: A Biography |location=Boston |publisher=Houghton |ref=harv}}
* {{cite book |last=Donaldson |first=Scott |year=1999 |title=Hemingway vs. Fitzgerald: The Rise and Fall of a Literary Friendship |location=New York |publisher=Overlook Press |ref=harv}}
* {{cite book |last=Early |first=Gerald |year=1989 |title=Tuxedo Junction: Essays on American Culture |location=New York |publisher=Ecco Press |pages=183–195 |ref=harv}}
* {{cite book |last=Fiedler |first=Leslie |year=1964 |title=Waiting for the End |location=London |publisher=Penguin |ref=harv}}
* {{cite book |last=Gunn |first=Peter |year=1972 |title=Byron: Selected Letters and Journals |location=London |publisher=Penguin |ref=harv}}
* {{cite book |last=Healy |first=Thomas |year=1996 |title=A Hurting Game |location=London |publisher=Picador |ref=harv}}
* {{cite book |last=Heller |first=Peter |year=1994 |title=In This Corner...! 42 World Champions Tell Their Stories |location=New York |publisher=Da Capo Press |ref=harv}}
* {{cite book |last=Hemingway |first=Ernest |year=1966 |title=The Short Stories of Ernest Hemingway |location=New York |publisher=Scribner’s |ref=harv}}
* {{cite book |last=Hemingway |first=Ernest |year=1985 |editor-last=Baker |editor-first=Carlos |title=Ernest Hemingway: Selected Letters, 1917–1961 |location=London |publisher=Panther |ref=harv}}
* {{cite book |last=Hemingway |first=Ernest |year=2009 |title=A Moveable Feast: The Restored Edition |location=New York |publisher=Scribner’s |ref=harv}}
* {{cite book |last=Hemingway |first=Ernest |year=1976 |title=The Sun Also Rises |location=London |publisher=Flamingo |ref=harv}}
* {{cite journal |last=Inglis |first=David L. |year=1974 |title=Morley Callaghan and the Hemingway Boxing Legend |journal=Notes on Contemporary Literature |pages=4–7 |ref=harv}}
* {{cite book |last=Kazin |first=Alfred |year=1973 |title=Bright Book of Life |location=Boston |publisher=Little, Brown & Co. |ref=harv}}
* {{cite book |last=Lennon |first=J. Michael |year=2003 |title=The Spooky Art: Some Thoughts on Writing |location=New York |publisher=Random House |ref=harv}}
* {{cite book |last=Liebling |first=A. J. |year=1982 |title=The Sweet Science |location=London |publisher=Penguin |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1955 |title=The Deer Park |location=New York |publisher=G.P. Putnam’s Sons |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1959 |title=Advertisements for Myself |location=New York |publisher=G.P. Putnam’s Sons |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1963 |title=The Presidential Papers |location=New York |publisher=G.P. Putnam’s Sons |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1965 |title=An American Dream |location=New York |publisher=Dial Press |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1966 |title=Cannibals and Christians |location=New York |publisher=Dial Press |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1968 |title=The Armies of the Night |location=New York |publisher=New American Library |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1971a |title=King of the Hill |location=New York |publisher=New American Library |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1971b |title=The Prisoner of Sex |location=Boston |publisher=Little, Brown & Co. |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1972 |title=Existential Errands |location=Boston |publisher=Little, Brown & Co. |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1973 |title=Marilyn |location=New York |publisher=Grosset & Dunlap |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1975 |title=The Fight |location=Boston |publisher=Little, Brown & Co. |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1982 |title=Pieces and Pontifications |location=Boston |publisher=Little, Brown & Co. |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1991 |title=Harlot’s Ghost |location=New York |publisher=Random House |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=1998 |title=The Time of Our Time |location=New York |publisher=Random House |ref=harv}}
* {{cite book |last=Mailer |first=Norman |year=2006 |title=The Big Empty |location=New York |publisher=Nation Books |ref=harv}}
* {{cite journal |last=Messenger |first=Christian |year=1987 |title=Norman Mailer: Boxing and the Art of His Narrative |journal=Modern Fiction Studies |pages=85–104 |ref=harv}}
* {{cite book |last=Michaels |first=Walter Benn |year=1995 |title=Our America |location=Durham |publisher=Duke University Press |ref=harv}}
* {{cite book |last=Monteiro |first=George |year=1990 |editor-last=Benson |editor-first=Jackson J. |title=This is My Pal Bugs: Ernest Hemingway’s “The Battler” |location=Durham |publisher=Duke University Press |pages=224–228 |ref=harv}}
* {{cite book |last=Oates |first=Joyce Carol |year=1974 |title=New Heaven, New Earth |location=New York |publisher=Vanguard Press |ref=harv}}
* {{cite book |last=Oates |first=Joyce Carol |year=1988a |title=On Boxing |location=London |publisher=Pan |ref=harv}}
* {{cite book |last=Oates |first=Joyce Carol |year=1988b |editor-last=Halpern |editor-first=Daniel |title=Our Private Lives |location=New York |publisher=Ecco Press |pages=301–309 |ref=harv}}
* {{cite book |last=Poirier |first=Richard |year=1972 |title=Mailer |location=London |publisher=Fontana |ref=harv}}
* {{cite book |last=Roberts |first=Randy |year=1986 |title=Papa Jack: Jack Johnson and the Era of White Hopes |location=London |publisher=Robson Books |ref=harv}}
* {{cite book |last=St. John |first=Bruce |year=1965 |title=John Sloan’s New York Scene |location=New York |publisher=Harper |ref=harv}}
* {{cite book |last=Weatherby |first=W. J. |year=1977 |title=Squaring-Off: Mailer v. Baldwin |location=London |publisher=Robson Books |ref=harv}}
{{Refbegin}}

{{Review}}
{{DEFAULTSORT:Mailer, Hemingway, and Boxing}}
[[Category:Articles (MR)]]

User talk:Grlucas

2025-04-01T21:13:33Z

KaraCroissant: /* Final edits */

{{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 ==
Dr. Lucas, I transferred and edited my article. Can you look at it and remove the banner? Here's the link: [[The_Mailer_Review/Volume_4,_2010/Authorship_and_Alienation_in_Death_in_the_Afternoon_and_Advertisements_for_Myself|Authorship and Alienation in Death in the Afternoon and Advertisements for Myself]] ( [[User:APKnight25|APKnight25]] ([[User talk:APKnight25|talk]]) 13:02, 28 March 2025 (EDT) )
:{{Reply to| APKnight25}} looking good! A couple of things: never bury your talk page post. Put it at the bottom, preferably in its own section by clicking "Add topic" on the top-right. Next, eliminate all "fang" quotes in the article and add “real quotation marks.” Your sources should be a bulleted list. And there should be no space before a citation. You’re almost finished! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 11:21, 30 March 2025 (EDT)

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

Hello, Dr. Lucas! I have completed remediation on [[The Mailer Review/Volume 4, 2010/The American Civil War in The Naked and the Dead and Across the River and Into the Trees]]. Can you please let me know if there's anything I need to correct? Thanks so much! [[User:KaraCroissant|KaraCroissant]] ([[User talk:KaraCroissant|talk]]) 17:11, 1 April 2025 (EDT)

==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)

My attempt at creating a draft article failed by creating a new page. My next attempt will be using the user page to create the draft article, is this correct?[[User:KWilcox|KWilcox]] ([[User talk:KWilcox|talk]]) 10:22, 8 July 2021 (EDT)Kenneth Wilcox, July 8, 2021, 10:21am[[User:KWilcox|KWilcox]] ([[User talk:KWilcox|talk]]) 10:22, 8 July 2021 (EDT)
:{{Reply to|KWilcox}} As I said: please post all questions for project 2 on Wikipedia. This is an inappropriate forum for them. Thank you. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:27, 8 July 2021 (EDT)

== Remediation of "Reinventing the Wheel" Mailer Article for Review ==

Dr. Lucas,

My [[The_Mailer_Review/Volume_5,_2011/Reinventing_a_New_Wheel:_The_Films_of_Norman_Mailer|article]] is ready for review.

Thank you!
[[User:TPoole|TPoole]] ([[User talk:TPoole|talk]]) 15:29, 29 March 2025 (EDT)
:{{Reply to|TPoole}} great! Could you include a link to it? Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 11:07, 30 March 2025 (EDT)
::OK, I [[The Mailer Review/Volume 5, 2011/Reinventing a New Wheel: The Films of Norman Mailer|found it]]. Looking really good. Great work. There are some citation issues that need to be seen to. The two red categories at the bottom should not be there; they will go away when the citations errors are corrected. Eliminate any quotation mark "fangs" in the text and replace them with “real quotation marks.” Let me know if you need help. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 11:14, 30 March 2025 (EDT)
:::@Grlucas, what are the citation issues? Which ones need correcting? [[User:TPoole|TPoole]] ([[User talk:TPoole|talk]]) 17:31, 31 March 2025 (EDT)
::::{{Reply to| TPoole}} When you click your citations, they should jump to the works cited entry they correspond to. Several of yours do not, indicated by the red “Harv and Sfn no-target errors” at the bottom. You also have a "CS1 maint: Unrecognized language" error that will likely be cleared up when you fix the citation issues. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:55, 1 April 2025 (EDT)

== Remediation of: "Contradictory Syntheses: Norman Mailer’s Left Conservatism and the Problematic of 'Totalitarianism'" ==

Dr. Lucas

I finished the remediation of the following article:

https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Contradictory_Syntheses:_Norman_Mailer%E2%80%99s_Left_Conservatism_and_the_Problematic_of_%E2%80%9CTotalitarianism%E2%80%9D

It is ready for your review. Thank you.
[[User:JKilchenmann|JKilchenmann]] ([[User talk:JKilchenmann|talk]]) 19:04, 30 March 2025 (EDT)
:{{Reply to| JKilchenmann}} looks great. I made some tweaks to the references and some throughout, like changing ' and " to real apostrophes and quotation marks. A bit more clean-up, but you might want to check over it again. I removed the under-construction banner. Well one. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 21:32, 30 March 2025 (EDT)

== Final Edit ==

Thank you for your comments on my remediation of
"[[The Mailer Review/Volume 4, 2010/Authorship and Alienation in Death in the Afternoon and Advertisements for Myself|Authorship and Alienation in Death in the Afternoon and Advertisements for Myself.]]"

I've eliminated the "fang quotes" and changed them to “real quotation marks.” This was a very fascinating tip that taught me something new. It's something I've never noticed before but now always will.

I also put my sources in a bulleted list and removed the space before the citations. I think I'm all set now.

User talk:Grlucas

2025-04-01T21:12:08Z

KaraCroissant:

{{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 ==
Dr. Lucas, I transferred and edited my article. Can you look at it and remove the banner? Here's the link: [[The_Mailer_Review/Volume_4,_2010/Authorship_and_Alienation_in_Death_in_the_Afternoon_and_Advertisements_for_Myself|Authorship and Alienation in Death in the Afternoon and Advertisements for Myself]] ( [[User:APKnight25|APKnight25]] ([[User talk:APKnight25|talk]]) 13:02, 28 March 2025 (EDT) )
:{{Reply to| APKnight25}} looking good! A couple of things: never bury your talk page post. Put it at the bottom, preferably in its own section by clicking "Add topic" on the top-right. Next, eliminate all "fang" quotes in the article and add “real quotation marks.” Your sources should be a bulleted list. And there should be no space before a citation. You’re almost finished! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 11:21, 30 March 2025 (EDT)

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

Hello, Dr. Lucas! I have completed remediation on [[The Mailer Review/Volume 4, 2010/The American Civil War in The Naked and the Dead and Across the River and Into the Trees]]. Can you please let me know if there's anything I need to correct? Thanks so much! ([[User talk:KaraCroissant|talk]]) 17:11, 1 April 2025 (EDT)

==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)

My attempt at creating a draft article failed by creating a new page. My next attempt will be using the user page to create the draft article, is this correct?[[User:KWilcox|KWilcox]] ([[User talk:KWilcox|talk]]) 10:22, 8 July 2021 (EDT)Kenneth Wilcox, July 8, 2021, 10:21am[[User:KWilcox|KWilcox]] ([[User talk:KWilcox|talk]]) 10:22, 8 July 2021 (EDT)
:{{Reply to|KWilcox}} As I said: please post all questions for project 2 on Wikipedia. This is an inappropriate forum for them. Thank you. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:27, 8 July 2021 (EDT)

== Remediation of "Reinventing the Wheel" Mailer Article for Review ==

Dr. Lucas,

My [[The_Mailer_Review/Volume_5,_2011/Reinventing_a_New_Wheel:_The_Films_of_Norman_Mailer|article]] is ready for review.

Thank you!
[[User:TPoole|TPoole]] ([[User talk:TPoole|talk]]) 15:29, 29 March 2025 (EDT)
:{{Reply to|TPoole}} great! Could you include a link to it? Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 11:07, 30 March 2025 (EDT)
::OK, I [[The Mailer Review/Volume 5, 2011/Reinventing a New Wheel: The Films of Norman Mailer|found it]]. Looking really good. Great work. There are some citation issues that need to be seen to. The two red categories at the bottom should not be there; they will go away when the citations errors are corrected. Eliminate any quotation mark "fangs" in the text and replace them with “real quotation marks.” Let me know if you need help. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 11:14, 30 March 2025 (EDT)
:::@Grlucas, what are the citation issues? Which ones need correcting? [[User:TPoole|TPoole]] ([[User talk:TPoole|talk]]) 17:31, 31 March 2025 (EDT)
::::{{Reply to| TPoole}} When you click your citations, they should jump to the works cited entry they correspond to. Several of yours do not, indicated by the red “Harv and Sfn no-target errors” at the bottom. You also have a "CS1 maint: Unrecognized language" error that will likely be cleared up when you fix the citation issues. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:55, 1 April 2025 (EDT)

== Remediation of: "Contradictory Syntheses: Norman Mailer’s Left Conservatism and the Problematic of 'Totalitarianism'" ==

Dr. Lucas

I finished the remediation of the following article:

https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Contradictory_Syntheses:_Norman_Mailer%E2%80%99s_Left_Conservatism_and_the_Problematic_of_%E2%80%9CTotalitarianism%E2%80%9D

It is ready for your review. Thank you.
[[User:JKilchenmann|JKilchenmann]] ([[User talk:JKilchenmann|talk]]) 19:04, 30 March 2025 (EDT)
:{{Reply to| JKilchenmann}} looks great. I made some tweaks to the references and some throughout, like changing ' and " to real apostrophes and quotation marks. A bit more clean-up, but you might want to check over it again. I removed the under-construction banner. Well one. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 21:32, 30 March 2025 (EDT)

== Final Edit ==

Thank you for your comments on my remediation of
"[[The Mailer Review/Volume 4, 2010/Authorship and Alienation in Death in the Afternoon and Advertisements for Myself|Authorship and Alienation in Death in the Afternoon and Advertisements for Myself.]]"

I've eliminated the "fang quotes" and changed them to “real quotation marks.” This was a very fascinating tip that taught me something new. It's something I've never noticed before but now always will.

I also put my sources in a bulleted list and removed the space before the citations. I think I'm all set now.

User talk:Grlucas

2025-04-01T21:10:01Z

KaraCroissant: /* Final edits */

{{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 ==
Dr. Lucas, I transferred and edited my article. Can you look at it and remove the banner? Here's the link: [[The_Mailer_Review/Volume_4,_2010/Authorship_and_Alienation_in_Death_in_the_Afternoon_and_Advertisements_for_Myself|Authorship and Alienation in Death in the Afternoon and Advertisements for Myself]] ( [[User:APKnight25|APKnight25]] ([[User talk:APKnight25|talk]]) 13:02, 28 March 2025 (EDT) )
:{{Reply to| APKnight25}} looking good! A couple of things: never bury your talk page post. Put it at the bottom, preferably in its own section by clicking "Add topic" on the top-right. Next, eliminate all "fang" quotes in the article and add “real quotation marks.” Your sources should be a bulleted list. And there should be no space before a citation. You’re almost finished! —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 11:21, 30 March 2025 (EDT)

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

Hello, Dr. Lucas! I have completed remediation on [[The Mailer Review/Volume 4, 2010/The American Civil War in The Naked and the Dead and Across the River and Into the Trees]]. Can you please let me know if there's anything I need to correct? Thanks so much!

==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)

My attempt at creating a draft article failed by creating a new page. My next attempt will be using the user page to create the draft article, is this correct?[[User:KWilcox|KWilcox]] ([[User talk:KWilcox|talk]]) 10:22, 8 July 2021 (EDT)Kenneth Wilcox, July 8, 2021, 10:21am[[User:KWilcox|KWilcox]] ([[User talk:KWilcox|talk]]) 10:22, 8 July 2021 (EDT)
:{{Reply to|KWilcox}} As I said: please post all questions for project 2 on Wikipedia. This is an inappropriate forum for them. Thank you. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 10:27, 8 July 2021 (EDT)

== Remediation of "Reinventing the Wheel" Mailer Article for Review ==

Dr. Lucas,

My [[The_Mailer_Review/Volume_5,_2011/Reinventing_a_New_Wheel:_The_Films_of_Norman_Mailer|article]] is ready for review.

Thank you!
[[User:TPoole|TPoole]] ([[User talk:TPoole|talk]]) 15:29, 29 March 2025 (EDT)
:{{Reply to|TPoole}} great! Could you include a link to it? Thanks. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 11:07, 30 March 2025 (EDT)
::OK, I [[The Mailer Review/Volume 5, 2011/Reinventing a New Wheel: The Films of Norman Mailer|found it]]. Looking really good. Great work. There are some citation issues that need to be seen to. The two red categories at the bottom should not be there; they will go away when the citations errors are corrected. Eliminate any quotation mark "fangs" in the text and replace them with “real quotation marks.” Let me know if you need help. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 11:14, 30 March 2025 (EDT)
:::@Grlucas, what are the citation issues? Which ones need correcting? [[User:TPoole|TPoole]] ([[User talk:TPoole|talk]]) 17:31, 31 March 2025 (EDT)
::::{{Reply to| TPoole}} When you click your citations, they should jump to the works cited entry they correspond to. Several of yours do not, indicated by the red “Harv and Sfn no-target errors” at the bottom. You also have a "CS1 maint: Unrecognized language" error that will likely be cleared up when you fix the citation issues. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 08:55, 1 April 2025 (EDT)

== Remediation of: "Contradictory Syntheses: Norman Mailer’s Left Conservatism and the Problematic of 'Totalitarianism'" ==

Dr. Lucas

I finished the remediation of the following article:

https://projectmailer.net/pm/The_Mailer_Review/Volume_5,_2011/Contradictory_Syntheses:_Norman_Mailer%E2%80%99s_Left_Conservatism_and_the_Problematic_of_%E2%80%9CTotalitarianism%E2%80%9D

It is ready for your review. Thank you.
[[User:JKilchenmann|JKilchenmann]] ([[User talk:JKilchenmann|talk]]) 19:04, 30 March 2025 (EDT)
:{{Reply to| JKilchenmann}} looks great. I made some tweaks to the references and some throughout, like changing ' and " to real apostrophes and quotation marks. A bit more clean-up, but you might want to check over it again. I removed the under-construction banner. Well one. —[[User:Grlucas|Grlucas]] ([[User talk:Grlucas|talk]]) 21:32, 30 March 2025 (EDT)

== Final Edit ==

Thank you for your comments on my remediation of
"[[The Mailer Review/Volume 4, 2010/Authorship and Alienation in Death in the Afternoon and Advertisements for Myself|Authorship and Alienation in Death in the Afternoon and Advertisements for Myself.]]"

I've eliminated the "fang quotes" and changed them to “real quotation marks.” This was a very fascinating tip that taught me something new. It's something I've never noticed before but now always will.

I also put my sources in a bulleted list and removed the space before the citations. I think I'm all set now.

The Mailer Review/Volume 4, 2010/The American Civil War in The Naked and the Dead and Across the River and Into the Trees

2025-04-01T21:04:23Z

KaraCroissant: added body, citations

{{DISPLAYTITLE:{{BASEPAGENAME}}/The American Civil War in ''The Naked and the Dead'' and ''Across the River and Into the Trees''}}
{{MR04}}
{{Working}} 
{{byline
| align = left|right (right is default)
| type = Written
| last = H. Meredith
| first = James

| abstract = the article abstract (if applicable)
| notes = publication or editor's notes (if applicable)
| url = the short link to the article using prmlr.us (this link will be filled in by the editor)
}}
The great calamity of the US Civil War was the impetus for major changes in American fiction. This brother-against-brother engagement not only profoundly disrupted American society but also precipitated a dramatic alteration in the way serious novelists wrote about the experience of combat. This war between the states promulgated an American war novel tradition that remained essentially unchanged until the end of the Vietnam War. The advent of new and highly destructive war technologies outstripped military tactics, causing the dramatic increases in the number and severity of causalities and destruction. This conflict multiplied the tragic and traumatic consequences of modern war in a very short amount of time. Concomitantly, the use of the photographic camera on the battlefield brought the war’s frightful arithmetic to the home front and helped change the literary expectations of a nation from romanticism to realism and naturalism and, later, modernism.

The American Civil War initiated what would become a deepening level of trauma throughout American culture that continued throughout the war-plagued Twentieth Century. As a consequence, developments in post-war
{{pg|81|82}}
American literature made the realistic depiction of death and dying a widespread phenomenon. Modern American war fiction, which was written beginning in the immediate post-World War I period, is simply defined here as that depiction of the soldier’s continuing and deepening sense of tragedy and trauma in a military that has become overly technologized and irrationally bureaucratized, an outgrowth of the modern condition. In a broad sense, therefore, the modern period began at the time where mathematics replaced metaphor and fact replaced romance and mythology.

There have been several major studies about the impact of the Civil War on American literature that influences this study here, such as Craig A.Warren’s ''Scars to Prove It: The Civil War Soldier & American Literature'', Michael W. Schaefer’s ''Just What War Is: The Civil War Writings of DeForest and Bierce'', Daniel Aaron’s ''The Unwritten War: American Writers and the Civil War'', and Thomas C. Leonard’s ''Above the Battle: War-Making in America from Appomattox to Versailles''. The most famous study is Edmund Wilson’s ''Patriotic Gore: Studies in the Literature of the American Civil War''. What is most evident in these studies is how the Civil War dramatically altered the course of American literature up to the modern period.

By the time Norman Mailer and Ernest Hemingway began writing their World War II novels, ''The Naked and the Dead'' (1948) and ''Across the River and into the Trees'' (1950), where they make allusions to the Civil War, the impact that this war had on American literary sensibilities was very well evident. While their allusions to the American Civil War may be relatively slight in these novels, the implications about what this particular conflict might mean are much more significant than what the number of their words in the text may indicate. In alluding to the Civil War, both Mailer and Hemingway, who continually demonstrated a broad and complex view of history throughout their careers, perpetuate the residual influence of this particular war, and the soldiers who fought, on American literature. Hemingway
and Mailer, therefore, are important writers to study because while they have so much in common, they also have significant differences in both style and literary vision, especially in the way they allude to the Civil War and quite possibly in their distinct attitudes about this war and war in general.

The tragedy and trauma that the war initiated throughout American history has a simple cause: Not only does this war remain the most calamitous conflict in US history; the Civil War also was the first to involve common citizens as drafted soldiers on a massive scale. The Civil War created more
{{pg|82|83}}
domestic grief than both World War I and World War II and all the other wars combined, and the impact of this experience was enough to make for a major turn or trope in American literature. Both Mailer and Hemingway understood this level of trauma. More important, both writers understood the Hegelian dialectical dimensions of how military history, and the psychological and micro-machinations of those in power, are manifested in the outcomes of their actions. For example, while the astronomical casualty rates during the spring and summer of 1864 were the direct results of the Richmond and Atlanta campaigns by Grant and Sherman and by Lee’s and the Confederate’s defense of them, the indirect causes resided in the psyche of the commanding generals and their resulting actions. In other words, Grant and Lee’s personalities drove the war and the war’s consequences drove the trauma.

In Hemingway’s writing, his historical perspective of the Civil War is most pronounced. Throughout his life, Hemingway was a student of military history. Moreover, both his grandfathers were participants in the Civil War. His paternal great uncles George and Rodney and his grandfather Anson participated in the Civil War by joining various volunteer Illinois units, the Eighteenth Illinois Infantry and the Chicago Board of Trade regiment. Anson was the only Hemingway brother to survive the war.{{sfn|Nagel|1996|p=8-9}} Hemingway’s maternal grandfather Hall also served in some capacity during the Civil War, but his experience does not seem to be as direct as Hemingway’s had been. In Hemingway’s library, he possessed several classics of Civil War history, including the Bruce Catton histories.

The Civil War is alluded to in ''Across the River and into the Trees'' specifically and primarily in the title, which comes from the dying last words of General Stonewall Jackson: “Let us cross over the river and rest in the shade of the trees”.{{sfn|Robertson, Jr.|1997|p=753}} This title sets the melancholic tone for the whole novel. Colonel, formerly General, Richard Cantwell is spending his last few days on earth alive in the town he loves the most in life, Venice, immediately after World War II. While Jackson’s are not the dying words of Cantwell, there is a symmetrical connection. Right before he dies from a final heart attack, Cantwell tells his driver, aptly named Jackson, “I am now going to get into the large back seat of this god-damned, over-sized luxurious automobile”.{{sfn|Hemingway|1950|p=307}} This very reductive, modern statement, lacking in the poetry of Stonewall Jackson’s last words, is to be expected since even the book’s title is itself a reductive paraphrase of the Civil War general’s
{{pg|83|84}}
famous last words. Eight decades after Jackson’s death at Chancellorsville,
the residue of his ''ethos'' informs Hemingway’s 1950 novel. In fact, the novel’s title has a noticeable epitaphic quality to it, primarily because it lacks the sense of inclusive camaraderie implied in “Let us cross” and, more importantly, the title lacks the essential verb “rest.” The result of this modern paraphrase creates a strong sense of loneliness and despair. Rest is what Cantwell, the professional soldier, has needed the most in his later professional life, but, of course, a sense of rest seems still to be lacking even in his dying. This scarred up old soldier is going to die alone in the back seat of a Buick, an ignominious scene of abject modernity.

This contrast with Stonewall Jackson excruciatingly reveals the true timber of Richard Cantwell’s ignominious fate. Jackson’s biographer James I. Robertson, Jr., writes that
<blockquote>[d]eath removed [Jackson] from the scene at the apogee of a military fame enjoyed by no other Civil War figure. His passing at a high point in Confederate success was the ultimate offering for the Southern cause. Death at the hour of his most spectacular victory led to more poems of praise than did any other single event of the war. Jackson was the only officer to be pictured on
Confederate currency, and his likeness graced the most expensive note issued in Richmond: a $500 bill.{{sfn|Robertson, Jr.|1997|p=ix}}</blockquote>

No such fame became of Cantwell, who led a gallant and purposeful life in the service of his army. Much of this contrast rests in the fact that Civil War veterans had been highly revered in American culture a half century before World War I and later World War II. Although veterans from World War II have been more celebrated than veterans from the First World War, neither of them have been as mythologized as much as the Civil War veterans from both sides of the conflict.

While Mailer did not have the familial or cultural connections to the Civil War, he was similarly aware of the war’s historical importance in American culture. The Civil War is specially alluded to in ''The Naked and the Dead'' when Cummings reveals a public humiliation at West Point; he seemingly asks a question about Lee and Grant improperly. In this particular scene, Cummings is a maniacal rhetorician. In this case, Cummings is in the agonistic throes of a Socratic contest against his West Point instructor,
{{pg|84|85}}
rhetorically dueling over who was the better commander Lee or Grant during the Civil War. In this scene, Cummings asks this richly loaded question:
<blockquote>Sir (he gets permission to speak), is it fair to say that Lee was the better general than Grant? I know that their tactics don’t compare, but Grant had the knowledge of strategy. What good are tactics, sir, if the . . . larger mechanics of men and supplies are not developed properly, because the tactics are just the part of the whole? In this conception wasn’t Grant the greatest man because he tried to take into account the intangibles. He wasn’t much good at the buck-and-wing but he could think up the rest of the show. (The classroom roars.)

It has been a triple error. He has been contradictory, rebellious and facetious.{{sfn|Mailer|1948|p=411-2}}
</blockquote>

Interestingly, everyone, including the narrator, thinks Cummings has made an error here, and he probably has in the eyes of these mere mortals, but actually, Cummings, who plays by the rules of the classical gods, has not. Cummings views war, almost literally, in fact, much like Dick Diver expressed in Fitzgerald’s ''Tender Is the Night'', as a “love battle”. According to this thinking, all war was a battle fought between two men who were in love with themselves and what they do. To General Cummings, war or any visceral contest was always psychosexual. Underscoring this point is the very idealistic Lieutenant Hearns’ discovery that Cummings is making battlefield decisions based almost directly on his rhetorical interactions with him—in reaction, actually, to Cummings’s repressed homosexual desire for his lieutenant aide-de-camp. He is a man indeed who enjoys verbal combat. When he discovers this secret psychosexual truth, Hearns leaves his safe staff job for one directly on the front for which he is subsequently killed. For the general’s part, his actions come from a combination of submerged homosexual desire and the sociopathic need to fulfill every impulse, even if they follow a complicated sublimation pattern and even if they cause serious causality rates. No matter the need or method, Hearn nevertheless uncovered a painful metaphysical lesson about warfare (at least according to Mailer’s view of life): Every army needs a controlled killer in charge of its army, but with the advent of modern technological weapons, the tragic and traumatic consequences of these men are not only enormous but long lasting as well.
{{pg|85|86}}
In their own unique way, the object of Cummings’ verbal sparring, fellow West Pointers Lee and Grant, could also be seen as sociopathic killers on a large scale, despite Lee’s and Grant’s somewhat hagiological status. Although they are typically used as foils to each other, Lee and Grant are more accurately understood as two different faces on the same coin. Grant is the military organizational genius who understood the primary principle of military mathematics. He had twice as many men and ten times the resources as the enemy, and he knew how best to employ that math. Grant used blunt force trauma not only to pound the enemy into submission, to compound his mathematical advantage, but also to pound his own army into being a sharp fighting force. But Grant also needed to lose control of himself with alcohol and tobacco on occasion to function psychologically in the places that his genius took him. On the other side of the coin, Lee is the courtly and courteous well-bred Southerner, undermanned and eventually out-resourced. He was typically so controlled in what he did that he could tune out even the most disconcerting and devastating violence around him. Yet on one occasion, during the 1864 Battle of the Spotsylvania, he snapped, losing control of himself so profoundly that his soldiers had to grab his reins and shout “Lee to the rear” to keep him from charging headlong into a murderous pitched battle.{{sfn|United States. National Park Service.|1999|p=54-55}} This tangible anger, from a man who was archetypically well-mannered, originated from his profound love for his fellow Southerners. His anger was nurtured by his realization that he was compelled to sacrifice his life and theirs for ''the mythological Cause''. The deepest depths of this anger, however, can be framed by the first premise of Lee’s warrior syllogism, his thesis, which was always to be the consummate aggressor in battle. Until the advent of Grant, who sacrificed his men for a modern government that had all the mathematical advantages, Lee had had no binary counterpart. Until that historical moment, Lee had been aggressive and victorious, and the large-scale sacrifices had been psychologically manageable.

During the spring and summer of 1864, Lee met not so much his match but his more dominant syllogistic twin, the other face of a catastrophic coin. In that moment, Lee knew what the ultimate conclusion had to be—the coin would flip. Grant’s entry into the equation meant the end of the war and the fighting and the end of doing what Lee had always been called to do: attack. Remember: Lee was the man who said that is was a good thing war was so horrible because we would love it too much if it weren’t.{{sfn|United States. National Park Service.|1999|p=34}}
{{pg|86|87}}
At the May, 1864, Battle of Spotsylvania, both sides of the Hegelian coin were cast. For Lee, the war had become too horrible, and the end was finally in sight. However, what truly altered Lee was the fact that he was, for the first time in his life, no longer the assertive thesis, the archetypal aggressor, the man constantly on the offense, in charge of himself and fate. With Grant, Lee had suddenly become the archetypical submissive antithesis; in effect, he had become emasculated but not unmanned. To be more precise, the mythological Lee was outmanned and out supplied and tragically, mathematically disadvantaged. Although Lee was bested, he did remain intact in the process, not diminished as much as altered. It does not take much knowledge of Freudian psychoanalytic theory to speculate what kind of dreams Lee was having at the time, and his biographer does state that he had begun having troubled sleep as well as physical deterioration, which was new for him.

This out-manning of the chivalric Lee by the transfigured hero in the guise of Grant is the moment that modernity profoundly took over in Western civilization warfare and eventually literature. Grant is still a hero, but one of a different shape and form than the traditional Lee. The rough, slouching Grant becomes the Yeatsian beast of modernity. However, Grant’s archetype could only emerge when juxtaposed against the perfect foil—Lee. In the age of Grant, realism of course was the immediate literary reaction. With World War I, and the rise of modernist literature, the archetypal shift propagated by Grant vs. Lee was resolved. The modernist epic re-imaging through Pound and Eliot became the final solution. So by the time of World War II, with Mailer especially, Lee’s classical sensibilities have been imaginatively subsumed by Grant’s calculus for modern war.

The literary descendents of these historical figures, thus, logically reflect the strategies for emotionless mass destruction that allowed Grant to reunite the Union. Mailer’s Cummings is a textbook case in point. More than any other member of his West Point class and his instructor, Cummings knew about all this war madness, even then as a cadet, about how the mind of great generals work, how they derive strategy and tactics out of their own psychological needs, and how the especially great soldiers pull battle plans out of their otherwise inexplicable genius, out of motives that could be called pure if they could ever be clearly understood. Important generals, like anyone else who makes history change, are not taught their changeling genius at places like the military academies, but that is where they discover their role models and that is where their combative, sociopathic personalities are
{{pg|87|88}}
sharpened into fighting form. In Mailer’s world, the motives and impulses of men who change history, whether they are an Army general, a presidential assassin, a serial killer, or Gary Gilmore, are never actually understood by the characters themselves or especially the readers; they are just acted upon. That is truly what makes them special: They are not afraid to act upon even their worst impulses. Thus, this one allusion from ''The Naked and the Dead'' does not distract from Mailer’s text but rather illuminates more fully Cummings’ character, which ultimately illustrates that in military organizations, the psychology of the individual commander directly affects the lives of the common soldier: The ones who pay the price from those who give the orders.

With all of this in mind, one can also clearly see how Hemingway’s Cantwell represents the sacrificial soldier for a modern bureaucratic army, the transfigured Jackson, who dies at the moment of his greatest victory. While Jackson’s death is heroic, Cantwell’s is ignominious in that his greatest victory is not a military one, but merely a personal one. His is a modern, reductive victory over himself and the acceptance of his death. Cantwell is merely another soldier who has had to pay the price of modern warfare. On the other hand, Mailer’s Cummings forms another face on the coin, but of a different type. He is the emotionless sacrificer—the general who has minted Grant’s legacy into a modern, sociopathic coinage. As these two allusions to the American Civil War demonstrate, these two major writers of the Twentieth Century, whose legacies will remain influential throughout the Twenty-First century, understood the influence of this conflict on the American psyche. Mailer and Hemingway, both veterans of war themselves, viscerally understood this war’s enormous costs created a trauma that permeates and promulgates the modern vernacular and literature, illuminating the point that the American Civil War, especially in the costs that it took to fight it, accelerated the dramatic shift to the modern sensibility.
{{Review}}
===Citations===

{{Reflist}}
===Works Cited===

{{Refbegin}}
* {{cite book |last=Fitzgerald |first=F. Scott |date=1934 |title=Tender Is the Night |url= |location=New York |publisher=Scribner |pages= |ref=harv }}
* {{cite book |last=Freeman |first=Douglas Southall |date=1997 |title=Lee. Ed. Richard Harwell. Abr. ed. 1961 |url= |location= |publisher=Touchstone |pages= |ref=harv }}
* {{cite book |last=Hemingway |first=Ernest |date=1950 |title=Across the River and into the Trees |url= |location=New York |publisher=Scribner |pages= |ref=harv }}
* {{cite book |last=Mailer |first=Norman |date=1948 |title=The Naked and the Dead |url= |location=New York |publisher=Rinehart |pages= |ref=harv }}
* {{cite book |last=Nagel |first=James |date=1996 |title=Ernest Hemingway: The Oak Park Legacy. Ed. Nagel. |url= |location=Tuscaloosa |publisher=U of Alabama P |pages=3-20 |ref=harv }}
* {{cite book |last=Robertson, Jr. |first=James I. |date=1997 |title=Stonewall Jackson: The Man, the Soldier, and the Legend |url= |location= New York |publisher=Macmillan |pages= |ref=harv }}
* {{cite book |last=United States. National Park Service. |first= |date=1999 |title=Fredericksburg Battlefields |url= |location=Washington, DC |publisher=US Department of Interior |pages= |ref=harv }}
{{Refend}}
[[Category:Classic Interpretations (MR)]]
{{DEFAULTSORT:American Civil War in The Naked and the Dead and Across the River and Into the Trees, The}}

User:KaraCroissant/sandbox

2025-03-22T04:05:10Z

KaraCroissant: removed category and sort

{{user sandbox|plain=yes}}
The great calamity of the US Civil War was the impetus for major changes in American fiction. This brother-against-brother engagement not only profoundly disrupted American society but also precipitated a dramatic alteration in the way serious novelists wrote about the experience of combat. This war between the states promulgated an American war novel tradition that remained essentially unchanged until the end of the Vietnam War. The advent of new and highly destructive war technologies outstripped military tactics, causing the dramatic increases in the number and severity of causalities and destruction. This conflict multiplied the tragic and traumatic consequences of modern war in a very short amount of time. Concomitantly, the use of the photographic camera on the battlefield brought the war’s frightful arithmetic to the home front and helped change the literary expectations of a nation from romanticism to realism and naturalism and, later, modernism.

The American Civil War initiated what would become a deepening level of trauma throughout American culture that continued throughout the war-plagued Twentieth Century. As a consequence, developments in post-war
{{pg|81|82}}
American literature made the realistic depiction of death and dying a widespread phenomenon. Modern American war fiction, which was written beginning in the immediate post-World War I period, is simply defined here as that depiction of the soldier’s continuing and deepening sense of tragedy and trauma in a military that has become overly technologized and irrationally bureaucratized, an outgrowth of the modern condition. In a broad sense, therefore, the modern period began at the time where mathematics replaced metaphor and fact replaced romance and mythology.

There have been several major studies about the impact of the Civil War on American literature that influences this study here, such as Craig A.Warren’s ''Scars to Prove It: The Civil War Soldier & American Literature'', Michael W. Schaefer’s ''Just What War Is: The Civil War Writings of DeForest and Bierce'', Daniel Aaron’s ''The Unwritten War: American Writers and the Civil War'', and Thomas C. Leonard’s ''Above the Battle: War-Making in America from Appomattox to Versailles''. The most famous study is Edmund Wilson’s ''Patriotic Gore: Studies in the Literature of the American Civil War''. What is most evident in these studies is how the Civil War dramatically altered the course of American literature up to the modern period.

By the time Norman Mailer and Ernest Hemingway began writing their World War II novels, ''The Naked and the Dead'' (1948) and ''Across the River and into the Trees'' (1950),where they make allusions to the Civil War, the impact that this war had on American literary sensibilities was very well evident. While their allusions to the American Civil War may be relatively slight in these novels, the implications about what this particular conflict might mean are much more significant than what the number of their words in the text may indicate. In alluding to the Civil War, both Mailer and Hemingway, who continually demonstrated a broad and complex view of history throughout their careers, perpetuate the residual influence of this particular war, and the soldiers who fought, on American literature. Hemingway
and Mailer, therefore, are important writers to study because while they have so much in common, they also have significant differences in both style and literary vision, especially in the way they allude to the Civil War and quite possibly in their distinct attitudes about this war and war in general.

The tragedy and trauma that the war initiated throughout American history has a simple cause: Not only does this war remain the most calamitous conflict in US history; the Civil War also was the first to involve common citizens as drafted soldiers on a massive scale. The Civil War created more
{{pg|82|83}}
domestic grief than both World War I and World War II and all the other wars combined, and the impact of this experience was enough to make for a major turn or trope in American literature. Both Mailer and Hemingway understood this level of trauma. More important, both writers understood the Hegelian dialectical dimensions of how military history, and the psychological and micro-machinations of those in power, are manifested in the outcomes of their actions. For example, while the astronomical casualty rates during the spring and summer of 1864 were the direct results of the Richmond and Atlanta campaigns by Grant and Sherman and by Lee’s and the Confederate’s defense of them, the indirect causes resided in the psyche of the commanding generals and their resulting actions. In other words, Grant and Lee’s personalities drove the war and the war’s consequences drove the trauma.

In Hemingway’s writing, his historical perspective of the Civil War is most pronounced. Throughout his life, Hemingway was a student of military history. Moreover, both his grandfathers were participants in the Civil War. His paternal great uncles George and Rodney and his grandfather Anson participated in the Civil War by joining various volunteer Illinois units, the Eighteenth Illinois Infantry and the Chicago Board of Trade regiment. Anson was the only Hemingway brother to survive the war.{{sfn|Nagel|1996|p=8-9}} Hemingway’s maternal grandfather Hall also served in some capacity during the Civil War, but his experience does not seem to be as direct as Hemingway’s had been. In Hemingway’s library, he possessed several classics of Civil War history, including the Bruce Catton histories.

The Civil War is alluded to in ''Across the River and into the Trees'' specifically and primarily in the title, which comes from the dying last words of General Stonewall Jackson: “Let us cross over the river and rest in the shade of the trees”.{{sfn|Robertson, Jr.|1997|p=753}} This title sets the melancholic tone for the whole novel. Colonel, formerly General, Richard Cantwell is spending his last few days on earth alive in the town he loves the most in life, Venice, immediately after World War II. While Jackson’s are not the dying words of Cantwell, there is a symmetrical connection. Right before he dies from a final heart attack, Cantwell tells his driver, aptly named Jackson, “I am now going to get into the large back seat of this god-damned, over-sized luxurious automobile”.{{sfn|Hemingway|1950|p=307}} This very reductive, modern statement, lacking in the poetry of Stonewall Jackson’s last words, is to be expected since even the book’s title is itself a reductive paraphrase of the Civil War general’s
{{pg|83|84}}
famous last words. Eight decades after Jackson’s death at Chancellorsville,
the residue of his ''ethos'' informs Hemingway’s 1950 novel. In fact, the novel’s title has a noticeable epitaphic quality to it, primarily because it lacks the sense of inclusive camaraderie implied in “Let us cross” and, more importantly, the title lacks the essential verb “rest.” The result of this modern paraphrase creates a strong sense of loneliness and despair. Rest is what Cantwell, the professional soldier, has needed the most in his later professional life, but, of course, a sense of rest seems still to be lacking even in his dying. This scarred up old soldier is going to die alone in the back seat of a Buick, an ignominious scene of abject modernity.

This contrast with Stonewall Jackson excruciatingly reveals the true timber of Richard Cantwell’s ignominious fate. Jackson’s biographer James I. Robertson, Jr., writes that
<blockquote>[d]eath removed [Jackson] from the scene at the apogee of a military fame enjoyed by no other Civil War figure. His passing at a high point in Confederate success was the ultimate offering for the Southern cause. Death at the hour of his most spectacular victory led to more poems of praise than did any other single event of the war. Jackson was the only officer to be pictured on
Confederate currency, and his likeness graced the most expensive note issued in Richmond: a $500 bill.{{sfn|Robertson, Jr.|1997|p=ix}}</blockquote>

No such fame became of Cantwell, who led a gallant and purposeful life in the service of his army. Much of this contrast rests in the fact that Civil War veterans had been highly revered in American culture a half century before World War I and later World War II. Although veterans from World War II have been more celebrated than veterans from the First World War, neither of them have been as mythologized as much as the Civil War veterans from both sides of the conflict.

While Mailer did not have the familial or cultural connections to the Civil War, he was similarly aware of the war’s historical importance in American culture. The Civil War is specially alluded to in ''The Naked and the Dead'' when Cummings reveals a public humiliation at West Point; he seemingly asks a question about Lee and Grant improperly. In this particular scene, Cummings is a maniacal rhetorician. In this case, Cummings is in the agonistic throes of a Socratic contest against his West Point instructor,
{{pg|84|85}}
rhetorically dueling over who was the better commander Lee or Grant during the Civil War. In this scene, Cummings asks this richly loaded question:
<blockquote>Sir (he gets permission to speak), is it fair to say that Lee was the better general than Grant? I know that their tactics don’t compare, but Grant had the knowledge of strategy. What good are tactics, sir, if the . . . larger mechanics of men and supplies are not developed properly, because the tactics are just the part of the whole? In this conception wasn’t Grant the greatest man because he tried to take into account the intangibles. He wasn’t much good at the buck-and-wing but he could think up the rest of the show. (The classroom roars.)

It has been a triple error. He has been contradictory, rebellious and facetious.{{sfn|Mailer|1948|p=411-2}}
</blockquote>

Interestingly, everyone, including the narrator, thinks Cummings has made an error here, and he probably has in the eyes of these mere mortals, but actually, Cummings, who plays by the rules of the classical gods, has not. Cummings views war, almost literally, in fact, much like Dick Diver expressed in Fitzgerald’s ''Tender Is the Night'', as a “love battle”. According to this thinking, all war was a battle fought between two men who were in love with themselves and what they do. To General Cummings, war or any visceral contest was always psychosexual. Underscoring this point is the very idealistic Lieutenant Hearns’ discovery that Cummings is making battlefield decisions based almost directly on his rhetorical interactions with him—in reaction, actually, to Cummings’s repressed homosexual desire for his lieutenant aide-de-camp. He is a man indeed who enjoys verbal combat. When he discovers this secret psychosexual truth, Hearns leaves his safe staff job for one directly on the front for which he is subsequently killed. For the general’s part, his actions come from a combination of submerged homosexual desire and the sociopathic need to fulfill every impulse, even if they follow a complicated sublimation pattern and even if they cause serious causality rates. No matter the need or method, Hearn nevertheless uncovered a painful metaphysical lesson about warfare (at least according to Mailer’s view of life): Every army needs a controlled killer in charge of its army, but with the advent of modern technological weapons, the tragic and traumatic consequences of these men are not only enormous but long lasting as well.
{{pg|85|86}}
In their own unique way, the object of Cummings’ verbal sparring, fellow West Pointers Lee and Grant, could also be seen as sociopathic killers on a large scale, despite Lee’s and Grant’s somewhat hagiological status. Although they are typically used as foils to each other, Lee and Grant are more accurately understood as two different faces on the same coin. Grant is the military organizational genius who understood the primary principle of military mathematics. He had twice as many men and ten times the resources as the enemy, and he knew how best to employ that math. Grant used blunt force trauma not only to pound the enemy into submission, to compound his mathematical advantage, but also to pound his own army into being a sharp fighting force. But Grant also needed to lose control of himself with alcohol and tobacco on occasion to function psychologically in the places that his genius took him. On the other side of the coin, Lee is the courtly and courteous well-bred Southerner, undermanned and eventually out-resourced. He was typically so controlled in what he did that he could tune out even the most disconcerting and devastating violence around him. Yet on one occasion, during the 1864 Battle of the Spotsylvania, he snapped, losing control of himself so profoundly that his soldiers had to grab his reins and shout “Lee to the rear” to keep him from charging headlong into a murderous pitched battle.{{sfn|United States. National Park Service.|1999|p=54-55}} This tangible anger, from a man who was archetypically well-mannered, originated from his profound love for his fellow Southerners. His anger was nurtured by his realization that he was compelled to sacrifice his life and theirs for ''the mythological Cause''. The deepest depths of this anger, however, can be framed by the first premise of Lee’s warrior syllogism, his thesis, which was always to be the consummate aggressor in battle. Until the advent of Grant, who sacrificed his men for a modern government that had all the mathematical advantages, Lee had had no binary counterpart. Until that historical moment, Lee had been aggressive and victorious, and the large-scale sacrifices had been psychologically manageable.

During the spring and summer of 1864, Lee met not so much his match but his more dominant syllogistic twin, the other face of a catastrophic coin. In that moment, Lee knew what the ultimate conclusion had to be—the coin would flip. Grant’s entry into the equation meant the end of the war and the fighting and the end of doing what Lee had always been called to do: attack. Remember: Lee was the man who said that is was a good thing war was so horrible because we would love it too much if it weren’t.{{sfn|United States. National Park Service.|1999|p=34}}
{{pg|86|87}}
At the May, 1864, Battle of Spotsylvania, both sides of the Hegelian coin were cast. For Lee, the war had become too horrible, and the end was finally in sight. However, what truly altered Lee was the fact that he was, for the first time in his life, no longer the assertive thesis, the archetypal aggressor, the man constantly on the offense, in charge of himself and fate. With Grant, Lee had suddenly become the archetypical submissive antithesis; in effect, he had become emasculated but not unmanned. To be more precise, the mythological Lee was outmanned and out supplied and tragically, mathematically disadvantaged. Although Lee was bested, he did remain intact in the process, not diminished as much as altered. It does not take much knowledge of Freudian psychoanalytic theory to speculate what kind of dreams Lee was having at the time, and his biographer does state that he had begun having troubled sleep as well as physical deterioration, which was new for him.

This out-manning of the chivalric Lee by the transfigured hero in the guise of Grant is the moment that modernity profoundly took over in Western civilization warfare and eventually literature. Grant is still a hero, but one of a different shape and form than the traditional Lee. The rough, slouching Grant becomes the Yeatsian beast of modernity. However, Grant’s archetype could only emerge when juxtaposed against the perfect foil—Lee. In the age of Grant, realism of course was the immediate literary reaction. With World War I, and the rise of modernist literature, the archetypal shift propagated by Grant vs. Lee was resolved. The modernist epic re-imaging through Pound and Eliot became the final solution. So by the time of World War II, with Mailer especially, Lee’s classical sensibilities have been imaginatively subsumed by Grant’s calculus for modern war.

The literary descendents of these historical figures, thus, logically reflect the strategies for emotionless mass destruction that allowed Grant to reunite the Union. Mailer’s Cummings is a textbook case in point. More than any other member of his West Point class and his instructor, Cummings knew about all this war madness, even then as a cadet, about how the mind of great generals work, how they derive strategy and tactics out of their own psychological needs, and how the especially great soldiers pull battle plans out of their otherwise inexplicable genius, out of motives that could be called pure if they could ever be clearly understood. Important generals, like anyone else who makes history change, are not taught their changeling genius at places like the military academies, but that is where they discover their role models and that is where their combative, sociopathic personalities are
{{pg|87|88}}
sharpened into fighting form. In Mailer’s world, the motives and impulses of men who change history, whether they are an Army general, a presidential assassin, a serial killer, or Gary Gilmore, are never actually understood by the characters themselves or especially the readers; they are just acted upon. That is truly what makes them special: They are not afraid to act upon even their worst impulses. Thus, this one allusion from ''The Naked and the Dead'' does not distract from Mailer’s text but rather illuminates more fully Cummings’ character, which ultimately illustrates that in military organizations, the psychology of the individual commander directly affects the lives of the common soldier: The ones who pay the price from those who give the orders.

With all of this in mind, one can also clearly see how Hemingway’s Cantwell represents the sacrificial soldier for a modern bureaucratic army, the transfigured Jackson, who dies at the moment of his greatest victory. While Jackson’s death is heroic, Cantwell’s is ignominious in that his greatest victory is not a military one, but merely a personal one. His is a modern, reductive victory over himself and the acceptance of his death. Cantwell is merely another soldier who has had to pay the price of modern warfare. On the other hand, Mailer’s Cummings forms another face on the coin, but of a different type. He is the emotionless sacrificer—the general who has minted Grant’s legacy into a modern, sociopathic coinage. As these two allusions to the American Civil War demonstrate, these two major writers of the Twentieth Century, whose legacies will remain influential throughout the Twenty-First century, understood the influence of this conflict on the American psyche. Mailer and Hemingway, both veterans of war themselves, viscerally understood this war’s enormous costs created a trauma that permeates and promulgates the modern vernacular and literature, illuminating the point that the American Civil War, especially in the costs that it took to fight it, accelerated the dramatic shift to the modern sensibility.
{{Review}}
===Citations===

{{Reflist}}
===Works Cited===

{{Refbegin}}
* {{cite book |last=Fitzgerald |first=F. Scott |date=1934 |title=Tender Is the Night |url= |location=New York |publisher=Scribner |pages= |ref=harv }}
* {{cite book |last=Freeman |first=Douglas Southall |date=1997 |title=Lee. Ed. Richard Harwell. Abr. ed. 1961 |url= |location= |publisher=Touchstone |pages= |ref=harv }}
* {{cite book |last=Hemingway |first=Ernest |date=1950 |title=Across the River and into the Trees |url= |location=New York |publisher=Scribner |pages= |ref=harv }}
* {{cite book |last=Mailer |first=Norman |date=1948 |title=The Naked and the Dead |url= |location=New York |publisher=Rinehart |pages= |ref=harv }}
* {{cite book |last=Nagel |first=James |date=1996 |title=Ernest Hemingway: The Oak Park Legacy. Ed. Nagel. |url= |location=Tuscaloosa |publisher=U of Alabama P |pages=3-20 |ref=harv }}
* {{cite book |last=Robertson, Jr. |first=James I. |date=1997 |title=Stonewall Jackson: The Man, the Soldier, and the Legend |url= |location= New York |publisher=Macmillan |pages= |ref=harv }}
* {{cite book |last=United States. National Park Service. |first= |date=1999 |title=Fredericksburg Battlefields |url= |location=Washington, DC |publisher=US Department of Interior |pages= |ref=harv }}
{{Refend}}

User:KaraCroissant/sandbox

2025-03-22T03:54:00Z

KaraCroissant: added sort and category

User:KaraCroissant/sandbox

2025-03-22T03:33:26Z

KaraCroissant: corrected spacing

User:KaraCroissant/sandbox

2025-03-22T03:25:46Z

KaraCroissant: updated citations

{{user sandbox|plain=yes}}
The great calamity of the US Civil War was the impetus for major changes in American fiction. This brother-against-brother engagement not only profoundly disrupted American society but also precipitated a dramatic alteration in the way serious novelists wrote about the experience of combat. This war between the states promulgated an American war novel tradition that remained essentially unchanged until the end of the Vietnam War. The advent of new and highly destructive war technologies outstripped military tactics, causing the dramatic increases in the number and severity of causalities and destruction. This conflict multiplied the tragic and traumatic consequences of modern war in a very short amount of time. Concomitantly, the use of the photographic camera on the battlefield brought the war’s frightful arithmetic to the home front and helped change the literary expectations of a nation from romanticism to realism and naturalism and, later, modernism.

The American Civil War initiated what would become a deepening level of trauma throughout American culture that continued throughout the war-plagued Twentieth Century. As a consequence, developments in post-war
{{pg|81|82}}
American literature made the realistic depiction of death and dying a widespread phenomenon. Modern American war fiction, which was written beginning in the immediate post-World War I period, is simply defined here as that depiction of the soldier’s continuing and deepening sense of tragedy and trauma in a military that has become overly technologized and irrationally bureaucratized, an outgrowth of the modern condition. In a broad sense, therefore, the modern period began at the time where mathematics replaced metaphor and fact replaced romance and mythology.

There have been several major studies about the impact of the Civil War on American literature that influences this study here,such as Craig A.Warren’s ''Scars to Prove It: The Civil War Soldier & American Literature'', Michael W. Schaefer’s ''Just What War Is: The Civil War Writings of DeForest and Bierce'', Daniel Aaron’s ''The Unwritten War: American Writers and the Civil War'', and Thomas C. Leonard’s ''Above the Battle: War-Making in America from Appomattox to Versailles''. The most famous study is Edmund Wilson’s ''Patriotic Gore: Studies in the Literature of the American Civil War''. What is most evident in these studies is how the Civil War dramatically altered the course of American literature up to the modern period.

By the time Norman Mailer and Ernest Hemingway began writing their World War II novels, ''The Naked and the Dead'' (1948) and ''Across the River and into the Trees'' (1950),where they make allusions to the Civil War, the impact that this war had on American literary sensibilities was very well evident. While their allusions to the American Civil War may be relatively slight in these novels, the implications about what this particular conflict might mean are much more significant than what the number of their words in the text may indicate. In alluding to the Civil War, both Mailer and Hemingway, who continually demonstrated a broad and complex view of history throughout their careers, perpetuate the residual influence of this particular war, and the soldiers who fought, on American literature. Hemingway
and Mailer, therefore, are important writers to study because while they have so much in common, they also have significant differences in both style and literary vision, especially in the way they allude to the Civil War and quite possibly in their distinct attitudes about this war and war in general.

The tragedy and trauma that the war initiated throughout American history has a simple cause: Not only does this war remain the most calamitous conflict in US history; the Civil War also was the first to involve common citizens as drafted soldiers on a massive scale. The Civil War created more
{{pg|82|83}}
domestic grief than both World War I and World War II and all the other wars combined, and the impact of this experience was enough to make for a major turn or trope in American literature. Both Mailer and Hemingway understood this level of trauma. More important, both writers understood the Hegelian dialectical dimensions of how military history, and the psychological and micro-machinations of those in power, are manifested in the outcomes of their actions. For example,while the astronomical casualty rates during the spring and summer of 1864 were the direct results of the Richmond and Atlanta campaigns by Grant and Sherman and by Lee’s and the Confederate’s defense of them, the indirect causes resided in the psyche of the commanding generals and their resulting actions.In other words, Grant and Lee’s personalities drove the war and the war’s consequences drove the trauma.

In Hemingway’s writing, his historical perspective of the Civil War is most pronounced. Throughout his life, Hemingway was a student of military history. Moreover, both his grandfathers were participants in the Civil War. His paternal great uncles George and Rodney and his grandfather Anson participated in the Civil War by joining various volunteer Illinois units, the Eighteenth Illinois Infantry and the Chicago Board of Trade regiment. Anson was the only Hemingway brother to survive the war.{{sfn|Nagel|1996|p=8-9}} Hemingway’s maternal grandfather Hall also served in some capacity during the Civil War, but his experience does not seem to be as direct as Hemingway’s had been. In Hemingway’s library, he possessed several classics of Civil War history, including the Bruce Catton histories.

The Civil War is alluded to in ''Across the River and into the Trees'' specifically and primarily in the title, which comes from the dying last words of General Stonewall Jackson: “Let us cross over the river and rest in the shade of the trees”.{{sfn|Robertson, Jr.|1997|p=753}} This title sets the melancholic tone for the whole novel. Colonel, formerly General, Richard Cantwell is spending his last few days on earth alive in the town he loves the most in life,Venice, immediately after World War II. While Jackson’s are not the dying words of Cantwell, there is a symmetrical connection. Right before he dies from a final heart attack, Cantwell tells his driver, aptly named Jackson, “I am now going to get into the large back seat of this god-damned, over-sized luxurious automobile”.{{sfn|Hemingway|1950|p=307}} This very reductive, modern statement,lacking in the poetry of Stonewall Jackson’s last words, is to be expected since even the book’s title is itself a reductive paraphrase of the Civil War general’s
{{pg|83|84}}
famous last words. Eight decades after Jackson’s death at Chancellorsville,
the residue of his ''ethos'' informs Hemingway’s 1950 novel. In fact, the novel’s title has a noticeable epitaphic quality to it, primarily because it lacks the sense of inclusive camaraderie implied in “Let us cross” and, more importantly, the title lacks the essential verb “rest.” The result of this modern paraphrase creates a strong sense of loneliness and despair. Rest is what Cantwell, the professional soldier, has needed the most in his later professional life, but, of course, a sense of rest seems still to be lacking even in his dying. This scarred up old soldier is going to die alone in the back seat of a Buick, an ignominious scene of abject modernity.

This contrast with Stonewall Jackson excruciatingly reveals the true timber of Richard Cantwell’s ignominious fate. Jackson’s biographer James I. Robertson, Jr., writes that
<blockquote>[d]eath removed [Jackson] from the scene at the apogee of a military fame enjoyed by no other Civil War figure. His passing at a high point in Confederate success was the ultimate offering for the Southern cause. Death at the hour of his most spectacular victory led to more poems of praise than did any other single event of the war. Jackson was the only officer to be pictured on
Confederate currency, and his likeness graced the most expensive note issued in Richmond: a $500 bill.{{sfn|Robertson, Jr.|1997|p=ix}}</blockquote>

No such fame became of Cantwell, who led a gallant and purposeful life in the service of his army. Much of this contrast rests in the fact that Civil War veterans had been highly revered in American culture a half century before World War I and later World War II. Although veterans from World War II have been more celebrated than veterans from the First World War, neither of them have been as mythologized as much as the Civil War veterans from both sides of the conflict.

While Mailer did not have the familial or cultural connections to the Civil War, he was similarly aware of the war’s historical importance in American culture. The Civil War is specially alluded to in ''The Naked and the Dead'' when Cummings reveals a public humiliation at West Point; he seemingly asks a question about Lee and Grant improperly. In this particular scene, Cummings is a maniacal rhetorician. In this case, Cummings is in the agonistic throes of a Socratic contest against his West Point instructor,
{{pg|84|85}}
rhetorically dueling over who was the better commander Lee or Grant during the Civil War. In this scene, Cummings asks this richly loaded question:
<blockquote>Sir (he gets permission to speak), is it fair to say that Lee was the better general than Grant? I know that their tactics don’t compare, but Grant had the knowledge of strategy. What good are tactics, sir, if the . . . larger mechanics of men and supplies are not developed properly, because the tactics are just the part of the whole? In this conception wasn’t Grant the greatest man because he tried to take into account the intangibles. He wasn’t much good at the buck-and-wing but he could think up the rest of the show. (The classroom roars.)

It has been a triple error. He has been contradictory, rebellious and facetious.{{sfn|Mailer|1948|p=411-2}}
</blockquote>

Interestingly, everyone, including the narrator, thinks Cummings has made an error here, and he probably has in the eyes of these mere mortals, but actually, Cummings,who plays by the rules of the classical gods, has not.Cummings views war, almost literally, in fact, much like Dick Diver expressed in Fitzgerald’s ''Tender Is the Night'', as a “love battle”. According to this thinking, all war was a battle fought between two men who were in love with themselves and what they do. To General Cummings, war or any visceral contest was always psychosexual. Underscoring this point is the very idealistic Lieutenant Hearns’ discovery that Cummings is making battlefield decisions based almost directly on his rhetorical interactions with him—in reaction, actually, to Cummings’s repressed homosexual desire for his lieutenant aide-de-camp. He is a man indeed who enjoys verbal combat. When he discovers this secret psychosexual truth, Hearns leaves his safe staff job for one directly on the front for which he is subsequently killed. For the general’s part, his actions come from a combination of submerged homosexual desire and the sociopathic need to fulfill every impulse, even if they follow a complicated sublimation pattern and even if they cause serious causality rates. No matter the need or method, Hearn nevertheless uncovered a painful metaphysical lesson about warfare (at least according to Mailer’s view of life): Every army needs a controlled killer in charge of its army, but with the advent of modern technological weapons, the tragic and traumatic consequences of these men are not only enormous but long lasting as well.
{{pg|85|86}}
In their own unique way, the object of Cummings’ verbal sparring, fellow West Pointers Lee and Grant, could also be seen as sociopathic killers on a large scale, despite Lee’s and Grant’s somewhat hagiological status.Although they are typically used as foils to each other, Lee and Grant are more accurately understood as two different faces on the same coin. Grant is the military organizational genius who understood the primary principle of military mathematics. He had twice as many men and ten times the resources as the enemy, and he knew how best to employ that math. Grant used blunt force trauma not only to pound the enemy into submission, to compound his mathematical advantage, but also to pound his own army into being a sharp fighting force. But Grant also needed to lose control of himself with alcohol and tobacco on occasion to function psychologically in the places that his genius took him. On the other side of the coin, Lee is the courtly and courteous well-bred Southerner, undermanned and eventually out-resourced. He was typically so controlled in what he did that he could tune out even the most disconcerting and devastating violence around him. Yet on one occasion, during the 1864 Battle of the Spotsylvania, he snapped, losing control of himself so profoundly that his soldiers had to grab his reins and shout “Lee to the rear” to keep him from charging headlong into a murderous pitched battle.{{sfn|United States. National Park Service.|1999|p=54-55}} This tangible anger, from a man who was archetypically well-mannered, originated from his profound love for his fellow Southerners. His anger was nurtured by his realization that he was compelled to sacrifice his life and theirs for ''the mythological Cause''. The deepest depths of this anger, however, can be framed by the first premise of Lee’s warrior syllogism, his thesis, which was always to be the consummate aggressor in battle. Until the advent of Grant, who sacrificed his men for a modern government that had all the mathematical advantages, Lee had had no binary counterpart. Until that historical moment, Lee had been aggressive and victorious, and the large-scale sacrifices had been psychologically manageable.

During the spring and summer of 1864, Lee met not so much his match but his more dominant syllogistic twin, the other face of a catastrophic coin. In that moment, Lee knew what the ultimate conclusion had to be—the coin would flip. Grant’s entry into the equation meant the end of the war and the fighting and the end of doing what Lee had always been called to do: attack. Remember: Lee was the man who said that is was a good thing war was so horrible because we would love it too much if it weren’t.{{sfn|United States. National Park Service.|1999|p=34}}
{{pg|86|87}}
At the May,1864, Battle of Spotsylvania, both sides of the Hegelian coin were cast. For Lee, the war had become too horrible, and the end was finally in sight. However, what truly altered Lee was the fact that he was, for the first time in his life, no longer the assertive thesis, the archetypal aggressor, the man constantly on the offense, in charge of himself and fate. With Grant, Lee had suddenly become the archetypical submissive antithesis; in effect, he had become emasculated but not unmanned. To be more precise, the mythological Lee was outmanned and out supplied and tragically, mathematically disadvantaged.Although Lee was bested, he did remain intact in the process, not diminished as much as altered. It does not take much knowledge of Freudian psychoanalytic theory to speculate what kind of dreams Lee was having at the time, and his biographer does state that he had begun having troubled sleep as well as physical deterioration, which was new for him.

This out-manning of the chivalric Lee by the transfigured hero in the guise of Grant is the moment that modernity profoundly took over in Western civilization warfare and eventually literature. Grant is still a hero, but one of a different shape and form than the traditional Lee. The rough, slouching Grant becomes the Yeatsian beast of modernity. However, Grant’s archetype could only emerge when juxtaposed against the perfect foil—Lee. In the age of Grant, realism of course was the immediate literary reaction. With World War I, and the rise of modernist literature, the archetypal shift propagated by Grant vs. Lee was resolved. The modernist epic re-imaging through Pound and Eliot became the final solution. So by the time of World War II, with Mailer especially, Lee’s classical sensibilities have been imaginatively subsumed by Grant’s calculus for modern war.

The literary descendents of these historical figures, thus, logically reflect the strategies for emotionless mass destruction that allowed Grant to reunite the Union. Mailer’s Cummings is a textbook case in point. More than any other member of his West Point class and his instructor, Cummings knew about all this war madness, even then as a cadet, about how the mind of great generals work, how they derive strategy and tactics out of their own psychological needs, and how the especially great soldiers pull battle plans out of their otherwise inexplicable genius, out of motives that could be called pure if they could ever be clearly understood. Important generals, like anyone else who makes history change, are not taught their changeling genius at places like the military academies, but that is where they discover their role models and that is where their combative, sociopathic personalities are
{{pg|87|88}}
sharpened into fighting form. In Mailer’s world, the motives and impulses of men who change history, whether they are an Army general, a presidential assassin, a serial killer, or Gary Gilmore, are never actually understood by the characters themselves or especially the readers; they are just acted upon. That is truly what makes them special: They are not afraid to act upon even their worst impulses. Thus, this one allusion from ''The Naked and the Dead'' does not distract from Mailer’s text but rather illuminates more fully Cummings’ character,which ultimately illustrates that in military organizations, the psychology of the individual commander directly affects the lives of the common soldier: The ones who pay the price from those who give the orders.

With all of this in mind, one can also clearly see how Hemingway’s Cantwell represents the sacrificial soldier for a modern bureaucratic army, the transfigured Jackson, who dies at the moment of his greatest victory. While Jackson’s death is heroic, Cantwell’s is ignominious in that his greatest victory is not a military one, but merely a personal one. His is a modern, reductive victory over himself and the acceptance of his death. Cantwell is merely another soldier who has had to pay the price of modern warfare. On the other hand, Mailer’s Cummings forms another face on the coin, but of a different type. He is the emotionless sacrificer—the general who has minted Grant’s legacy into a modern, sociopathic coinage. As these two allusions to the American Civil War demonstrate, these two major writers of the Twentieth Century, whose legacies will remain influential throughout the Twenty-First century, understood the influence of this conflict on the American psyche. Mailer and Hemingway, both veterans of war themselves, viscerally understood this war’s enormous costs created a trauma that permeates and promulgates the modern vernacular and literature, illuminating the point that the American Civil War, especially in the costs that it took to fight it, accelerated the dramatic shift to the modern sensibility.
{{Review}}
===Citations===

{{Reflist}}
===Works Cited===

{{Refbegin}}
* {{cite book |last=Fitzgerald |first=F. Scott |date=1934 |title=Tender Is the Night |url= |location=New York |publisher=Scribner |pages= |ref=harv }}
* {{cite book |last=Freeman |first=Douglas Southall |date=1997 |title=Lee. Ed. Richard Harwell. Abr. ed. 1961 |url= |location= |publisher=Touchstone |pages= |ref=harv }}
* {{cite book |last=Hemingway |first=Ernest |date=1950 |title=Across the River and into the Trees |url= |location=New York |publisher=Scribner |pages= |ref=harv }}
* {{cite book |last=Mailer |first=Norman |date=1948 |title=The Naked and the Dead |url= |location=New York |publisher=Rinehart |pages= |ref=harv }}
* {{cite book |last=Nagel |first=James |date=1996 |title=Ernest Hemingway: The Oak Park Legacy. Ed. Nagel. |url= |location=Tuscaloosa |publisher=U of Alabama P |pages=3-20 |ref=harv }}
* {{cite book |last=Robertson, Jr. |first=James I. |date=1997 |title=Stonewall Jackson: The Man, the Soldier, and the Legend |url= |location= New York |publisher=Macmillan |pages= |ref=harv }}
* {{cite book |last=United States. National Park Service. |first= |date=1999 |title=Fredericksburg Battlefields |url= |location=Washington, DC |publisher=US Department of Interior |pages= |ref=harv }}
{{Refend}}

User:KaraCroissant/sandbox

2025-03-22T03:15:49Z

KaraCroissant: added citation block

{{user sandbox|plain=yes}}
The great calamity of the US Civil War was the impetus for major changes in American fiction. This brother-against-brother engagement not only profoundly disrupted American society but also precipitated a dramatic alteration in the way serious novelists wrote about the experience of combat. This war between the states promulgated an American war novel tradition that remained essentially unchanged until the end of the Vietnam War. The advent of new and highly destructive war technologies outstripped military tactics, causing the dramatic increases in the number and severity of causalities and destruction. This conflict multiplied the tragic and traumatic consequences of modern war in a very short amount of time. Concomitantly, the use of the photographic camera on the battlefield brought the war’s frightful arithmetic to the home front and helped change the literary expectations of a nation from romanticism to realism and naturalism and, later, modernism.

The American Civil War initiated what would become a deepening level of trauma throughout American culture that continued throughout the war-plagued Twentieth Century. As a consequence, developments in post-war
{{pg|81|82}}
American literature made the realistic depiction of death and dying a widespread phenomenon. Modern American war fiction, which was written beginning in the immediate post-World War I period, is simply defined here as that depiction of the soldier’s continuing and deepening sense of tragedy and trauma in a military that has become overly technologized and irrationally bureaucratized, an outgrowth of the modern condition. In a broad sense, therefore, the modern period began at the time where mathematics replaced metaphor and fact replaced romance and mythology.

There have been several major studies about the impact of the Civil War on American literature that influences this study here,such as Craig A.Warren’s ''Scars to Prove It: The Civil War Soldier & American Literature'', Michael W. Schaefer’s ''Just What War Is: The Civil War Writings of DeForest and Bierce'', Daniel Aaron’s ''The Unwritten War: American Writers and the Civil War'', and Thomas C. Leonard’s ''Above the Battle: War-Making in America from Appomattox to Versailles''. The most famous study is Edmund Wilson’s ''Patriotic Gore: Studies in the Literature of the American Civil War''. What is most evident in these studies is how the Civil War dramatically altered the course of American literature up to the modern period.

By the time Norman Mailer and Ernest Hemingway began writing their World War II novels, ''The Naked and the Dead'' (1948) and ''Across the River and into the Trees'' (1950),where they make allusions to the Civil War, the impact that this war had on American literary sensibilities was very well evident. While their allusions to the American Civil War may be relatively slight in these novels, the implications about what this particular conflict might mean are much more significant than what the number of their words in the text may indicate. In alluding to the Civil War, both Mailer and Hemingway, who continually demonstrated a broad and complex view of history throughout their careers, perpetuate the residual influence of this particular war, and the soldiers who fought, on American literature. Hemingway
and Mailer, therefore, are important writers to study because while they have so much in common, they also have significant differences in both style and literary vision, especially in the way they allude to the Civil War and quite possibly in their distinct attitudes about this war and war in general.

The tragedy and trauma that the war initiated throughout American history has a simple cause: Not only does this war remain the most calamitous conflict in US history; the Civil War also was the first to involve common citizens as drafted soldiers on a massive scale. The Civil War created more
{{pg|82|83}}
domestic grief than both World War I and World War II and all the other wars combined, and the impact of this experience was enough to make for a major turn or trope in American literature. Both Mailer and Hemingway understood this level of trauma. More important, both writers understood the Hegelian dialectical dimensions of how military history, and the psychological and micro-machinations of those in power, are manifested in the outcomes of their actions. For example,while the astronomical casualty rates during the spring and summer of 1864 were the direct results of the Richmond and Atlanta campaigns by Grant and Sherman and by Lee’s and the Confederate’s defense of them, the indirect causes resided in the psyche of the commanding generals and their resulting actions.In other words, Grant and Lee’s personalities drove the war and the war’s consequences drove the trauma.

In Hemingway’s writing, his historical perspective of the Civil War is most pronounced. Throughout his life, Hemingway was a student of military history. Moreover, both his grandfathers were participants in the Civil War. His paternal great uncles George and Rodney and his grandfather Anson participated in the Civil War by joining various volunteer Illinois units, the Eighteenth Illinois Infantry and the Chicago Board of Trade regiment. Anson was the only Hemingway brother to survive the war (Nagel 8–9). Hemingway’s maternal grandfather Hall also served in some capacity during the Civil War, but his experience does not seem to be as direct as Hemingway’s had been. In Hemingway’s library, he possessed several classics of Civil War history, including the Bruce Catton histories.

The Civil War is alluded to in ''Across the River and into the Trees'' specifically and primarily in the title, which comes from the dying last words of General Stonewall Jackson: “Let us cross over the river and rest in the shade of the trees” (Robertson 753). This title sets the melancholic tone for the whole novel. Colonel, formerly General, Richard Cantwell is spending his last few days on earth alive in the town he loves the most in life,Venice, immediately after World War II. While Jackson’s are not the dying words of Cantwell, there is a symmetrical connection. Right before he dies from a final heart attack, Cantwell tells his driver, aptly named Jackson, “I am now going to get into the large back seat of this god-damned, over-sized luxurious automobile” (Hemingway 307). This very reductive, modern statement,lacking in the poetry of Stonewall Jackson’s last words, is to be expected since even the book’s title is itself a reductive paraphrase of the Civil War general’s
{{pg|83|84}}
famous last words. Eight decades after Jackson’s death at Chancellorsville,
the residue of his ''ethos'' informs Hemingway’s 1950 novel. In fact, the novel’s title has a noticeable epitaphic quality to it, primarily because it lacks the sense of inclusive camaraderie implied in “Let us cross” and, more importantly, the title lacks the essential verb “rest.” The result of this modern paraphrase creates a strong sense of loneliness and despair. Rest is what Cantwell, the professional soldier, has needed the most in his later professional life, but, of course, a sense of rest seems still to be lacking even in his dying. This scarred up old soldier is going to die alone in the back seat of a Buick, an ignominious scene of abject modernity.

This contrast with Stonewall Jackson excruciatingly reveals the true timber of Richard Cantwell’s ignominious fate. Jackson’s biographer James I. Robertson, Jr., writes that
<blockquote>[d]eath removed [Jackson] from the scene at the apogee of a military fame enjoyed by no other Civil War figure. His passing at a high point in Confederate success was the ultimate offering for the Southern cause. Death at the hour of his most spectacular victory led to more poems of praise than did any other single event of the war. Jackson was the only officer to be pictured on
Confederate currency, and his likeness graced the most expensive note issued in Richmond: a $500 bill. (ix)</blockquote>

No such fame became of Cantwell, who led a gallant and purposeful life in the service of his army. Much of this contrast rests in the fact that Civil War veterans had been highly revered in American culture a half century before World War I and later World War II. Although veterans from World War II have been more celebrated than veterans from the First World War, neither of them have been as mythologized as much as the Civil War veterans from both sides of the conflict.

While Mailer did not have the familial or cultural connections to the Civil War, he was similarly aware of the war’s historical importance in American culture. The Civil War is specially alluded to in ''The Naked and the Dead'' when Cummings reveals a public humiliation at West Point; he seemingly asks a question about Lee and Grant improperly. In this particular scene, Cummings is a maniacal rhetorician. In this case, Cummings is in the agonistic throes of a Socratic contest against his West Point instructor,
{{pg|84|85}}
rhetorically dueling over who was the better commander Lee or Grant during the Civil War. In this scene, Cummings asks this richly loaded question:
<blockquote>Sir (he gets permission to speak), is it fair to say that Lee was the better general than Grant? I know that their tactics don’t compare, but Grant had the knowledge of strategy. What good are tactics, sir, if the . . . larger mechanics of men and supplies are not developed properly, because the tactics are just the part of the whole? In this conception wasn’t Grant the greatest man because he tried to take into account the intangibles. He wasn’t much good at the buck-and-wing but he could think up the rest of the show. (The classroom roars.)

It has been a triple error. He has been contradictory, rebellious and facetious. (411–2)
</blockquote>

Interestingly, everyone, including the narrator, thinks Cummings has made an error here, and he probably has in the eyes of these mere mortals, but actually, Cummings,who plays by the rules of the classical gods, has not.Cummings views war, almost literally, in fact, much like Dick Diver expressed in Fitzgerald’s ''Tender Is the Night'', as a “love battle” (57). According to this thinking, all war was a battle fought between two men who were in love with themselves and what they do. To General Cummings, war or any visceral contest was always psychosexual. Underscoring this point is the very idealistic Lieutenant Hearns’ discovery that Cummings is making battlefield decisions based almost directly on his rhetorical interactions with him—in reaction, actually, to Cummings’s repressed homosexual desire for his lieutenant aide-de-camp. He is a man indeed who enjoys verbal combat. When he discovers this secret psychosexual truth, Hearns leaves his safe staff job for one directly on the front for which he is subsequently killed. For the general’s part, his actions come from a combination of submerged homosexual desire and the sociopathic need to fulfill every impulse, even if they follow a complicated sublimation pattern and even if they cause serious causality rates. No matter the need or method, Hearn nevertheless uncovered a painful metaphysical lesson about warfare (at least according to Mailer’s view of life): Every army needs a controlled killer in charge of its army, but with the advent of modern technological weapons, the tragic and traumatic consequences of these men are not only enormous but long lasting as well.
{{pg|85|86}}
In their own unique way, the object of Cummings’ verbal sparring, fellow West Pointers Lee and Grant, could also be seen as sociopathic killers on a large scale, despite Lee’s and Grant’s somewhat hagiological status.Although they are typically used as foils to each other, Lee and Grant are more accurately understood as two different faces on the same coin. Grant is the military organizational genius who understood the primary principle of military mathematics. He had twice as many men and ten times the resources as the enemy, and he knew how best to employ that math. Grant used blunt force trauma not only to pound the enemy into submission, to compound his mathematical advantage, but also to pound his own army into being a sharp fighting force. But Grant also needed to lose control of himself with alcohol and tobacco on occasion to function psychologically in the places that his genius took him. On the other side of the coin, Lee is the courtly and courteous well-bred Southerner, undermanned and eventually out-resourced. He was typically so controlled in what he did that he could tune out even the most disconcerting and devastating violence around him. Yet on one occasion, during the 1864 Battle of the Spotsylvania, he snapped, losing control of himself so profoundly that his soldiers had to grab his reins and shout “Lee to the rear” to keep him from charging headlong into a murderous pitched battle (United States 54–55). This tangible anger, from a man who was archetypically well-mannered, originated from his profound love for his fellow Southerners. His anger was nurtured by his realization that he was compelled to sacrifice his life and theirs for ''the mythological Cause''. The deepest depths of this anger, however, can be framed by the first premise of Lee’s warrior syllogism, his thesis, which was always to be the consummate aggressor in battle. Until the advent of Grant, who sacrificed his men for a modern government that had all the mathematical advantages, Lee had had no binary counterpart. Until that historical moment, Lee had been aggressive and victorious, and the large-scale sacrifices had been psychologically manageable.

During the spring and summer of 1864, Lee met not so much his match but his more dominant syllogistic twin, the other face of a catastrophic coin. In that moment, Lee knew what the ultimate conclusion had to be—the coin would flip. Grant’s entry into the equation meant the end of the war and the fighting and the end of doing what Lee had always been called to do: attack. Remember: Lee was the man who said that is was a good thing war was so horrible because we would love it too much if it weren’t (United States 34).
{{pg|86|87}}
At the May,1864, Battle of Spotsylvania, both sides of the Hegelian coin were cast. For Lee, the war had become too horrible, and the end was finally in sight. However, what truly altered Lee was the fact that he was, for the first time in his life, no longer the assertive thesis, the archetypal aggressor, the man constantly on the offense, in charge of himself and fate. With Grant, Lee had suddenly become the archetypical submissive antithesis; in effect, he had become emasculated but not unmanned. To be more precise, the mythological Lee was outmanned and out supplied and tragically, mathematically disadvantaged.Although Lee was bested, he did remain intact in the process, not diminished as much as altered. It does not take much knowledge of Freudian psychoanalytic theory to speculate what kind of dreams Lee was having at the time, and his biographer does state that he had begun having troubled sleep as well as physical deterioration, which was new for him.

This out-manning of the chivalric Lee by the transfigured hero in the guise of Grant is the moment that modernity profoundly took over in Western civilization warfare and eventually literature. Grant is still a hero, but one of a different shape and form than the traditional Lee. The rough, slouching Grant becomes the Yeatsian beast of modernity. However, Grant’s archetype could only emerge when juxtaposed against the perfect foil—Lee. In the age of Grant, realism of course was the immediate literary reaction. With World War I, and the rise of modernist literature, the archetypal shift propagated by Grant vs. Lee was resolved. The modernist epic re-imaging through Pound and Eliot became the final solution. So by the time of World War II, with Mailer especially, Lee’s classical sensibilities have been imaginatively subsumed by Grant’s calculus for modern war.

The literary descendents of these historical figures, thus, logically reflect the strategies for emotionless mass destruction that allowed Grant to reunite the Union. Mailer’s Cummings is a textbook case in point. More than any other member of his West Point class and his instructor, Cummings knew about all this war madness, even then as a cadet, about how the mind of great generals work, how they derive strategy and tactics out of their own psychological needs, and how the especially great soldiers pull battle plans out of their otherwise inexplicable genius, out of motives that could be called pure if they could ever be clearly understood. Important generals, like anyone else who makes history change, are not taught their changeling genius at places like the military academies, but that is where they discover their role models and that is where their combative, sociopathic personalities are
{{pg|87|88}}
sharpened into fighting form. In Mailer’s world, the motives and impulses of men who change history, whether they are an Army general, a presidential assassin, a serial killer, or Gary Gilmore, are never actually understood by the characters themselves or especially the readers; they are just acted upon. That is truly what makes them special: They are not afraid to act upon even their worst impulses. Thus, this one allusion from ''The Naked and the Dead'' does not distract from Mailer’s text but rather illuminates more fully Cummings’ character,which ultimately illustrates that in military organizations, the psychology of the individual commander directly affects the lives of the common soldier: The ones who pay the price from those who give the orders.

With all of this in mind, one can also clearly see how Hemingway’s Cantwell represents the sacrificial soldier for a modern bureaucratic army, the transfigured Jackson, who dies at the moment of his greatest victory. While Jackson’s death is heroic, Cantwell’s is ignominious in that his greatest victory is not a military one, but merely a personal one. His is a modern, reductive victory over himself and the acceptance of his death. Cantwell is merely another soldier who has had to pay the price of modern warfare. On the other hand, Mailer’s Cummings forms another face on the coin, but of a different type. He is the emotionless sacrificer—the general who has minted Grant’s legacy into a modern, sociopathic coinage. As these two allusions to the American Civil War demonstrate, these two major writers of the Twentieth Century, whose legacies will remain influential throughout the Twenty-First century, understood the influence of this conflict on the American psyche. Mailer and Hemingway, both veterans of war themselves, viscerally understood this war’s enormous costs created a trauma that permeates and promulgates the modern vernacular and literature, illuminating the point that the American Civil War, especially in the costs that it took to fight it, accelerated the dramatic shift to the modern sensibility.
{{Review}}
===Citations===

{{Reflist}}
===Works Cited===

{{Refbegin}}
* {{cite book |last=Fitzgerald |first=F. Scott |date=1934 |title=Tender Is the Night |url= |location=New York |publisher=Scribner |pages= |ref=harv }}
* {{cite book |last=Freeman |first=Douglas Southall |date=1997 |title=Lee. Ed. Richard Harwell. Abr. ed. 1961 |url= |location= |publisher=Touchstone |pages= |ref=harv }}
* {{cite book |last=Hemingway |first=Ernest |date=1950 |title=Across the River and into the Trees |url= |location=New York |publisher=Scribner |pages= |ref=harv }}
* {{cite book |last=Mailer |first=Norman |date=1948 |title=The Naked and the Dead |url= |location=New York |publisher=Rinehart |pages= |ref=harv }}
* {{cite book |last=Nagel |first=James |date=1996 |title=Ernest Hemingway: The Oak Park Legacy. Ed. Nagel. |url= |location=Tuscaloosa |publisher=U of Alabama P |pages=3-20 |ref=harv }}
* {{cite book |last=Robertson, Jr. |first=James I. |date=1997 |title=Stonewall Jackson: The Man, the Soldier, and the Legend |url= |location= New York |publisher=Macmillan |pages= |ref=harv }}
* {{cite book |last=United States. National Park Service. |first= |date=1999 |title=Fredericksburg Battlefields |url= |location=Washington, DC |publisher=US Department of Interior |pages= |ref=harv }}
{{Refend}}

User:KaraCroissant/sandbox

2025-03-22T02:43:49Z

KaraCroissant: added works cited

{{user sandbox|plain=yes}}
The great calamity of the US Civil War was the impetus for major changes in American fiction. This brother-against-brother engagement not only profoundly disrupted American society but also precipitated a dramatic alteration in the way serious novelists wrote about the experience of combat. This war between the states promulgated an American war novel tradition that remained essentially unchanged until the end of the Vietnam War. The advent of new and highly destructive war technologies outstripped military tactics, causing the dramatic increases in the number and severity of causalities and destruction. This conflict multiplied the tragic and traumatic consequences of modern war in a very short amount of time. Concomitantly, the use of the photographic camera on the battlefield brought the war’s frightful arithmetic to the home front and helped change the literary expectations of a nation from romanticism to realism and naturalism and, later, modernism.

The American Civil War initiated what would become a deepening level of trauma throughout American culture that continued throughout the war-plagued Twentieth Century. As a consequence, developments in post-war
{{pg|81|82}}
American literature made the realistic depiction of death and dying a widespread phenomenon. Modern American war fiction, which was written beginning in the immediate post-World War I period, is simply defined here as that depiction of the soldier’s continuing and deepening sense of tragedy and trauma in a military that has become overly technologized and irrationally bureaucratized, an outgrowth of the modern condition. In a broad sense, therefore, the modern period began at the time where mathematics replaced metaphor and fact replaced romance and mythology.

There have been several major studies about the impact of the Civil War on American literature that influences this study here,such as Craig A.Warren’s ''Scars to Prove It: The Civil War Soldier & American Literature'', Michael W. Schaefer’s ''Just What War Is: The Civil War Writings of DeForest and Bierce'', Daniel Aaron’s ''The Unwritten War: American Writers and the Civil War'', and Thomas C. Leonard’s ''Above the Battle: War-Making in America from Appomattox to Versailles''. The most famous study is Edmund Wilson’s ''Patriotic Gore: Studies in the Literature of the American Civil War''. What is most evident in these studies is how the Civil War dramatically altered the course of American literature up to the modern period.

By the time Norman Mailer and Ernest Hemingway began writing their World War II novels, ''The Naked and the Dead'' (1948) and ''Across the River and into the Trees'' (1950),where they make allusions to the Civil War, the impact that this war had on American literary sensibilities was very well evident. While their allusions to the American Civil War may be relatively slight in these novels, the implications about what this particular conflict might mean are much more significant than what the number of their words in the text may indicate. In alluding to the Civil War, both Mailer and Hemingway, who continually demonstrated a broad and complex view of history throughout their careers, perpetuate the residual influence of this particular war, and the soldiers who fought, on American literature. Hemingway
and Mailer, therefore, are important writers to study because while they have so much in common, they also have significant differences in both style and literary vision, especially in the way they allude to the Civil War and quite possibly in their distinct attitudes about this war and war in general.

The tragedy and trauma that the war initiated throughout American history has a simple cause: Not only does this war remain the most calamitous conflict in US history; the Civil War also was the first to involve common citizens as drafted soldiers on a massive scale. The Civil War created more
{{pg|82|83}}
domestic grief than both World War I and World War II and all the other wars combined, and the impact of this experience was enough to make for a major turn or trope in American literature. Both Mailer and Hemingway understood this level of trauma. More important, both writers understood the Hegelian dialectical dimensions of how military history, and the psychological and micro-machinations of those in power, are manifested in the outcomes of their actions. For example,while the astronomical casualty rates during the spring and summer of 1864 were the direct results of the Richmond and Atlanta campaigns by Grant and Sherman and by Lee’s and the Confederate’s defense of them, the indirect causes resided in the psyche of the commanding generals and their resulting actions.In other words, Grant and Lee’s personalities drove the war and the war’s consequences drove the trauma.

In Hemingway’s writing, his historical perspective of the Civil War is most pronounced. Throughout his life, Hemingway was a student of military history. Moreover, both his grandfathers were participants in the Civil War. His paternal great uncles George and Rodney and his grandfather Anson participated in the Civil War by joining various volunteer Illinois units, the Eighteenth Illinois Infantry and the Chicago Board of Trade regiment. Anson was the only Hemingway brother to survive the war (Nagel 8–9). Hemingway’s maternal grandfather Hall also served in some capacity during the Civil War, but his experience does not seem to be as direct as Hemingway’s had been. In Hemingway’s library, he possessed several classics of Civil War history, including the Bruce Catton histories.

The Civil War is alluded to in ''Across the River and into the Trees'' specifically and primarily in the title, which comes from the dying last words of General Stonewall Jackson: “Let us cross over the river and rest in the shade of the trees” (Robertson 753). This title sets the melancholic tone for the whole novel. Colonel, formerly General, Richard Cantwell is spending his last few days on earth alive in the town he loves the most in life,Venice, immediately after World War II. While Jackson’s are not the dying words of Cantwell, there is a symmetrical connection. Right before he dies from a final heart attack, Cantwell tells his driver, aptly named Jackson, “I am now going to get into the large back seat of this god-damned, over-sized luxurious automobile” (Hemingway 307). This very reductive, modern statement,lacking in the poetry of Stonewall Jackson’s last words, is to be expected since even the book’s title is itself a reductive paraphrase of the Civil War general’s
{{pg|83|84}}
famous last words. Eight decades after Jackson’s death at Chancellorsville,
the residue of his ''ethos'' informs Hemingway’s 1950 novel. In fact, the novel’s title has a noticeable epitaphic quality to it, primarily because it lacks the sense of inclusive camaraderie implied in “Let us cross” and, more importantly, the title lacks the essential verb “rest.” The result of this modern paraphrase creates a strong sense of loneliness and despair. Rest is what Cantwell, the professional soldier, has needed the most in his later professional life, but, of course, a sense of rest seems still to be lacking even in his dying. This scarred up old soldier is going to die alone in the back seat of a Buick, an ignominious scene of abject modernity.

This contrast with Stonewall Jackson excruciatingly reveals the true timber of Richard Cantwell’s ignominious fate. Jackson’s biographer James I. Robertson, Jr., writes that
<blockquote>[d]eath removed [Jackson] from the scene at the apogee of a military fame enjoyed by no other Civil War figure. His passing at a high point in Confederate success was the ultimate offering for the Southern cause. Death at the hour of his most spectacular victory led to more poems of praise than did any other single event of the war. Jackson was the only officer to be pictured on
Confederate currency, and his likeness graced the most expensive note issued in Richmond: a $500 bill. (ix)</blockquote>

No such fame became of Cantwell, who led a gallant and purposeful life in the service of his army. Much of this contrast rests in the fact that Civil War veterans had been highly revered in American culture a half century before World War I and later World War II. Although veterans from World War II have been more celebrated than veterans from the First World War, neither of them have been as mythologized as much as the Civil War veterans from both sides of the conflict.

While Mailer did not have the familial or cultural connections to the Civil War, he was similarly aware of the war’s historical importance in American culture. The Civil War is specially alluded to in ''The Naked and the Dead'' when Cummings reveals a public humiliation at West Point; he seemingly asks a question about Lee and Grant improperly. In this particular scene, Cummings is a maniacal rhetorician. In this case, Cummings is in the agonistic throes of a Socratic contest against his West Point instructor,
{{pg|84|85}}
rhetorically dueling over who was the better commander Lee or Grant during the Civil War. In this scene, Cummings asks this richly loaded question:
<blockquote>Sir (he gets permission to speak), is it fair to say that Lee was the better general than Grant? I know that their tactics don’t compare, but Grant had the knowledge of strategy. What good are tactics, sir, if the . . . larger mechanics of men and supplies are not developed properly, because the tactics are just the part of the whole? In this conception wasn’t Grant the greatest man because he tried to take into account the intangibles. He wasn’t much good at the buck-and-wing but he could think up the rest of the show. (The classroom roars.)

It has been a triple error. He has been contradictory, rebellious and facetious. (411–2)
</blockquote>

Interestingly, everyone, including the narrator, thinks Cummings has made an error here, and he probably has in the eyes of these mere mortals, but actually, Cummings,who plays by the rules of the classical gods, has not.Cummings views war, almost literally, in fact, much like Dick Diver expressed in Fitzgerald’s ''Tender Is the Night'', as a “love battle” (57). According to this thinking, all war was a battle fought between two men who were in love with themselves and what they do. To General Cummings, war or any visceral contest was always psychosexual. Underscoring this point is the very idealistic Lieutenant Hearns’ discovery that Cummings is making battlefield decisions based almost directly on his rhetorical interactions with him—in reaction, actually, to Cummings’s repressed homosexual desire for his lieutenant aide-de-camp. He is a man indeed who enjoys verbal combat. When he discovers this secret psychosexual truth, Hearns leaves his safe staff job for one directly on the front for which he is subsequently killed. For the general’s part, his actions come from a combination of submerged homosexual desire and the sociopathic need to fulfill every impulse, even if they follow a complicated sublimation pattern and even if they cause serious causality rates. No matter the need or method, Hearn nevertheless uncovered a painful metaphysical lesson about warfare (at least according to Mailer’s view of life): Every army needs a controlled killer in charge of its army, but with the advent of modern technological weapons, the tragic and traumatic consequences of these men are not only enormous but long lasting as well.
{{pg|85|86}}
In their own unique way, the object of Cummings’ verbal sparring, fellow West Pointers Lee and Grant, could also be seen as sociopathic killers on a large scale, despite Lee’s and Grant’s somewhat hagiological status.Although they are typically used as foils to each other, Lee and Grant are more accurately understood as two different faces on the same coin. Grant is the military organizational genius who understood the primary principle of military mathematics. He had twice as many men and ten times the resources as the enemy, and he knew how best to employ that math. Grant used blunt force trauma not only to pound the enemy into submission, to compound his mathematical advantage, but also to pound his own army into being a sharp fighting force. But Grant also needed to lose control of himself with alcohol and tobacco on occasion to function psychologically in the places that his genius took him. On the other side of the coin, Lee is the courtly and courteous well-bred Southerner, undermanned and eventually out-resourced. He was typically so controlled in what he did that he could tune out even the most disconcerting and devastating violence around him. Yet on one occasion, during the 1864 Battle of the Spotsylvania, he snapped, losing control of himself so profoundly that his soldiers had to grab his reins and shout “Lee to the rear” to keep him from charging headlong into a murderous pitched battle (United States 54–55). This tangible anger, from a man who was archetypically well-mannered, originated from his profound love for his fellow Southerners. His anger was nurtured by his realization that he was compelled to sacrifice his life and theirs for ''the mythological Cause''. The deepest depths of this anger, however, can be framed by the first premise of Lee’s warrior syllogism, his thesis, which was always to be the consummate aggressor in battle. Until the advent of Grant, who sacrificed his men for a modern government that had all the mathematical advantages, Lee had had no binary counterpart. Until that historical moment, Lee had been aggressive and victorious, and the large-scale sacrifices had been psychologically manageable.

During the spring and summer of 1864, Lee met not so much his match but his more dominant syllogistic twin, the other face of a catastrophic coin. In that moment, Lee knew what the ultimate conclusion had to be—the coin would flip. Grant’s entry into the equation meant the end of the war and the fighting and the end of doing what Lee had always been called to do: attack. Remember: Lee was the man who said that is was a good thing war was so horrible because we would love it too much if it weren’t (United States 34).
{{pg|86|87}}
At the May,1864, Battle of Spotsylvania, both sides of the Hegelian coin were cast. For Lee, the war had become too horrible, and the end was finally in sight. However, what truly altered Lee was the fact that he was, for the first time in his life, no longer the assertive thesis, the archetypal aggressor, the man constantly on the offense, in charge of himself and fate. With Grant, Lee had suddenly become the archetypical submissive antithesis; in effect, he had become emasculated but not unmanned. To be more precise, the mythological Lee was outmanned and out supplied and tragically, mathematically disadvantaged.Although Lee was bested, he did remain intact in the process, not diminished as much as altered. It does not take much knowledge of Freudian psychoanalytic theory to speculate what kind of dreams Lee was having at the time, and his biographer does state that he had begun having troubled sleep as well as physical deterioration, which was new for him.

This out-manning of the chivalric Lee by the transfigured hero in the guise of Grant is the moment that modernity profoundly took over in Western civilization warfare and eventually literature. Grant is still a hero, but one of a different shape and form than the traditional Lee. The rough, slouching Grant becomes the Yeatsian beast of modernity. However, Grant’s archetype could only emerge when juxtaposed against the perfect foil—Lee. In the age of Grant, realism of course was the immediate literary reaction. With World War I, and the rise of modernist literature, the archetypal shift propagated by Grant vs. Lee was resolved. The modernist epic re-imaging through Pound and Eliot became the final solution. So by the time of World War II, with Mailer especially, Lee’s classical sensibilities have been imaginatively subsumed by Grant’s calculus for modern war.

The literary descendents of these historical figures, thus, logically reflect the strategies for emotionless mass destruction that allowed Grant to reunite the Union. Mailer’s Cummings is a textbook case in point. More than any other member of his West Point class and his instructor, Cummings knew about all this war madness, even then as a cadet, about how the mind of great generals work, how they derive strategy and tactics out of their own psychological needs, and how the especially great soldiers pull battle plans out of their otherwise inexplicable genius, out of motives that could be called pure if they could ever be clearly understood. Important generals, like anyone else who makes history change, are not taught their changeling genius at places like the military academies, but that is where they discover their role models and that is where their combative, sociopathic personalities are
{{pg|87|88}}
sharpened into fighting form. In Mailer’s world, the motives and impulses of men who change history, whether they are an Army general, a presidential assassin, a serial killer, or Gary Gilmore, are never actually understood by the characters themselves or especially the readers; they are just acted upon. That is truly what makes them special: They are not afraid to act upon even their worst impulses. Thus, this one allusion from ''The Naked and the Dead'' does not distract from Mailer’s text but rather illuminates more fully Cummings’ character,which ultimately illustrates that in military organizations, the psychology of the individual commander directly affects the lives of the common soldier: The ones who pay the price from those who give the orders.

With all of this in mind, one can also clearly see how Hemingway’s Cantwell represents the sacrificial soldier for a modern bureaucratic army, the transfigured Jackson, who dies at the moment of his greatest victory. While Jackson’s death is heroic, Cantwell’s is ignominious in that his greatest victory is not a military one, but merely a personal one. His is a modern, reductive victory over himself and the acceptance of his death. Cantwell is merely another soldier who has had to pay the price of modern warfare. On the other hand, Mailer’s Cummings forms another face on the coin, but of a different type. He is the emotionless sacrificer—the general who has minted Grant’s legacy into a modern, sociopathic coinage. As these two allusions to the American Civil War demonstrate, these two major writers of the Twentieth Century, whose legacies will remain influential throughout the Twenty-First century, understood the influence of this conflict on the American psyche. Mailer and Hemingway, both veterans of war themselves, viscerally understood this war’s enormous costs created a trauma that permeates and promulgates the modern vernacular and literature, illuminating the point that the American Civil War, especially in the costs that it took to fight it, accelerated the dramatic shift to the modern sensibility.
===Works Cited===

{{Refbegin}}
* {{cite book |last=Fitzgerald |first=F. Scott |date=1934 |title=Tender Is the Night |url= |location=New York |publisher=Scribner |pages= |ref=harv }}
* {{cite book |last=Freeman |first=Douglas Southall |date=1997 |title=Lee. Ed. Richard Harwell. Abr. ed. 1961 |url= |location= |publisher=Touchstone |pages= |ref=harv }}
* {{cite book |last=Hemingway |first=Ernest |date=1950 |title=Across the River and into the Trees |url= |location=New York |publisher=Scribner |pages= |ref=harv }}
* {{cite book |last=Mailer |first=Norman |date=1948 |title=The Naked and the Dead |url= |location=New York |publisher=Rinehart |pages= |ref=harv }}
* {{cite book |last=Nagel |first=James |date=1996 |title=Ernest Hemingway: The Oak Park Legacy. Ed. Nagel. |url= |location=Tuscaloosa |publisher=U of Alabama P |pages=3-20 |ref=harv }}
* {{cite book |last=Robertson, Jr. |first=James I. |date=1997 |title=Stonewall Jackson: The Man, the Soldier, and the Legend |url= |location= New York |publisher=Macmillan |pages= |ref=harv }}
* {{cite book |last=United States. National Park Service. |first= |date=1999 |title=Fredericksburg Battlefields |url= |location=Washington, DC |publisher=US Department of Interior |pages= |ref=harv }}
{{Refend}}

User:KaraCroissant/sandbox

2025-03-22T02:27:43Z

KaraCroissant: updated body text

{{user sandbox|plain=yes}}
The great calamity of the US Civil War was the impetus for major changes in American fiction. This brother-against-brother engagement not only profoundly disrupted American society but also precipitated a dramatic alteration in the way serious novelists wrote about the experience of combat. This war between the states promulgated an American war novel tradition that remained essentially unchanged until the end of the Vietnam War. The advent of new and highly destructive war technologies outstripped military tactics, causing the dramatic increases in the number and severity of causalities and destruction. This conflict multiplied the tragic and traumatic consequences of modern war in a very short amount of time. Concomitantly, the use of the photographic camera on the battlefield brought the war’s frightful arithmetic to the home front and helped change the literary expectations of a nation from romanticism to realism and naturalism and, later, modernism.

The American Civil War initiated what would become a deepening level of trauma throughout American culture that continued throughout the war-plagued Twentieth Century. As a consequence, developments in post-war
{{pg|81|82}}
American literature made the realistic depiction of death and dying a widespread phenomenon. Modern American war fiction, which was written beginning in the immediate post-World War I period, is simply defined here as that depiction of the soldier’s continuing and deepening sense of tragedy and trauma in a military that has become overly technologized and irrationally bureaucratized, an outgrowth of the modern condition. In a broad sense, therefore, the modern period began at the time where mathematics replaced metaphor and fact replaced romance and mythology.

There have been several major studies about the impact of the Civil War on American literature that influences this study here,such as Craig A.Warren’s ''Scars to Prove It: The Civil War Soldier & American Literature'', Michael W. Schaefer’s ''Just What War Is: The Civil War Writings of DeForest and Bierce'', Daniel Aaron’s ''The Unwritten War: American Writers and the Civil War'', and Thomas C. Leonard’s ''Above the Battle: War-Making in America from Appomattox to Versailles''. The most famous study is Edmund Wilson’s ''Patriotic Gore: Studies in the Literature of the American Civil War''. What is most evident in these studies is how the Civil War dramatically altered the course of American literature up to the modern period.

By the time Norman Mailer and Ernest Hemingway began writing their World War II novels, ''The Naked and the Dead'' (1948) and ''Across the River and into the Trees'' (1950),where they make allusions to the Civil War, the impact that this war had on American literary sensibilities was very well evident. While their allusions to the American Civil War may be relatively slight in these novels, the implications about what this particular conflict might mean are much more significant than what the number of their words in the text may indicate. In alluding to the Civil War, both Mailer and Hemingway, who continually demonstrated a broad and complex view of history throughout their careers, perpetuate the residual influence of this particular war, and the soldiers who fought, on American literature. Hemingway
and Mailer, therefore, are important writers to study because while they have so much in common, they also have significant differences in both style and literary vision, especially in the way they allude to the Civil War and quite possibly in their distinct attitudes about this war and war in general.

The tragedy and trauma that the war initiated throughout American history has a simple cause: Not only does this war remain the most calamitous conflict in US history; the Civil War also was the first to involve common citizens as drafted soldiers on a massive scale. The Civil War created more
{{pg|82|83}}
domestic grief than both World War I and World War II and all the other wars combined, and the impact of this experience was enough to make for a major turn or trope in American literature. Both Mailer and Hemingway understood this level of trauma. More important, both writers understood the Hegelian dialectical dimensions of how military history, and the psychological and micro-machinations of those in power, are manifested in the outcomes of their actions. For example,while the astronomical casualty rates during the spring and summer of 1864 were the direct results of the Richmond and Atlanta campaigns by Grant and Sherman and by Lee’s and the Confederate’s defense of them, the indirect causes resided in the psyche of the commanding generals and their resulting actions.In other words, Grant and Lee’s personalities drove the war and the war’s consequences drove the trauma.

In Hemingway’s writing, his historical perspective of the Civil War is most pronounced. Throughout his life, Hemingway was a student of military history. Moreover, both his grandfathers were participants in the Civil War. His paternal great uncles George and Rodney and his grandfather Anson participated in the Civil War by joining various volunteer Illinois units, the Eighteenth Illinois Infantry and the Chicago Board of Trade regiment. Anson was the only Hemingway brother to survive the war (Nagel 8–9). Hemingway’s maternal grandfather Hall also served in some capacity during the Civil War, but his experience does not seem to be as direct as Hemingway’s had been. In Hemingway’s library, he possessed several classics of Civil War history, including the Bruce Catton histories.

The Civil War is alluded to in ''Across the River and into the Trees'' specifically and primarily in the title, which comes from the dying last words of General Stonewall Jackson: “Let us cross over the river and rest in the shade of the trees” (Robertson 753). This title sets the melancholic tone for the whole novel. Colonel, formerly General, Richard Cantwell is spending his last few days on earth alive in the town he loves the most in life,Venice, immediately after World War II. While Jackson’s are not the dying words of Cantwell, there is a symmetrical connection. Right before he dies from a final heart attack, Cantwell tells his driver, aptly named Jackson, “I am now going to get into the large back seat of this god-damned, over-sized luxurious automobile” (Hemingway 307). This very reductive, modern statement,lacking in the poetry of Stonewall Jackson’s last words, is to be expected since even the book’s title is itself a reductive paraphrase of the Civil War general’s
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famous last words. Eight decades after Jackson’s death at Chancellorsville,
the residue of his ''ethos'' informs Hemingway’s 1950 novel. In fact, the novel’s title has a noticeable epitaphic quality to it, primarily because it lacks the sense of inclusive camaraderie implied in “Let us cross” and, more importantly, the title lacks the essential verb “rest.” The result of this modern paraphrase creates a strong sense of loneliness and despair. Rest is what Cantwell, the professional soldier, has needed the most in his later professional life, but, of course, a sense of rest seems still to be lacking even in his dying. This scarred up old soldier is going to die alone in the back seat of a Buick, an ignominious scene of abject modernity.

This contrast with Stonewall Jackson excruciatingly reveals the true timber of Richard Cantwell’s ignominious fate. Jackson’s biographer James I. Robertson, Jr., writes that
<blockquote>[d]eath removed [Jackson] from the scene at the apogee of a military fame enjoyed by no other Civil War figure. His passing at a high point in Confederate success was the ultimate offering for the Southern cause. Death at the hour of his most spectacular victory led to more poems of praise than did any other single event of the war. Jackson was the only officer to be pictured on
Confederate currency, and his likeness graced the most expensive note issued in Richmond: a $500 bill. (ix)</blockquote>

No such fame became of Cantwell, who led a gallant and purposeful life in the service of his army. Much of this contrast rests in the fact that Civil War veterans had been highly revered in American culture a half century before World War I and later World War II. Although veterans from World War II have been more celebrated than veterans from the First World War, neither of them have been as mythologized as much as the Civil War veterans from both sides of the conflict.

While Mailer did not have the familial or cultural connections to the Civil War, he was similarly aware of the war’s historical importance in American culture. The Civil War is specially alluded to in ''The Naked and the Dead'' when Cummings reveals a public humiliation at West Point; he seemingly asks a question about Lee and Grant improperly. In this particular scene, Cummings is a maniacal rhetorician. In this case, Cummings is in the agonistic throes of a Socratic contest against his West Point instructor,
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rhetorically dueling over who was the better commander Lee or Grant during the Civil War. In this scene, Cummings asks this richly loaded question:
<blockquote>Sir (he gets permission to speak), is it fair to say that Lee was the better general than Grant? I know that their tactics don’t compare, but Grant had the knowledge of strategy. What good are tactics, sir, if the . . . larger mechanics of men and supplies are not developed properly, because the tactics are just the part of the whole? In this conception wasn’t Grant the greatest man because he tried to take into account the intangibles. He wasn’t much good at the buck-and-wing but he could think up the rest of the show. (The classroom roars.)

It has been a triple error. He has been contradictory, rebellious and facetious. (411–2)
</blockquote>

Interestingly, everyone, including the narrator, thinks Cummings has made an error here, and he probably has in the eyes of these mere mortals, but actually, Cummings,who plays by the rules of the classical gods, has not.Cummings views war, almost literally, in fact, much like Dick Diver expressed in Fitzgerald’s ''Tender Is the Night'', as a “love battle” (57). According to this thinking, all war was a battle fought between two men who were in love with themselves and what they do. To General Cummings, war or any visceral contest was always psychosexual. Underscoring this point is the very idealistic Lieutenant Hearns’ discovery that Cummings is making battlefield decisions based almost directly on his rhetorical interactions with him—in reaction, actually, to Cummings’s repressed homosexual desire for his lieutenant aide-de-camp. He is a man indeed who enjoys verbal combat. When he discovers this secret psychosexual truth, Hearns leaves his safe staff job for one directly on the front for which he is subsequently killed. For the general’s part, his actions come from a combination of submerged homosexual desire and the sociopathic need to fulfill every impulse, even if they follow a complicated sublimation pattern and even if they cause serious causality rates. No matter the need or method, Hearn nevertheless uncovered a painful metaphysical lesson about warfare (at least according to Mailer’s view of life): Every army needs a controlled killer in charge of its army, but with the advent of modern technological weapons, the tragic and traumatic consequences of these men are not only enormous but long lasting as well.
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In their own unique way, the object of Cummings’ verbal sparring, fellow West Pointers Lee and Grant, could also be seen as sociopathic killers on a large scale, despite Lee’s and Grant’s somewhat hagiological status.Although they are typically used as foils to each other, Lee and Grant are more accurately understood as two different faces on the same coin. Grant is the military organizational genius who understood the primary principle of military mathematics. He had twice as many men and ten times the resources as the enemy, and he knew how best to employ that math. Grant used blunt force trauma not only to pound the enemy into submission, to compound his mathematical advantage, but also to pound his own army into being a sharp fighting force. But Grant also needed to lose control of himself with alcohol and tobacco on occasion to function psychologically in the places that his genius took him. On the other side of the coin, Lee is the courtly and courteous well-bred Southerner, undermanned and eventually out-resourced. He was typically so controlled in what he did that he could tune out even the most disconcerting and devastating violence around him. Yet on one occasion, during the 1864 Battle of the Spotsylvania, he snapped, losing control of himself so profoundly that his soldiers had to grab his reins and shout “Lee to the rear” to keep him from charging headlong into a murderous pitched battle (United States 54–55). This tangible anger, from a man who was archetypically well-mannered, originated from his profound love for his fellow Southerners. His anger was nurtured by his realization that he was compelled to sacrifice his life and theirs for ''the mythological Cause''. The deepest depths of this anger, however, can be framed by the first premise of Lee’s warrior syllogism, his thesis, which was always to be the consummate aggressor in battle. Until the advent of Grant, who sacrificed his men for a modern government that had all the mathematical advantages, Lee had had no binary counterpart. Until that historical moment, Lee had been aggressive and victorious, and the large-scale sacrifices had been psychologically manageable.

During the spring and summer of 1864, Lee met not so much his match but his more dominant syllogistic twin, the other face of a catastrophic coin. In that moment, Lee knew what the ultimate conclusion had to be—the coin would flip. Grant’s entry into the equation meant the end of the war and the fighting and the end of doing what Lee had always been called to do: attack. Remember: Lee was the man who said that is was a good thing war was so horrible because we would love it too much if it weren’t (United States 34).
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At the May,1864, Battle of Spotsylvania, both sides of the Hegelian coin were cast. For Lee, the war had become too horrible, and the end was finally in sight. However, what truly altered Lee was the fact that he was, for the first time in his life, no longer the assertive thesis, the archetypal aggressor, the man constantly on the offense, in charge of himself and fate. With Grant, Lee had suddenly become the archetypical submissive antithesis; in effect, he had become emasculated but not unmanned. To be more precise, the mythological Lee was outmanned and out supplied and tragically, mathematically disadvantaged.Although Lee was bested, he did remain intact in the process, not diminished as much as altered. It does not take much knowledge of Freudian psychoanalytic theory to speculate what kind of dreams Lee was having at the time, and his biographer does state that he had begun having troubled sleep as well as physical deterioration, which was new for him.

This out-manning of the chivalric Lee by the transfigured hero in the guise of Grant is the moment that modernity profoundly took over in Western civilization warfare and eventually literature. Grant is still a hero, but one of a different shape and form than the traditional Lee. The rough, slouching Grant becomes the Yeatsian beast of modernity. However, Grant’s archetype could only emerge when juxtaposed against the perfect foil—Lee. In the age of Grant, realism of course was the immediate literary reaction. With World War I, and the rise of modernist literature, the archetypal shift propagated by Grant vs. Lee was resolved. The modernist epic re-imaging through Pound and Eliot became the final solution. So by the time of World War II, with Mailer especially, Lee’s classical sensibilities have been imaginatively subsumed by Grant’s calculus for modern war.

The literary descendents of these historical figures, thus, logically reflect the strategies for emotionless mass destruction that allowed Grant to reunite the Union. Mailer’s Cummings is a textbook case in point. More than any other member of his West Point class and his instructor, Cummings knew about all this war madness, even then as a cadet, about how the mind of great generals work, how they derive strategy and tactics out of their own psychological needs, and how the especially great soldiers pull battle plans out of their otherwise inexplicable genius, out of motives that could be called pure if they could ever be clearly understood. Important generals, like anyone else who makes history change, are not taught their changeling genius at places like the military academies, but that is where they discover their role models and that is where their combative, sociopathic personalities are
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sharpened into fighting form. In Mailer’s world, the motives and impulses of men who change history, whether they are an Army general, a presidential assassin, a serial killer, or Gary Gilmore, are never actually understood by the characters themselves or especially the readers; they are just acted upon. That is truly what makes them special: They are not afraid to act upon even their worst impulses. Thus, this one allusion from ''The Naked and the Dead'' does not distract from Mailer’s text but rather illuminates more fully Cummings’ character,which ultimately illustrates that in military organizations, the psychology of the individual commander directly affects the lives of the common soldier: The ones who pay the price from those who give the orders.

With all of this in mind, one can also clearly see how Hemingway’s Cantwell represents the sacrificial soldier for a modern bureaucratic army, the transfigured Jackson, who dies at the moment of his greatest victory. While Jackson’s death is heroic, Cantwell’s is ignominious in that his greatest victory is not a military one, but merely a personal one. His is a modern, reductive victory over himself and the acceptance of his death. Cantwell is merely another soldier who has had to pay the price of modern warfare. On the other hand, Mailer’s Cummings forms another face on the coin, but of a different type. He is the emotionless sacrificer—the general who has minted Grant’s legacy into a modern, sociopathic coinage. As these two allusions to the American Civil War demonstrate, these two major writers of the Twentieth Century, whose legacies will remain influential throughout the Twenty-First century, understood the influence of this conflict on the American psyche. Mailer and Hemingway, both veterans of war themselves, viscerally understood this war’s enormous costs created a trauma that permeates and promulgates the modern vernacular and literature, illuminating the point that the American Civil War, especially in the costs that it took to fight it, accelerated the dramatic shift to the modern sensibility.

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The Mailer Review/Volume 4, 2010/The American Civil War in The Naked and the Dead and Across the River and Into the Trees

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Kara Ussery is a graduate student of Technical and Professional Writing at Middle Georgia State University. She has prior experience in HR, Housing, Emergency Medicine, Theater, and Tech. [[Category:Student Editors]] [[Category:Spring 2025]]