79.14 - Revision history

Grlucas: Tweaked format.

2019-11-01T11:53:53Z

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	~~====~~''The Executioner’s Song''. Boston: Little, Brown, 15 October; London: Hutchinson, 5 November. Nonfiction narrative on [[w:Gary Gilmore\|Gary Gilmore]], 1056 pp., $16.95.~~====~~		{{Big\|''The Executioner’s Song''. Boston: Little, Brown, 15 October; London: Hutchinson, 5 November. Nonfiction narrative on [[w:Gary Gilmore\|Gary Gilmore]], 1056 pp., $16.95.}}

	Dedication: “To [[Norris Church Mailer\|Norris]], to [[John Buffalo Mailer\|John Buffalo]], and to Scott Meredith.” Discarded titles: ''Violence in America'', ''The Saint and the Psychopath'', ''American Virtue''. [[Norman Mailer\|Mailer]]’s title is taken from his poem of the same title published in [[1964]] (see [[64.18]]), and then used as the title of chapter 15 of ''The Fight'' ([[75.12]]). In [[80.1]] Mailer explains this borrowing and also notes that the “old prison rhyme” that prefaces the book “is an old {{sic\|diddy\|expected=ditty\|nolink=y}} from my movie ''Maidstone'' ([[71.28]]) which was just perfect for the book.”		Dedication: “To [[Norris Church Mailer\|Norris]], to [[John Buffalo Mailer\|John Buffalo]], and to Scott Meredith.” Discarded titles: ''Violence in America'', ''The Saint and the Psychopath'', ''American Virtue''. [[Norman Mailer\|Mailer]]’s title is taken from his poem of the same title published in [[1964]] (see [[64.18]]), and then used as the title of chapter 15 of ''The Fight'' ([[75.12]]). In [[80.1]] Mailer explains this borrowing and also notes that the “old prison rhyme” that prefaces the book “is an old {{sic\|diddy\|expected=ditty\|nolink=y}} from my movie ''Maidstone'' ([[71.28]]) which was just perfect for the book.”
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	== Bibliography ==		== Bibliography ==
	{{Refbegin\|~~40em~~}}		{{Refbegin\|indent=yes}}
	~~'''~~Reviews~~'''~~		{{div col}}
			===Reviews===
	* {{cite magazine \|last=Bell \|first=Pearl K. \|date=February 1980 \|title=Mailer: Settling for Less \|url= \|magazine=Commentary \|pages=65–68 \|publisher= \|access-date= }} Negative.		* {{cite magazine \|last=Bell \|first=Pearl K. \|date=February 1980 \|title=Mailer: Settling for Less \|url= \|magazine=Commentary \|pages=65–68 \|publisher= \|access-date= }} Negative.
	* {{cite magazine \|last=Didion \|first=Joan \|date=October 7, 1979 \|title='I Want to Go Ahead and Do It' \|url=https://archive.nytimes.com/www.nytimes.com/books/97/05/04/reviews/mailer-song.html \|magazine=New York Times Book Review \|pages=26–27 \|publisher= \|access-date=2018-12-04 }} Positive.		* {{cite magazine \|last=Didion \|first=Joan \|date=October 7, 1979 \|title='I Want to Go Ahead and Do It' \|url=https://archive.nytimes.com/www.nytimes.com/books/97/05/04/reviews/mailer-song.html \|magazine=New York Times Book Review \|pages=26–27 \|publisher= \|access-date=2018-12-04 }} Positive.
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	* {{cite news \|last=Wolcott \|first=James \|date=October 1, 1979 \|title=Norman Mailer and the Dream of Death \|url= \|work=Village Voice \|pages=46, 48 \|access-date= }} Mixed.		* {{cite news \|last=Wolcott \|first=James \|date=October 1, 1979 \|title=Norman Mailer and the Dream of Death \|url= \|work=Village Voice \|pages=46, 48 \|access-date= }} Mixed.

	~~'''~~Essays~~'''~~		===Essays===
	* {{cite journal \|last1=Comprone \|first1=Joseph \|date=2013 \|title=Genre and Dialogical Theory: Bakhtin and Norman Mailer's ''The Executioner's Song'' \|url= \|journal=Mailer Review \|volume=7 \|issue= \|pages=231–244 \|doi= \|access-date= }}		* {{cite journal \|last1=Comprone \|first1=Joseph \|date=2013 \|title=Genre and Dialogical Theory: Bakhtin and Norman Mailer's ''The Executioner's Song'' \|url= \|journal=Mailer Review \|volume=7 \|issue= \|pages=231–244 \|doi= \|access-date= }}
	* {{cite book \|last=Eggers \|first=Dave \|date=2012 \|chapter=Introduction \|title=The Executioner's Song \|url= \|location=New York \|publisher=Grand Central \|pages=vii–xiii \|isbn= \|author-link= }}		* {{cite book \|last=Eggers \|first=Dave \|date=2012 \|chapter=Introduction \|title=The Executioner's Song \|url= \|location=New York \|publisher=Grand Central \|pages=vii–xiii \|isbn= \|author-link= }}
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	* {{cite journal \|last1=Scheffler \|first1=Judith A. \|date=1983 \|title=The Prisoner as Creator in ''The Executioner's Song'' \|url= \|journal=Midwest Quarterly \|volume=4 \|issue=summer \|pages= \|access-date= }} Rpt: Bloom (1986).		* {{cite journal \|last1=Scheffler \|first1=Judith A. \|date=1983 \|title=The Prisoner as Creator in ''The Executioner's Song'' \|url= \|journal=Midwest Quarterly \|volume=4 \|issue=summer \|pages= \|access-date= }} Rpt: Bloom (1986).
	* {{cite journal \|last1=Vince \|first1=Raymond \|date=2014 \|title=In the Deserts of the Heart: ''The Executioner's Song'' \|url= \|journal=Mailer Review \|volume=8 \|issue=summer \|pages=291–311 \|doi= \|access-date= }}		* {{cite journal \|last1=Vince \|first1=Raymond \|date=2014 \|title=In the Deserts of the Heart: ''The Executioner's Song'' \|url= \|journal=Mailer Review \|volume=8 \|issue=summer \|pages=291–311 \|doi= \|access-date= }}
			{{div col end}}
	{{Refend}}		{{Refend}}

Grlucas: Tweaks and added image.

2019-05-21T14:10:12Z

Tweaks and added image.

← Older revision		Revision as of 10:10, 21 May 2019
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	====''The Executioner’s Song''. Boston: Little, Brown, 15 October; London: Hutchinson, 5 November. Nonfiction narrative on [[Gary Gilmore]], 1056 pp., $16.95.====		====''The Executioner’s Song''. Boston: Little, Brown, 15 October; London: Hutchinson, 5 November. Nonfiction narrative on [[w:Gary Gilmore\|Gary Gilmore]], 1056 pp., $16.95.====

	Dedication: “To [[Norris Church Mailer\|Norris]], to [[John Buffalo Mailer\|John Buffalo]], and to Scott Meredith.” Discarded titles: ''Violence in America'', ''The Saint and the Psychopath'', ''American Virtue''. [[Norman Mailer\|Mailer]]’s title is taken from his poem of the same title published in [[1964]] (see [[64.18]]), and then used as the title of chapter 15 of ''The Fight'' ([[75.12]]). In [[80.1]] Mailer explains this borrowing and also notes that the “old prison rhyme” that prefaces the book “is an old diddy ~~[sic]~~ from my movie ''Maidstone'' ([[71.28]]) which was just perfect for the book.”		Dedication: “To [[Norris Church Mailer\|Norris]], to [[John Buffalo Mailer\|John Buffalo]], and to Scott Meredith.” Discarded titles: ''Violence in America'', ''The Saint and the Psychopath'', ''American Virtue''. [[Norman Mailer\|Mailer]]’s title is taken from his poem of the same title published in [[1964]] (see [[64.18]]), and then used as the title of chapter 15 of ''The Fight'' ([[75.12]]). In [[80.1]] Mailer explains this borrowing and also notes that the “old prison rhyme” that prefaces the book “is an old {{sic\|diddy\|expected=ditty\|nolink=y}} from my movie ''Maidstone'' ([[71.28]]) which was just perfect for the book.”

	Although scrupulously factual, the book is described on its jacket, and the cover of the later softcover edition, as a “true life novel.” Validating this subtitle, it won the ''Playboy'' Writing Award for fiction in 1979 and the Pulitzer Prize for fiction in [[1980]]. Mailer is the only writer to win Pulitzers for fiction and nonfiction, the latter for ''The Armies of the Night'' ([[68.8]]). ''The Executioner's Song'' was also nominated for the American Book Award for fiction (1980 as a hardcover, 1981 as a softcover) and the National Book Critics Circle Award for fiction in [[1979]].		Although scrupulously factual, the book is described on its jacket, and the cover of the later softcover edition, as a “true life novel.” Validating this subtitle, it won the ''Playboy'' Writing Award for fiction in 1979 and the Pulitzer Prize for fiction in [[1980]]. Mailer is the only writer to win Pulitzers for fiction and nonfiction, the latter for ''The Armies of the Night'' ([[68.8]]). ''The Executioner's Song'' was also nominated for the American Book Award for fiction (1980 as a hardcover, 1981 as a softcover) and the National Book Critics Circle Award for fiction in [[1979]].
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	{{cquote\|You know, a painter may find something on the street that he thinks is incredible. Sometimes he’ll glue it right into the painting. It becomes part of the work. In ''The Executioner's Song'', newspaper stories became part of the painting and part of the transcript of the trial—a lot of found objects. I felt acted upon, in a funny way, while doing this book, by painting terms. It was as if I’d shifted from being an expressionist, not an abstract expressionist, but an expressionist—like [Charles] Munch, or Max Beckmann . . . those kinds of painters who worked with large exaggeration and murkiness and passionate power—into now being a photographic realist, even a photographic realist with found objects. The reason, I think, is that a painter like a writer sometimes gets to a point where he can no longer interpret what he sees. Then the act of painting what he literally sees becomes the aesthetic act.\|author=Norman Mailer \|source=[[80.10]]}}		{{cquote\|You know, a painter may find something on the street that he thinks is incredible. Sometimes he’ll glue it right into the painting. It becomes part of the work. In ''The Executioner's Song'', newspaper stories became part of the painting and part of the transcript of the trial—a lot of found objects. I felt acted upon, in a funny way, while doing this book, by painting terms. It was as if I’d shifted from being an expressionist, not an abstract expressionist, but an expressionist—like [Charles] Munch, or Max Beckmann . . . those kinds of painters who worked with large exaggeration and murkiness and passionate power—into now being a photographic realist, even a photographic realist with found objects. The reason, I think, is that a painter like a writer sometimes gets to a point where he can no longer interpret what he sees. Then the act of painting what he literally sees becomes the aesthetic act.\|author=Norman Mailer \|source=[[80.10]]}}

			{{Gallery
	~~<gallery>~~		\|width=200
	File:79-13.jpg\|Cover of the first edition.		\|height=200
	File:1977 Gary Gilmore.jpg\|Gary Gilmore the day of his execution, 1977. Photo by Lawrence Schiller.		\|align=left
	</~~gallery~~>		\|File:79-13.jpg\|Cover of the first edition.
			\|File:1977 Gary Gilmore.jpg\|Gary Gilmore the day of his execution, 1977. Photo by Lawrence Schiller.
			\|File:79.14a.jpg\|2012 edition, with a foreword by Dave Eggers.
			}}
			<div style="clear:both;"></div>

	== Bibliography ==		== Bibliography ==

Grlucas: Tweaks.

2019-01-27T23:48:54Z

Tweaks.

← Older revision		Revision as of 19:48, 27 January 2019
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	====''The ~~Executioner's~~ Song''. Boston: Little, Brown, 15 October; London: Hutchinson, 5 November. Nonfiction narrative on [[Gary Gilmore]], 1056 pp., $16.95.====		====''The Executioner’s Song''. Boston: Little, Brown, 15 October; London: Hutchinson, 5 November. Nonfiction narrative on [[Gary Gilmore]], 1056 pp., $16.95.====

	Dedication: “To [[Norris Church Mailer\|Norris]], to [[John Buffalo Mailer\|John Buffalo]], and to Scott Meredith.” Discarded titles: ''Violence in America'', ''The Saint and the Psychopath'', ''American Virtue''. [[Norman Mailer\|Mailer]]’s title is taken from his poem of the same title published in [[1964]] (see [[64.18]]), and then used as the title of chapter 15 of ''The Fight'' ([[75.12]]). In [[80.1]] Mailer explains this borrowing and also notes that the “old prison rhyme” that prefaces the book “is an old diddy [sic] from my movie ''Maidstone'' ([[71.28]]) which was just perfect for the book.”		Dedication: “To [[Norris Church Mailer\|Norris]], to [[John Buffalo Mailer\|John Buffalo]], and to Scott Meredith.” Discarded titles: ''Violence in America'', ''The Saint and the Psychopath'', ''American Virtue''. [[Norman Mailer\|Mailer]]’s title is taken from his poem of the same title published in [[1964]] (see [[64.18]]), and then used as the title of chapter 15 of ''The Fight'' ([[75.12]]). In [[80.1]] Mailer explains this borrowing and also notes that the “old prison rhyme” that prefaces the book “is an old diddy [sic] from my movie ''Maidstone'' ([[71.28]]) which was just perfect for the book.”
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	Although scrupulously factual, the book is described on its jacket, and the cover of the later softcover edition, as a “true life novel.” Validating this subtitle, it won the ''Playboy'' Writing Award for fiction in 1979 and the Pulitzer Prize for fiction in [[1980]]. Mailer is the only writer to win Pulitzers for fiction and nonfiction, the latter for ''The Armies of the Night'' ([[68.8]]). ''The Executioner's Song'' was also nominated for the American Book Award for fiction (1980 as a hardcover, 1981 as a softcover) and the National Book Critics Circle Award for fiction in [[1979]].		Although scrupulously factual, the book is described on its jacket, and the cover of the later softcover edition, as a “true life novel.” Validating this subtitle, it won the ''Playboy'' Writing Award for fiction in 1979 and the Pulitzer Prize for fiction in [[1980]]. Mailer is the only writer to win Pulitzers for fiction and nonfiction, the latter for ''The Armies of the Night'' ([[68.8]]). ''The Executioner's Song'' was also nominated for the American Book Award for fiction (1980 as a hardcover, 1981 as a softcover) and the National Book Critics Circle Award for fiction in [[1979]].

	Mailer, Philip Roth, William Styron and many other writers withdrew their books from the American Book Award competitions. See article by Michiko Kakutani, “Mailer, Styron and Roth Shun American Book Awards,” ''New York Times'', 21 March, Sec. C, p. 28. In 1999, it was ranked number 72 on a list of the top 100 works of journalism of the twentieth century by 36 judges under the aegis of New York University’s journalism department. See ~~"Journalism’s~~ Greatest Hits: Two Lists of a ~~Century's~~ Top Stories", ''New York Times'', 1 March 1999, Business Section, pp. 1, 13.		Mailer, Philip Roth, William Styron and many other writers withdrew their books from the American Book Award competitions. See article by Michiko Kakutani, “Mailer, Styron and Roth Shun American Book Awards,” ''New York Times'', 21 March, Sec. C, p. 28. In 1999, it was ranked number 72 on a list of the top 100 works of journalism of the twentieth century by 36 judges under the aegis of New York University’s journalism department. See “Journalism’s Greatest Hits: Two Lists of a Century’s Top Stories,” ''New York Times'', 1 March 1999, Business Section, pp. 1, 13.

	Mailer later wrote the screenplay for the film version of 79.14, which was nominated for an Emmy. The four-hour adaptation, staring Tommy Lee Jones and Eli Wallach, appeared on NBC-TV on 28 and 29 November 1982. Rpt: Three sections of the narrative appeared in a different form in ''Playboy'' ([[79.10]], [[79.19]], [[79.33]]). Excerpts from five chapters are reprinted in ''The Time of Our Time'' ([[98.7]]). See [[68.8]], [[78.4]], [[:Category:Works in 1979\|1979 entries]], [[81.5]], [[82.22]], [[94.3]], and [[13.2]], 503-22, 528-36.		Mailer later wrote the screenplay for the film version of 79.14, which was nominated for an Emmy. The four-hour adaptation, staring Tommy Lee Jones and Eli Wallach, appeared on NBC-TV on 28 and 29 November 1982. Rpt: Three sections of the narrative appeared in a different form in ''Playboy'' ([[79.10]], [[79.19]], [[79.33]]). Excerpts from five chapters are reprinted in ''The Time of Our Time'' ([[98.7]]). See [[68.8]], [[78.4]], [[:Category:Works in 1979\|1979 entries]], [[81.5]], [[82.22]], [[94.3]], and [[13.2]], 503-22, 528-36.

	{{cquote\|You know, a painter may find something on the street that he thinks is incredible. Sometimes he’ll glue it right into the painting. It becomes part of the work. In ''The Executioner's Song'', newspaper stories became part of the painting and part of the transcript of the trial—a lot of found objects. I felt acted upon, in a funny way, while doing this book, by painting terms. It was as if ~~I'd~~ shifted from being an expressionist, not an abstract expressionist, but an expressionist—like [Charles] Munch, or Max Beckmann . . . those kinds of painters who worked with large exaggeration and murkiness and passionate power—into now being a photographic realist, even a photographic realist with found objects. The reason, I think, is that a painter like a writer sometimes gets to a point where he can no longer interpret what he sees. Then the act of painting what he literally sees becomes the aesthetic act.\|author=Norman Mailer \|source=[[80.10]]}}		{{cquote\|You know, a painter may find something on the street that he thinks is incredible. Sometimes he’ll glue it right into the painting. It becomes part of the work. In ''The Executioner's Song'', newspaper stories became part of the painting and part of the transcript of the trial—a lot of found objects. I felt acted upon, in a funny way, while doing this book, by painting terms. It was as if I’d shifted from being an expressionist, not an abstract expressionist, but an expressionist—like [Charles] Munch, or Max Beckmann . . . those kinds of painters who worked with large exaggeration and murkiness and passionate power—into now being a photographic realist, even a photographic realist with found objects. The reason, I think, is that a painter like a writer sometimes gets to a point where he can no longer interpret what he sees. Then the act of painting what he literally sees becomes the aesthetic act.\|author=Norman Mailer \|source=[[80.10]]}}

Grlucas: Tweaked formatting.

2018-12-22T13:48:26Z

Tweaked formatting.

← Older revision		Revision as of 09:48, 22 December 2018
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	=====''The Executioner's Song''. Boston: Little, Brown, 15 October; London: Hutchinson, 5 November. Nonfiction narrative on [[Gary Gilmore]], 1056 pp., $16.95.=====		====''The Executioner's Song''. Boston: Little, Brown, 15 October; London: Hutchinson, 5 November. Nonfiction narrative on [[Gary Gilmore]], 1056 pp., $16.95.====

	Dedication: ~~"To~~ [[Norris Church Mailer\|Norris]], to [[John Buffalo Mailer\|John Buffalo]], and to Scott Meredith". Discarded titles: ''Violence in America'', ''The Saint and the Psychopath'', ''American Virtue''. [[Norman Mailer\|Mailer]]'s title is taken from his poem of the same title published in [[1964]] (see [[64.18]]), and then used as the title of chapter 15 of ''The Fight'' ([[75.12]]). In [[80.1]] Mailer explains this borrowing and also notes that the ~~"old~~ prison ~~rhyme"~~ that prefaces the book ~~"is~~ an old diddy [sic] from my movie ''Maidstone'' ([[71.28]]) which was just perfect for the book".		Dedication: “To [[Norris Church Mailer\|Norris]], to [[John Buffalo Mailer\|John Buffalo]], and to Scott Meredith.” Discarded titles: ''Violence in America'', ''The Saint and the Psychopath'', ''American Virtue''. [[Norman Mailer\|Mailer]]’s title is taken from his poem of the same title published in [[1964]] (see [[64.18]]), and then used as the title of chapter 15 of ''The Fight'' ([[75.12]]). In [[80.1]] Mailer explains this borrowing and also notes that the “old prison rhyme” that prefaces the book “is an old diddy [sic] from my movie ''Maidstone'' ([[71.28]]) which was just perfect for the book.”

	Although scrupulously factual, the book is described on its jacket, and the cover of the later softcover edition, as a ~~"true~~ life novel". Validating this subtitle, it won the ''Playboy'' Writing Award for fiction in 1979 and the Pulitzer Prize for fiction in [[1980]]. Mailer is the only writer to win Pulitzers for fiction and nonfiction, the latter for ''The Armies of the Night'' ([[68.8]]). ''The Executioner's Song'' was also nominated for the American Book Award for fiction (1980 as a hardcover, 1981 as a softcover) and the National Book Critics Circle Award for fiction in [[1979]].		Although scrupulously factual, the book is described on its jacket, and the cover of the later softcover edition, as a “true life novel.” Validating this subtitle, it won the ''Playboy'' Writing Award for fiction in 1979 and the Pulitzer Prize for fiction in [[1980]]. Mailer is the only writer to win Pulitzers for fiction and nonfiction, the latter for ''The Armies of the Night'' ([[68.8]]). ''The Executioner's Song'' was also nominated for the American Book Award for fiction (1980 as a hardcover, 1981 as a softcover) and the National Book Critics Circle Award for fiction in [[1979]].

	Mailer, Philip Roth, William Styron and many other writers withdrew their books from the American Book Award competitions. See article by Michiko Kakutani, ~~"Mailer~~, Styron and Roth Shun American Book Awards", ''New York Times'', 21 March, Sec. C, p. 28. In 1999, it was ranked number 72 on a list of the top 100 works of journalism of the twentieth century by 36 judges under the aegis of New York ~~University's~~ journalism department. See "Journalism’s Greatest Hits: Two Lists of a Century's Top Stories", ''New York Times'', 1 March 1999, Business Section, pp. 1, 13.		Mailer, Philip Roth, William Styron and many other writers withdrew their books from the American Book Award competitions. See article by Michiko Kakutani, “Mailer, Styron and Roth Shun American Book Awards,” ''New York Times'', 21 March, Sec. C, p. 28. In 1999, it was ranked number 72 on a list of the top 100 works of journalism of the twentieth century by 36 judges under the aegis of New York University’s journalism department. See "Journalism’s Greatest Hits: Two Lists of a Century's Top Stories", ''New York Times'', 1 March 1999, Business Section, pp. 1, 13.

	Mailer later wrote the screenplay for the film version of 79.14, which was nominated for an Emmy. The four-hour adaptation, staring Tommy Lee Jones and Eli Wallach, appeared on NBC-TV on 28 and 29 November 1982. Rpt: Three sections of the narrative appeared in a different form in ''Playboy'' ([[79.10]], [[79.19]], [[79.33]]). Excerpts from five chapters are reprinted in ''The Time of Our Time'' ([[98.7]]). See [[68.8]], [[78.4]], [[:Category:Works in 1979\|1979 entries]], [[81.5]], [[82.22]], [[94.3]], and [[13.2]], 503-22, 528-36.		Mailer later wrote the screenplay for the film version of 79.14, which was nominated for an Emmy. The four-hour adaptation, staring Tommy Lee Jones and Eli Wallach, appeared on NBC-TV on 28 and 29 November 1982. Rpt: Three sections of the narrative appeared in a different form in ''Playboy'' ([[79.10]], [[79.19]], [[79.33]]). Excerpts from five chapters are reprinted in ''The Time of Our Time'' ([[98.7]]). See [[68.8]], [[78.4]], [[:Category:Works in 1979\|1979 entries]], [[81.5]], [[82.22]], [[94.3]], and [[13.2]], 503-22, 528-36.

	{{cquote\|You know, a painter may find something on the street that he thinks is incredible. Sometimes ~~he'll~~ glue it right into the painting. It becomes part of the work. In ''The Executioner's Song'', newspaper stories became part of the painting and part of the transcript of the trial—a lot of found objects. I felt acted upon, in a funny way, while doing this book, by painting terms. It was as if I'd shifted from being an expressionist, not an abstract expressionist, but an expressionist—like [Charles] Munch, or Max Beckmann . . . those kinds of painters who worked with large exaggeration and murkiness and passionate power—into now being a photographic realist, even a photographic realist with found objects. The reason, I think, is that a painter like a writer sometimes gets to a point where he can no longer interpret what he sees. Then the act of painting what he literally sees becomes the aesthetic act.\|author=Norman Mailer \|source=[[80.10]]}}		{{cquote\|You know, a painter may find something on the street that he thinks is incredible. Sometimes he’ll glue it right into the painting. It becomes part of the work. In ''The Executioner's Song'', newspaper stories became part of the painting and part of the transcript of the trial—a lot of found objects. I felt acted upon, in a funny way, while doing this book, by painting terms. It was as if I'd shifted from being an expressionist, not an abstract expressionist, but an expressionist—like [Charles] Munch, or Max Beckmann . . . those kinds of painters who worked with large exaggeration and murkiness and passionate power—into now being a photographic realist, even a photographic realist with found objects. The reason, I think, is that a painter like a writer sometimes gets to a point where he can no longer interpret what he sees. Then the act of painting what he literally sees becomes the aesthetic act.\|author=Norman Mailer \|source=[[80.10]]}}

Grlucas: Tweaked quote.

2018-12-05T18:20:03Z

Tweaked quote.

← Older revision		Revision as of 14:20, 5 December 2018
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	Mailer later wrote the screenplay for the film version of 79.14, which was nominated for an Emmy. The four-hour adaptation, staring Tommy Lee Jones and Eli Wallach, appeared on NBC-TV on 28 and 29 November 1982. Rpt: Three sections of the narrative appeared in a different form in ''Playboy'' ([[79.10]], [[79.19]], [[79.33]]). Excerpts from five chapters are reprinted in ''The Time of Our Time'' ([[98.7]]). See [[68.8]], [[78.4]], [[:Category:Works in 1979\|1979 entries]], [[81.5]], [[82.22]], [[94.3]], and [[13.2]], 503-22, 528-36.		Mailer later wrote the screenplay for the film version of 79.14, which was nominated for an Emmy. The four-hour adaptation, staring Tommy Lee Jones and Eli Wallach, appeared on NBC-TV on 28 and 29 November 1982. Rpt: Three sections of the narrative appeared in a different form in ''Playboy'' ([[79.10]], [[79.19]], [[79.33]]). Excerpts from five chapters are reprinted in ''The Time of Our Time'' ([[98.7]]). See [[68.8]], [[78.4]], [[:Category:Works in 1979\|1979 entries]], [[81.5]], [[82.22]], [[94.3]], and [[13.2]], 503-22, 528-36.

	~~Mailer:~~		{{cquote\|You know, a painter may find something on the street that he thinks is incredible. Sometimes he'll glue it right into the painting. It becomes part of the work. In ''The Executioner's Song'', newspaper stories became part of the painting and part of the transcript of the trial—a lot of found objects. I felt acted upon, in a funny way, while doing this book, by painting terms. It was as if I'd shifted from being an expressionist, not an abstract expressionist, but an expressionist—like [Charles] Munch, or Max Beckmann . . . those kinds of painters who worked with large exaggeration and murkiness and passionate power—into now being a photographic realist, even a photographic realist with found objects. The reason, I think, is that a painter like a writer sometimes gets to a point where he can no longer interpret what he sees. Then the act of painting what he literally sees becomes the aesthetic act.\|author=Norman Mailer \|source=[[80.10]]}}

	{{cquote\|You know, a painter may find something on the street that he thinks is incredible. Sometimes he'll glue it right into the painting. It becomes part of the work. In ''The Executioner's Song'', newspaper stories became part of the painting and part of the transcript of the trial—a lot of found objects. I felt acted upon, in a funny way, while doing this book, by painting terms. It was as if I'd shifted from being an expressionist, not an abstract expressionist, but an expressionist—like [Charles] Munch, or Max Beckmann . . . those kinds of painters who worked with large exaggeration and murkiness and passionate power—into now being a photographic realist, even a photographic realist with found objects. The reason, I think, is that a painter like a writer sometimes gets to a point where he can no longer interpret what he sees. Then the act of painting what he literally sees becomes the aesthetic act. ([[80.10]])}}

Grlucas: Tweaked formatting.

2018-12-04T23:53:03Z

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← Older revision		Revision as of 19:53, 4 December 2018
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	{{cquote\|You know, a painter may find something on the street that he thinks is incredible. Sometimes he'll glue it right into the painting. It becomes part of the work. In ''The Executioner's Song'', newspaper stories became part of the painting and part of the transcript of the trial—a lot of found objects. I felt acted upon, in a funny way, while doing this book, by painting terms. It was as if I'd shifted from being an expressionist, not an abstract expressionist, but an expressionist—like [Charles] Munch, or Max Beckmann . . . those kinds of painters who worked with large exaggeration and murkiness and passionate power—into now being a photographic realist, even a photographic realist with found objects. The reason, I think, is that a painter like a writer sometimes gets to a point where he can no longer interpret what he sees. Then the act of painting what he literally sees becomes the aesthetic act. ([[80.10]])}}		{{cquote\|You know, a painter may find something on the street that he thinks is incredible. Sometimes he'll glue it right into the painting. It becomes part of the work. In ''The Executioner's Song'', newspaper stories became part of the painting and part of the transcript of the trial—a lot of found objects. I felt acted upon, in a funny way, while doing this book, by painting terms. It was as if I'd shifted from being an expressionist, not an abstract expressionist, but an expressionist—like [Charles] Munch, or Max Beckmann . . . those kinds of painters who worked with large exaggeration and murkiness and passionate power—into now being a photographic realist, even a photographic realist with found objects. The reason, I think, is that a painter like a writer sometimes gets to a point where he can no longer interpret what he sees. Then the act of painting what he literally sees becomes the aesthetic act. ([[80.10]])}}


	<gallery>		<gallery>

Grlucas: /* Bibliography */ Added essays.

2018-12-04T18:40:40Z

Bibliography: Added essays.

← Older revision		Revision as of 14:40, 4 December 2018
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	'''Essays'''		'''Essays'''
			* {{cite journal \|last1=Comprone \|first1=Joseph \|date=2013 \|title=Genre and Dialogical Theory: Bakhtin and Norman Mailer's ''The Executioner's Song'' \|url= \|journal=Mailer Review \|volume=7 \|issue= \|pages=231–244 \|doi= \|access-date= }}
			* {{cite book \|last=Eggers \|first=Dave \|date=2012 \|chapter=Introduction \|title=The Executioner's Song \|url= \|location=New York \|publisher=Grand Central \|pages=vii–xiii \|isbn= \|author-link= }}
			* {{cite journal \|last1=Edmundson \|first1=Mark \|date=1990 \|title=Romantic Self-Creations: Mailer and Gilmore in ''The Executioner's Song'' \|url= \|journal=Contemporary Literature \|volume=31 \|issue=winter \|pages=434–437 \|doi= \|access-date= }} Rpt: Bloom (2003), ''[[Mailer Review]]'' (2015).
			* {{cite book \|last=Frus \|first=Phyllis \|date=1994 \|title=The Politics and Poetics of Journalistic Narrative \|url=https://books.google.com/books?id=SvZKOVGyH94C \|location=Cambridge \|publisher=Cambridge UP \|pages=181–191 \|isbn=9780521443241 \|author-link= }}
			* {{cite journal \|last1=Kellman \|first1=Steven G. \|date=1983 \|title=Mailer's Strains of Fact \|url= \|journal=Southwest Review \|volume=68 \|issue=spring \|pages=126–133 \|doi= \|access-date= }}
			* {{cite book \|last=Lesser \|first=Wendy \|chapter=The Sleaze Factor \|date=1993 \|title=Pictures at an Execution: An Inquiry into the Subject of Murder \|url= \|location=Cambridge \|publisher=Harvard UP \|pages=93–120 \|isbn=9780674667365 \|author-link= }}
			* {{cite book \|last=Merrill \|first=Robert \|chapter=''The Executioner's Song'': Mailer's Sad Comedy \|date=1992 \|title=Norman Mailer Revisited \|url= \|location=Boston \|publisher=Twayne \|pages=151–208 \|isbn=9780805739671 \|ref=harv }}
			* {{cite journal \|last1=Scheffler \|first1=Judith A. \|date=1983 \|title=The Prisoner as Creator in ''The Executioner's Song'' \|url= \|journal=Midwest Quarterly \|volume=4 \|issue=summer \|pages= \|access-date= }} Rpt: Bloom (1986).
			* {{cite journal \|last1=Vince \|first1=Raymond \|date=2014 \|title=In the Deserts of the Heart: ''The Executioner's Song'' \|url= \|journal=Mailer Review \|volume=8 \|issue=summer \|pages=291–311 \|doi= \|access-date= }}

	{{Refend}}		{{Refend}}

Grlucas: /* Bibliography */ Added reviews.

2018-12-04T17:41:36Z

Bibliography: Added reviews.

← Older revision		Revision as of 13:41, 4 December 2018
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	{{Refbegin\|40em}}		{{Refbegin\|40em}}
	'''Reviews'''		'''Reviews'''
			* {{cite magazine \|last=Bell \|first=Pearl K. \|date=February 1980 \|title=Mailer: Settling for Less \|url= \|magazine=Commentary \|pages=65–68 \|publisher= \|access-date= }} Negative.
			* {{cite magazine \|last=Didion \|first=Joan \|date=October 7, 1979 \|title='I Want to Go Ahead and Do It' \|url=https://archive.nytimes.com/www.nytimes.com/books/97/05/04/reviews/mailer-song.html \|magazine=New York Times Book Review \|pages=26–27 \|publisher= \|access-date=2018-12-04 }} Positive.
			* {{cite magazine \|last=Johnson \|first=Diane \|date=December 6, 1979 \|title=Death for Sale \|url= \|magazine=New York Review of Books \|pages=3–6 \|publisher= \|access-date= }} Negative. Johnson apologized for several errors in her review in a letter to the ''NYRB'', 21 February 1980.
			* {{cite magazine \|last=Lodge \|first=David \|date=January 11, 1980 \|title=From a View to a Death \|url= \|magazine=Times Literary Supplement \|pages=27–28 \|publisher= \|access-date= }} Positive.
			* {{cite news \|last=Lucid \|first=Robert F. \|date=October 21, 1979 \|title=A Man Sought Death and, Too Late, Found It \|url= \|work=Philadelphia Inquirer \|location=§M p. 14 \|access-date= }} Positive.
			* {{cite magazine \|last=McMurty \|first=Larry \|date=October 22, 1979 \|title=Review of ''The Executioner's Song'' \|url= \|magazine=New West \|page=82 \|publisher= \|access-date= }} Positive.
			* {{cite magazine \|last=Morgan \|first=Ted \|date=November 19, 1979 \|title=Fine Lines \|url= \|magazine=Saturday Review \|pages=57–58 \|publisher= \|access-date= }} Positive.
			* {{cite magazine \|last=Ricks \|first=Christopher \|date=March 6, 1980 \|title=Mailer's Psychopath \|url= \|magazine=London Review of Books \|pages=9–10 \|publisher= \|access-date= }} Positive. Rpt: ''[[Mailer Review]]'' (2008).
			* {{cite magazine \|last=Rovit \|first=Earl \|date=November 20, 1979 \|title=True Life Story \|url= \|magazine=Nation \|pages=376–378 \|publisher= \|access-date= }} Positive.
			* {{cite magazine \|last=Stern \|first=Richard \|date=January 1980 \|title=Where Is That Self-Mocking Literary Imp? \|url= \|magazine=Chicago \|page=108 \|publisher= \|access-date= }}
			* {{cite news \|last=Wolcott \|first=James \|date=October 1, 1979 \|title=Norman Mailer and the Dream of Death \|url= \|work=Village Voice \|pages=46, 48 \|access-date= }} Mixed.

	'''Essays'''		'''Essays'''

Grlucas: Created page.

2018-12-02T21:37:44Z

Created page.

New page

{{WDside}}

=====''The Executioner's Song''. Boston: Little, Brown, 15 October; London: Hutchinson, 5 November. Nonfiction narrative on [[Gary Gilmore]], 1056 pp., $16.95.=====

Dedication: "To [[Norris Church Mailer|Norris]], to [[John Buffalo Mailer|John Buffalo]], and to Scott Meredith". Discarded titles: ''Violence in America'', ''The Saint and the Psychopath'', ''American Virtue''. [[Norman Mailer|Mailer]]'s title is taken from his poem of the same title published in [[1964]] (see [[64.18]]), and then used as the title of chapter 15 of ''The Fight'' ([[75.12]]). In [[80.1]] Mailer explains this borrowing and also notes that the "old prison rhyme" that prefaces the book "is an old diddy [sic] from my movie ''Maidstone'' ([[71.28]]) which was just perfect for the book".

Although scrupulously factual, the book is described on its jacket, and the cover of the later softcover edition, as a "true life novel". Validating this subtitle, it won the ''Playboy'' Writing Award for fiction in 1979 and the Pulitzer Prize for fiction in [[1980]]. Mailer is the only writer to win Pulitzers for fiction and nonfiction, the latter for ''The Armies of the Night'' ([[68.8]]). ''The Executioner's Song'' was also nominated for the American Book Award for fiction (1980 as a hardcover, 1981 as a softcover) and the National Book Critics Circle Award for fiction in [[1979]].

Mailer, Philip Roth, William Styron and many other writers withdrew their books from the American Book Award competitions. See article by Michiko Kakutani, "Mailer, Styron and Roth Shun American Book Awards", ''New York Times'', 21 March, Sec. C, p. 28. In 1999, it was ranked number 72 on a list of the top 100 works of journalism of the twentieth century by 36 judges under the aegis of New York University's journalism department. See "Journalism’s Greatest Hits: Two Lists of a Century's Top Stories", ''New York Times'', 1 March 1999, Business Section, pp. 1, 13.

Mailer later wrote the screenplay for the film version of 79.14, which was nominated for an Emmy. The four-hour adaptation, staring Tommy Lee Jones and Eli Wallach, appeared on NBC-TV on 28 and 29 November 1982. Rpt: Three sections of the narrative appeared in a different form in ''Playboy'' ([[79.10]], [[79.19]], [[79.33]]). Excerpts from five chapters are reprinted in ''The Time of Our Time'' ([[98.7]]). See [[68.8]], [[78.4]], [[:Category:Works in 1979|1979 entries]], [[81.5]], [[82.22]], [[94.3]], and [[13.2]], 503-22, 528-36.

Mailer:

{{cquote|You know, a painter may find something on the street that he thinks is incredible. Sometimes he'll glue it right into the painting. It becomes part of the work. In ''The Executioner's Song'', newspaper stories became part of the painting and part of the transcript of the trial—a lot of found objects. I felt acted upon, in a funny way, while doing this book, by painting terms. It was as if I'd shifted from being an expressionist, not an abstract expressionist, but an expressionist—like [Charles] Munch, or Max Beckmann . . . those kinds of painters who worked with large exaggeration and murkiness and passionate power—into now being a photographic realist, even a photographic realist with found objects. The reason, I think, is that a painter like a writer sometimes gets to a point where he can no longer interpret what he sees. Then the act of painting what he literally sees becomes the aesthetic act. ([[80.10]])}}

<gallery>
File:79-13.jpg|Cover of the first edition.
File:1977 Gary Gilmore.jpg|Gary Gilmore the day of his execution, 1977. Photo by Lawrence Schiller.
</gallery>

== Bibliography ==
{{Refbegin|40em}}
'''Reviews'''

'''Essays'''

{{Refend}}

{{1960s|state=collapsed}}
{{1970s|state=expanded}}
{{1980s|state=collapsed}}

[[Category:Works]]
[[Category:Works in the 1970s]]
[[Category:Works in 1979]]
[[Category:Nonfiction Narratives]]
[[Category:First Editions]]
[[Category:Best Sellers]]

← Older revision		Revision as of 14:40, 4 December 2018
Line 36:		Line 36:

	'''Essays'''		'''Essays'''
			* {{cite journal \|last1=Comprone \|first1=Joseph \|date=2013 \|title=Genre and Dialogical Theory: Bakhtin and Norman Mailer's ''The Executioner's Song'' \|url= \|journal=Mailer Review \|volume=7 \|issue= \|pages=231–244 \|doi= \|access-date= }}
			* {{cite book \|last=Eggers \|first=Dave \|date=2012 \|chapter=Introduction \|title=The Executioner's Song \|url= \|location=New York \|publisher=Grand Central \|pages=vii–xiii \|isbn= \|author-link= }}
			* {{cite journal \|last1=Edmundson \|first1=Mark \|date=1990 \|title=Romantic Self-Creations: Mailer and Gilmore in ''The Executioner's Song'' \|url= \|journal=Contemporary Literature \|volume=31 \|issue=winter \|pages=434–437 \|doi= \|access-date= }} Rpt: Bloom (2003), ''[[Mailer Review]]'' (2015).
			* {{cite book \|last=Frus \|first=Phyllis \|date=1994 \|title=The Politics and Poetics of Journalistic Narrative \|url=https://books.google.com/books?id=SvZKOVGyH94C \|location=Cambridge \|publisher=Cambridge UP \|pages=181–191 \|isbn=9780521443241 \|author-link= }}
			* {{cite journal \|last1=Kellman \|first1=Steven G. \|date=1983 \|title=Mailer's Strains of Fact \|url= \|journal=Southwest Review \|volume=68 \|issue=spring \|pages=126–133 \|doi= \|access-date= }}
			* {{cite book \|last=Lesser \|first=Wendy \|chapter=The Sleaze Factor \|date=1993 \|title=Pictures at an Execution: An Inquiry into the Subject of Murder \|url= \|location=Cambridge \|publisher=Harvard UP \|pages=93–120 \|isbn=9780674667365 \|author-link= }}
			* {{cite book \|last=Merrill \|first=Robert \|chapter=''The Executioner's Song'': Mailer's Sad Comedy \|date=1992 \|title=Norman Mailer Revisited \|url= \|location=Boston \|publisher=Twayne \|pages=151–208 \|isbn=9780805739671 \|ref=harv }}
			* {{cite journal \|last1=Scheffler \|first1=Judith A. \|date=1983 \|title=The Prisoner as Creator in ''The Executioner's Song'' \|url= \|journal=Midwest Quarterly \|volume=4 \|issue=summer \|pages= \|access-date= }} Rpt: Bloom (1986).
			* {{cite journal \|last1=Vince \|first1=Raymond \|date=2014 \|title=In the Deserts of the Heart: ''The Executioner's Song'' \|url= \|journal=Mailer Review \|volume=8 \|issue=summer \|pages=291–311 \|doi= \|access-date= }}

	{{Refend}}		{{Refend}}

← Older revision		Revision as of 13:41, 4 December 2018
Line 23:		Line 23:
	{{Refbegin\|40em}}		{{Refbegin\|40em}}
	'''Reviews'''		'''Reviews'''
			* {{cite magazine \|last=Bell \|first=Pearl K. \|date=February 1980 \|title=Mailer: Settling for Less \|url= \|magazine=Commentary \|pages=65–68 \|publisher= \|access-date= }} Negative.
			* {{cite magazine \|last=Didion \|first=Joan \|date=October 7, 1979 \|title='I Want to Go Ahead and Do It' \|url=https://archive.nytimes.com/www.nytimes.com/books/97/05/04/reviews/mailer-song.html \|magazine=New York Times Book Review \|pages=26–27 \|publisher= \|access-date=2018-12-04 }} Positive.
			* {{cite magazine \|last=Johnson \|first=Diane \|date=December 6, 1979 \|title=Death for Sale \|url= \|magazine=New York Review of Books \|pages=3–6 \|publisher= \|access-date= }} Negative. Johnson apologized for several errors in her review in a letter to the ''NYRB'', 21 February 1980.
			* {{cite magazine \|last=Lodge \|first=David \|date=January 11, 1980 \|title=From a View to a Death \|url= \|magazine=Times Literary Supplement \|pages=27–28 \|publisher= \|access-date= }} Positive.
			* {{cite news \|last=Lucid \|first=Robert F. \|date=October 21, 1979 \|title=A Man Sought Death and, Too Late, Found It \|url= \|work=Philadelphia Inquirer \|location=§M p. 14 \|access-date= }} Positive.
			* {{cite magazine \|last=McMurty \|first=Larry \|date=October 22, 1979 \|title=Review of ''The Executioner's Song'' \|url= \|magazine=New West \|page=82 \|publisher= \|access-date= }} Positive.
			* {{cite magazine \|last=Morgan \|first=Ted \|date=November 19, 1979 \|title=Fine Lines \|url= \|magazine=Saturday Review \|pages=57–58 \|publisher= \|access-date= }} Positive.
			* {{cite magazine \|last=Ricks \|first=Christopher \|date=March 6, 1980 \|title=Mailer's Psychopath \|url= \|magazine=London Review of Books \|pages=9–10 \|publisher= \|access-date= }} Positive. Rpt: ''[[Mailer Review]]'' (2008).
			* {{cite magazine \|last=Rovit \|first=Earl \|date=November 20, 1979 \|title=True Life Story \|url= \|magazine=Nation \|pages=376–378 \|publisher= \|access-date= }} Positive.
			* {{cite magazine \|last=Stern \|first=Richard \|date=January 1980 \|title=Where Is That Self-Mocking Literary Imp? \|url= \|magazine=Chicago \|page=108 \|publisher= \|access-date= }}
			* {{cite news \|last=Wolcott \|first=James \|date=October 1, 1979 \|title=Norman Mailer and the Dream of Death \|url= \|work=Village Voice \|pages=46, 48 \|access-date= }} Mixed.

	'''Essays'''		'''Essays'''