User:JSheppard/sandbox - Revision history

CCross: Fixed some Typos and Grammar Mistakes

2020-09-28T23:42:48Z

Fixed some Typos and Grammar Mistakes

JSheppard at 20:28, 25 September 2020

2020-09-25T20:28:23Z

@@ Line 1: / Line 1: @@
-Another case in point is King of the Hill, a modest little book originally published as a long article in Life magazine ~with photographs by Frank Sinatra!, dealing with Muhammad Ali’s hard-fought defeat at the hands of Joe Frazier after his three year enforced layoff from boxing. As in “Death,” the opponents assume symbolic, almost mythic proportions. Central to this is Mailer’s pervasive Manichean vision of the cosmos, even down to Ali’s twin poodles named “Angel” and “Demon.” But the conclusion is most significant to Mailer’s last work: {{quote|Yet Ali got up, Ali came sliding through the last two minutes and thirty-five seconds of this heathen holocaust in some last exercise of the will, some iron fundament of the ego not to be knocked out, and it was then as if the spirit of Harlem finally spoke and came to rescue and the ghosts of the dead in Vietnam, something held him up before arm-weary triumphant near crazy Frazier who had just hit him the hardest punch ever thrown in his life and they went down to the last few seconds of a great fight, Ali still standing and Frazier had won. The world was talking instantly of a rematch. For Ali had shown America what we all had hoped was secretly true. He was a man. He could bear moral and physical torture and he could stand. If he could beat Frazier in the rematch we would have at last a national hero who was a hero of the world as well.{{sfn|“King”|1960|p=92-92}}}}
+{{DISPLAYTITLE:<span style="font-size:22px;">{{BASEPAGENAME}}/</span>{{SUBPAGENAME}}}}
 Ali ''was'' a national hero, for his moral and physical courage. His heroism had fascinated Mailer for years. In a short piece, “An Appreciation of Cassius Clay,” he wrote: {{quote|I don’t want to get started writing about Muhammad Ali, because I could go on for a book.{{sfn|“Errands”|1960|p=264}}}} He went on to condemn Ali’s exclusion from boxing because of his conscientious objection to the Vietnam War and concluded:{{quote|Therefore we are all deprived of an intimate spectacle which was taking place in public—the forging of a professional artist
@@ Line 53: / Line 71: @@
 of the existential self: these values are not outmoded. They never will be. And what of the man who wrote of these all his life? He is gone now from this sphere, from our limited purview. But his work will be with us forever,and we will remember: He was a fighter.
-=== Works Cited===
+===Citations===
-{{Reflist}}
+{{Reflist|15em}}

Jules Carry: Began moving and correcting to main article.

2020-09-25T14:12:55Z

Began moving and correcting to main article.

@@ Line 1: / Line 1: @@
-{{DISPLAYTITLE:<span style="font-size:22px;">{{BASEPAGENAME}}/</span>{{SUBPAGENAME}}}}
+Another case in point is King of the Hill, a modest little book originally published as a long article in Life magazine ~with photographs by Frank Sinatra!, dealing with Muhammad Ali’s hard-fought defeat at the hands of Joe Frazier after his three year enforced layoff from boxing. As in “Death,” the opponents assume symbolic, almost mythic proportions. Central to this is Mailer’s pervasive Manichean vision of the cosmos, even down to Ali’s twin poodles named “Angel” and “Demon.” But the conclusion is most significant to Mailer’s last work: {{quote|Yet Ali got up, Ali came sliding through the last two minutes and thirty-five seconds of this heathen holocaust in some last exercise of the will, some iron fundament of the ego not to be knocked out, and it was then as if the spirit of Harlem finally spoke and came to rescue and the ghosts of the dead in Vietnam, something held him up before arm-weary triumphant near crazy Frazier who had just hit him the hardest punch ever thrown in his life and they went down to the last few seconds of a great fight, Ali still standing and Frazier had won. The world was talking instantly of a rematch. For Ali had shown America what we all had hoped was secretly true. He was a man. He could bear moral and physical torture and he could stand. If he could beat Frazier in the rematch we would have at last a national hero who was a hero of the world as well.{{sfn|“King”|1960|p=92-92}}}}
 Ali ''was'' a national hero, for his moral and physical courage. His heroism had fascinated Mailer for years. In a short piece, “An Appreciation of Cassius Clay,” he wrote: {{quote|I don’t want to get started writing about Muhammad Ali, because I could go on for a book.{{sfn|“Errands”|1960|p=264}}}} He went on to condemn Ali’s exclusion from boxing because of his conscientious objection to the Vietnam War and concluded:{{quote|Therefore we are all deprived of an intimate spectacle which was taking place in public—the forging of a professional artist
@@ Line 69: / Line 53: @@
 of the existential self: these values are not outmoded. They never will be. And what of the man who wrote of these all his life? He is gone now from this sphere, from our limited purview. But his work will be with us forever,and we will remember: He was a fighter.
 === Works Cited===
-===Works Cited===
+{{Reflist}}

JSheppard at 04:43, 25 September 2020

2020-09-25T04:43:27Z

Show changes

JSheppard at 02:39, 25 September 2020

2020-09-25T02:39:14Z

← Older revision		Revision as of 22:39, 24 September 2020
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	{{MR02}}		{{MR02}}
	{{Byline\|last=Leeds\|first=Barry H.\|abstract=Boxing has provided a significant moral paradigm throughout much of Norman {{NM}}’s life and work. Mailer’s significant writing about boxing begins with ''[[The Presidential Papers]]'' in the long and riveting essay entitled “Death,” originally titled “Ten Thousand Words a Minute,” one of his “Big Bite” columns for ''Esquire''. Not only does this piece prefigure and announce the new mode of Mailer’s nonfiction writing in the late 1960s and 1970s, notably ''[[The Armies of the Night]]'', it is the key to his fascination with boxing.\|url=https://prmlr.us/mr08leed}}		{{Byline\|last=Leeds\|first=Barry H.\|abstract=Boxing has provided a significant moral paradigm throughout much of Norman {{NM}}’s life and work. Mailer’s significant writing about boxing begins with ''[[The Presidential Papers]]'' in the long and riveting essay entitled “Death,” originally titled “Ten Thousand Words a Minute,” one of his “Big Bite” columns for ''Esquire''. Not only does this piece prefigure and announce the new mode of Mailer’s nonfiction writing in the late 1960s and 1970s, notably ''[[The Armies of the Night]]'', it is the key to his fascination with boxing.\|url=https://prmlr.us/mr08leed}}
	{{dc\|dc=B\|oxing has provided a significant moral paradigm}} throughout much of Norman Mailer’s life and work. In his seminal essay entitled “Death” in ''The Presidential Papers'' (1963), Mailer uses the first [[w:Sonny Liston\|Sonny Liston]]/[[w:Floyd Patterson\|Floyd Patterson]] championship bout as a point of departure from which to develop a profound series of perceptions about the American national temperament, particularly that of blacks. In ''[[King of the Hill]]'' (1971) and more strikingly in ''[[The Fight]]'' (1975) he deals nominally with a specific championship bout, but goes beyond journalism to find certain normative precepts in the sport. But there is another level on which boxing informs and conditions Mailer’s vision: In his fiction, most notably ''[[An American Dream]]'' (1965) and ''[[Tough Guys Don’t Dance]]'' (1984), boxing experiences help define the protagonists. Stephen Richards Rojack and Tim Madden respectively find “the reward of the ring”{{sfn\|Mailer\|1965\|p=16}} applicable to their existential quests for self. Ultimately, Mailer’s views on boxing are far from simplistic. From the powerful account of [[w:Benny Paret\|Benny Paret]]’s death in the ring at the hands of [[w:Emile Griffith\|Emile Griffith]] to his statements to me about the ill-fated conclusion to [[w:Muhammad Ali\|Muhammad Ali]]’s career to his 1988 article on [[w:Mike Tyson\|Mike Tyson]], “Fury, Fear, Philosophy,” Mailer has found in this arena of ritualized violence a rich source of perception about the human condition. In fact, in his 1993 essay in ''Esquire'', “The Best Move Lies Next to the Worst” ~~(reprinted in {{harvtxt\|Mailer\|1998)))~~, he deals with his own boxing experiences at the Gramercy Gym with [[w:José Torres\|José Torres]], [[w:Ryan O’Neal\|Ryan O’Neal]] and others. The title of the piece comes from the comparison of boxing to chess.{{sfn\|Mailer\|1998\|pp=1045–1052}}		{{dc\|dc=B\|oxing has provided a significant moral paradigm}} throughout much of Norman Mailer’s life and work. In his seminal essay entitled “Death” in ''The Presidential Papers'' (1963), Mailer uses the first [[w:Sonny Liston\|Sonny Liston]]/[[w:Floyd Patterson\|Floyd Patterson]] championship bout as a point of departure from which to develop a profound series of perceptions about the American national temperament, particularly that of blacks. In ''[[King of the Hill]]'' (1971) and more strikingly in ''[[The Fight]]'' (1975) he deals nominally with a specific championship bout, but goes beyond journalism to find certain normative precepts in the sport. But there is another level on which boxing informs and conditions Mailer’s vision: In his fiction, most notably ''[[An American Dream]]'' (1965) and ''[[Tough Guys Don’t Dance]]'' (1984), boxing experiences help define the protagonists. Stephen Richards Rojack and Tim Madden respectively find “the reward of the ring”{{sfn\|Mailer\|1965\|p=16}} applicable to their existential quests for self. Ultimately, Mailer’s views on boxing are far from simplistic. From the powerful account of [[w:Benny Paret\|Benny Paret]]’s death in the ring at the hands of [[w:Emile Griffith\|Emile Griffith]] to his statements to me about the ill-fated conclusion to [[w:Muhammad Ali\|Muhammad Ali]]’s career to his 1988 article on [[w:Mike Tyson\|Mike Tyson]], “Fury, Fear, Philosophy,” Mailer has found in this arena of ritualized violence a rich source of perception about the human condition. In fact, in his 1993 essay in ''Esquire'', “The Best Move Lies Next to the Worst”, he deals with his own boxing experiences at the Gramercy Gym with [[w:José Torres\|José Torres]], [[w:Ryan O’Neal\|Ryan O’Neal]] and others. The title of the piece comes from the comparison of boxing to chess.{{sfn\|Mailer\|1998\|pp=1045–1052}}


	I believe it’s best to confront the central issue here at the outset. Mailer has, indeed, perceived gladiatorial confrontation and violence as a central metaphor for his own artistic and personal struggles for growth, fulfillment, salvation.As he muses retrospectively upon a turning point in his career during his crises of the early 1960s,{{quote\|The review in Time of Deaths for the Ladies put iron into my heart again, and rage, and the feeling that the enemy was more alive than ever, and dirtier in the alley, and so one had to mend,and put on the armor, and go to war, go out to war again, and try to hew huge strokes with the only broadsword God ever gave you, a glimpse of something like almighty prose.{{sfn\|''Existential''''Errands''\|1960\|p=204}}}}		I believe it’s best to confront the central issue here at the outset. Mailer has, indeed, perceived gladiatorial confrontation and violence as a central metaphor for his own artistic and personal struggles for growth, fulfillment, salvation.As he muses retrospectively upon a turning point in his career during his crises of the early 1960s,
			{{quote\|The review in Time of Deaths for the Ladies put iron into my heart again, and rage, and the feeling that the enemy was more alive than ever, and dirtier in the alley, and so one had to mend,and put on the armor, and go to war, go out to war again, and try to hew huge strokes with the only broadsword God ever gave you, a glimpse of something like almighty prose.{{sfn\|''Existential''''Errands''\|1960\|p=204}}}}

JSheppard at 23:16, 24 September 2020

2020-09-24T23:16:22Z

← Older revision		Revision as of 19:16, 24 September 2020
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	I believe it’s best to confront the central issue here at the outset. Mailer has, indeed, perceived gladiatorial confrontation and violence as a central metaphor for his own artistic and personal struggles for growth, fulfillment, salvation.As he muses retrospectively upon a turning point in his career during his crises of the early 1960s,{{quote\|The review in Time of Deaths for the Ladies put iron into my heart again, and rage, and the feeling that the enemy was more alive than ever, and dirtier in the alley, and so one had to mend,and put on the armor, and go to war, go out to war again, and try to hew huge strokes with the only broadsword God ever gave you, a glimpse of something like almighty prose.{{sfn\|''Existential''''Errands''\|1960\|p=204}}}}		I believe it’s best to confront the central issue here at the outset. Mailer has, indeed, perceived gladiatorial confrontation and violence as a central metaphor for his own artistic and personal struggles for growth, fulfillment, salvation.As he muses retrospectively upon a turning point in his career during his crises of the early 1960s,{{quote\|The review in Time of Deaths for the Ladies put iron into my heart again, and rage, and the feeling that the enemy was more alive than ever, and dirtier in the alley, and so one had to mend,and put on the armor, and go to war, go out to war again, and try to hew huge strokes with the only broadsword God ever gave you, a glimpse of something like almighty prose.{{sfn\|''Existential''''Errands''\|1960\|p=204}}}}


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	~~{{in5\|n}}~~Another regular at the Gramercy Gym in the 1980s was Sal Cetrano, who		Another regular at the Gramercy Gym in the 1980s was Sal Cetrano, who is mentioned ~though not by name! in “The Best Move.” In a hitherto
	is mentioned ~though not by name! in “The Best Move.” In a hitherto		unpublished interview with J. Michael Lennon (dated May 24, 2007), Cetrano disarmingly recounts a series of anecdotes regarding his experiences
	unpublished interview with J. Michael Lennon (dated May 24, 2007),
	Cetrano disarmingly recounts a series of anecdotes regarding his experiences
	with Mailer, Torres, and Ryan O’Neal.		with Mailer, Torres, and Ryan O’Neal.
	{{in5\|n}}Cetrano first met Mailer by accident on Broadway in 1980, and the first		{{in5\|n}}Cetrano first met Mailer by accident on Broadway in 1980, and the first thing they talked about was the Paret/Griffith fight. Subsequently, Cetrano wrote Mailer a letter which was reciprocated by a postcard that simply said, “Be at the Gramercy Gym at 10:30 AM Saturday.” Sal had been in the Golden Gloves as a kid, but he“weighed about 145 pounds and everyone seemed bigger.”
	thing they talked about was the Paret/Griffith fight. Subsequently, Cetrano		His solution to this problem, since “I had been a distance runner as a kid,” was to keep opponents at arm’s length. Of the relationship between
	wrote Mailer a letter which was reciprocated by a postcard that simply said,		Mailer and Torres, he describes it as one of “power to power: Norman was a king of literature; Jose a king of boxing.” When asked by Michael Lennon of the parallels between Mailer as a boxer
	“Be at the Gramercy ~~Gymat~~ 10:30 AM Saturday.” Sal had been in the Golden
	Gloves as a kid, but he“weighed about 145 pounds and everyone seemed bigger.”
	His solution to this problem, since “I had been a distance runner as a
	kid,” was to keep opponents at arm’s length. Of the relationship between
	Mailer and Torres, he describes it as one of “power to power: Norman was a
	king of literature; Jose a king of boxing.”
	~~{{in5\|n}}~~When asked by Michael Lennon of the parallels between Mailer as a boxer
	and as writer, Cetrano responds ~with deprecating laughter as risking a cliché!		and as writer, Cetrano responds ~with deprecating laughter as risking a cliché!
	that he’s “existential” in both: “He does things to their fullest.” Although		that he’s “existential” in both: “He does things to their fullest.” Although
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	as well as every piece of prose.		as well as every piece of prose.

	~~{{in5\|n}}~~Since Mailer’s death on November 10, 2007, there has (not surprisingly)		Since Mailer’s death on November 10, 2007, there has (not surprisingly) been an outpouring of retrospective summaries and evaluations of his life and career in magazines, newspapers, radio, and television, virtually all mass media. Equally unsurprising is the fact that Mailer has been almost universally portrayed as a fighter for everything he believed in, and more precisely,
	been an outpouring of retrospective summaries and evaluations of his life		in many cases as a boxer. For example, in an article in ''The New York Observer''(Nov. 19, 2007, 8) Leon Neyfakh tells the story of how Mailer acquired the original David Levine illustration of Mailer “as a boxer, his ... body in a crouch and his gloves at his face.”Mailer had just published “Some Children of the Goddess” in ''Esquire'' (July 1963, rpt. ''Cannibals and Christians'', 1966) in which he took on his major novelistic contemporaries and rivals and was photographed posed in the corner of a boxing ring. Neyfakh goes on to
	and career in magazines, newspapers, radio, and television, virtually all mass		recount how Mailer took the cardboard-mounted illustration to show Jose Torres, who teased Mailer’s vanity by idly bending it almost to the breaking point. Apparently, by remaining silent (if not unperturbed) Mailer passed the Torres modesty requirement.
	media. Equally unsurprising is the fact that Mailer has been almost universally
	portrayed as a fighter for everything he believed in, and more precisely,
	in many cases as a boxer. For example, in an article in ''The New York Observer''(Nov. 19, 2007, 8) Leon Neyfakh tells the story of how Mailer acquired the
	original David Levine illustration of Mailer “as a boxer, his ... body in a
	crouch and his gloves at his face.”Mailer had just published “Some Children
	of the Goddess” in ''Esquire'' (July 1963, rpt. ''Cannibals and Christians'',
	1966) in which he took on his major novelistic contemporaries and rivals and
	was photographed posed in the corner of a boxing ring. Neyfakh goes on to
	recount how Mailer took the cardboard-mounted illustration to show Jose
	Torres, who ~~teasedMailer’s~~ vanity by idly bending it almost to the breaking
	point. Apparently, by remaining silent (if not unperturbed) Mailer passed the
	Torres modesty requirement.

	~~{{in5\|n}}~~It is, in fact, almost impossible to enumerate the many retrospectives		It is, in fact, almost impossible to enumerate the many retrospectives appearing immediately after Mailer’s death which either pictured him in a boxing contest: with gloves on or actually in a ring. Many others referred pointedly to his predilection for fisticuffs both in and out of the ring. Thus, it is clear that boxing has always been and will always be associated with the Mailer legend. ''Sports Illustrated'' titled Kostya Kennedy’s tribute, “The Pugilist at Rest.”
	appearing immediately after Mailer’s death which either pictured him in a
	boxing contest: with gloves on or actually in a ring. Many others referred
	pointedly to his predilection for fisticuffs both in and out of the ring. Thus,
	it is clear that boxing has always been and will always be associated with the
	Mailer legend. ''Sports Illustrated'' titled Kostya Kennedy’s tribute, “The Pugilist
	at Rest.”

	'''Violence in Personal Confrontation Outside the Ring'''		'''Violence in Personal Confrontation Outside the Ring'''

	What I further consider significant here is Mailer’s fictive vision of fighting.		What I further consider significant here is Mailer’s fictive vision of fighting. Violence in personal confrontations outside the ring, both in heterosexual relationships and between male adversaries, is central to Mailer’s fiction. Christian Messenger, in a related article, makes some interesting points, but I think it’s a critical commonplace to trot out Mailer’s 1959 story, “The Time of Her Time,” as the beginning of all this. As early as ''A Transit to Narcissus'' (1978),Mailer was already concerned with the smoldering violence between
	Violence in personal confrontations outside the ring, both in heterosexual		sexual partners, alluding to “the most terrible themes of my own life:
	relationships and between male adversaries, is central ~~toMailer’s~~ fiction.
	~~ChristianMessenger~~, in a related article, makes some interesting points, but		the nearness of violence to creation, and the whiff of murder just beyond every embrace of love” (Introduction x).
	I think it’s a critical commonplace to trot out Mailer’s 1959 story, “The Time
	of Her Time,” as the beginning of all this. As early as ''A Transit to Narcissus''		And the darkest side of this vision is disturbingly revealed in ''The Armies of the Night'' (1968), when Mailer writes with horror of federal Marshall and American soldiers brutally beating young women during the night after the 1967 march on the Pentagon: Such men, he suggests, “may never have another opportunity like this—to beat a woman without having to make
	(1978),Mailer was already concerned with the smoldering violence between
	sexual partners, alluding to “the most terrible themes of my own life: the
	nearness of violence to creation, and the whiff of murder just beyond every
	embrace of love” (Introduction x).
	~~{{in5\|n}}~~And the darkest side of this vision is disturbingly revealed in ''The Armies
	of the Night'' (1968), when Mailer writes with horror of federal Marshall and
	American soldiers brutally beating young women during the night after the
	1967 march on the Pentagon: Such men, he suggests, “may never have
	another opportunity like this—to beat a woman without having to make
	love to her” (304).		love to her” (304).
	~~{{in5\|n}}~~It’s true that in “The Time of Her Time,” Sergius O’Shaugnessy, just back
	~~fromMexico~~ after the end of ''The Deer Park'' (1955), does throw Denise Gondelman		It’s true that in “The Time of Her Time,” Sergius O’Shaugnessy, just back from Mexico after the end of ''The Deer Park'' (1955), does throw Denise Gondelman “a fuck the equivalent of a fifteen round fight” (“Time” in ''Advertisements ''501). Sergius has been a boxer in the Air Force, and in bed he and Denise are “like two club fighters” ~490!. But it is shewho gets in the last literal punch: “I might have known she would have a natural punch. My jaw felt it for half an hour after she was gone...” (494–495).And in the story’s last line, he muses that “Like a real killer, she did not look back, and was out the door before I could rise to tell her that she was a hero fit for me” (503). This is, therefore, a battle of equals, which prefigures embryonically the growth toward the graceful, loving equality of the central Rojack/Cherry passage in ''An American Dream.''
	“a fuck the equivalent of a fifteen round fight” (“Time” in ''Advertisements
	''501). Sergius has been a boxer in the Air Force, and in bed he and
	Denise are “like two club fighters” ~490!. But it is shewho gets in the last literal
	punch: “I might have known she would have a natural punch. My jaw
	felt it for half an hour after she was gone...” (494–495).And in the story’s last
	line, he muses that ~~“[L]ike~~ a real killer, she did not look back, and was out the
	door before I could rise to tell her that she was a hero fit for me” (503). This
	is, therefore, a battle of equals, which prefigures embryonically the growth
	toward the graceful, loving equality of the central Rojack/Cherry passage in
	''An American Dream.
	''
	The extended fighting metaphor reaches its peak in An American Dream.		The extended fighting metaphor reaches its peak in An American Dream.
	Stephen Rojack is an amateur boxer, and clearly the central bout of the novel		Stephen Rojack is an amateur boxer, and clearly the central bout of the novel

JSheppard at 22:57, 24 September 2020

2020-09-24T22:57:39Z

Show changes

JSheppard at 21:39, 24 September 2020

2020-09-24T21:39:42Z

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JSheppard at 20:17, 24 September 2020

2020-09-24T20:17:11Z

← Older revision		Revision as of 16:17, 24 September 2020
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	~~'''~~Boxing has provided a significant moral paradigm''' throughout much		{{DISPLAYTITLE:<span style="font-size:22px;">{{BASEPAGENAME}}/</span>{{SUBPAGENAME}}}}
	of Norman Mailer’s life and work. In his seminal essay entitled “Death” in		{{Working}}
	''The Presidential Papers''(1963), Mailer uses the first Sonny Liston/Floyd Patterson		{{MR02}}
	championship bout as a point of departure from which to develop		{{Byline\|last=Leeds\|first=Barry H.\|abstract=Boxing has provided a significant moral paradigm throughout much of Norman {{NM}}’s life and work. Mailer’s significant writing about boxing begins with ''[[The Presidential Papers]]'' in the long and riveting essay entitled “Death,” originally titled “Ten Thousand Words a Minute,” one of his “Big Bite” columns for ''Esquire''. Not only does this piece prefigure and announce the new mode of Mailer’s nonfiction writing in the late 1960s and 1970s, notably ''[[The Armies of the Night]]'', it is the key to his fascination with boxing.\|url=https://prmlr.us/mr08leed}}
	a profound series of perceptions about the American national temperament,		{{dc\|dc=B\|oxing has provided a significant moral paradigm}} throughout much of Norman Mailer’s life and work. In his seminal essay entitled “Death” in ''The Presidential Papers'' (1963), Mailer uses the first [[w:Sonny Liston\|Sonny Liston]]/[[w:Floyd Patterson\|Floyd Patterson]] championship bout as a point of departure from which to develop a profound series of perceptions about the American national temperament, particularly that of blacks. In ''[[King of the Hill]]'' (1971) and more strikingly in ''[[The Fight]]'' (1975) he deals nominally with a specific championship bout, but goes beyond journalism to find certain normative precepts in the sport. But there is another level on which boxing informs and conditions Mailer’s vision: In his fiction, most notably ''[[An American Dream]]'' (1965) and ''[[Tough Guys Don’t Dance]]'' (1984), boxing experiences help define the protagonists. Stephen Richards Rojack and Tim Madden respectively find “the reward of the ring”{{sfn\|Mailer\|1965\|p=16}} applicable to their existential quests for self. Ultimately, Mailer’s views on boxing are far from simplistic. From the powerful account of [[w:Benny Paret\|Benny Paret]]’s death in the ring at the hands of [[w:Emile Griffith\|Emile Griffith]] to his statements to me about the ill-fated conclusion to [[w:Muhammad Ali\|Muhammad Ali]]’s career to his 1988 article on [[w:Mike Tyson\|Mike Tyson]], “Fury, Fear, Philosophy,” Mailer has found in this arena of ritualized violence a rich source of perception about the human condition. In fact, in his 1993 essay in ''Esquire'', “The Best Move Lies Next to the Worst” (reprinted in {{harvtxt\|Mailer\|1998))), he deals with his own boxing experiences at the Gramercy Gym with [[w:José Torres\|José Torres]], [[w:Ryan O’Neal\|Ryan O’Neal]] and others. The title of the piece comes from the comparison of boxing to chess.{{sfn\|Mailer\|1998\|pp=1045–1052}}
	particularly that of blacks. In ''King of the Hill''(1971) and more strikingly
	in ''The Fight''(1975)~~the~~ deals nominally with a specific championship
	bout, but goes beyond journalism to find certain normative precepts in the
	sport. But there is another level on which boxing informs and conditions
	Mailer’s vision: In his fiction, most notably ''An American Dream''(1965)and
	''Tough Guys Don’t Dance''(1984), boxing experiences help define the protagonists.
	Stephen Richards Rojack and Tim Madden respectively find “the
	reward of the ring” ~~(''Dream~~ 16~~'')~~applicable to their existential quests for self.
	Ultimately, Mailer’s views on boxing are far from simplistic. From the powerful
	account of Benny ~~Paret’s~~ death in the ring at the hands of Emile Griffith
	to his statements to me about the ill-fated conclusion to Muhammad
	~~Ali’s~~ career to his 1988 article on Mike Tyson, “Fury, Fear, Philosophy,”
	Mailer has found in this arena of ritualized violence a rich source of perception
	about the human condition. In fact, in his 1993 essay in ''Esquire'',
	“The Best Move Lies Next to the Worst” ~reprinted in ~~''The Time of Our~~
	~~Time''!~~, he deals with his own boxing experiences at the Gramercy Gym with
	José Torres, Ryan O’Neal, and others. The title of the piece comes from the
	comparison of boxing to chess ~~''Time'' (~~1045–1052).

JSheppard: /* Works Cited */

2020-09-24T18:51:32Z

Works Cited

← Older revision		Revision as of 14:51, 24 September 2020
Line 322:		Line 322:

	* {{cite book \|last=Leeds\|first= Barry\|date=2008 \|title=He was a Fighter: Boxing in Norman Mailer's Life and Work\|url= \|location= \|publisher= \|pages=385-394 \|isbn= \|author-link= \|ref=harv }}		* {{cite book \|last=Leeds\|first= Barry\|date=2008 \|title=He was a Fighter: Boxing in Norman Mailer's Life and Work\|url= \|location= \|publisher= \|pages=385-394 \|isbn= \|author-link= \|ref=harv }}



	* {{cite book \|last=Kennedy\|first=Kostya \|date= 19 November 2007 \|title= “The Pugilist at Rest.” Sports Illustrated\|url= \|location= \|publisher= \|pages=28-29 \|isbn= \|author-link= \|ref=harv }}		* {{cite book \|last=Kennedy\|first=Kostya \|date= 19 November 2007 \|title= “The Pugilist at Rest.” Sports Illustrated\|url= \|location= \|publisher= \|pages=28-29 \|isbn= \|author-link= \|ref=harv }}