https://projectmailer.net/index.php?action=history&feed=atom&title=User%3AKForeman%2FsandboxUser:KForeman/sandbox - Revision history2026-04-24T11:46:26ZRevision history for this page on the wikiMediaWiki 1.43.3https://projectmailer.net/index.php?title=User:KForeman/sandbox&diff=18376&oldid=prevKForeman at 05:19, 8 April 20252025-04-08T05:19:03Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Form is the record of a war: On the 6th of February, 1955, Amado Ramírez, El Loco, took the alternative to become a full matador. He was unable to kill any of his three bulls and subsequently renounced the alternative and ended his career as a professional matador. Norman Mailer would not write “the novel about the bullfight.”</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Form is the record of a war: On the 6th of February, 1955, Amado Ramírez, El Loco, took the alternative to become a full matador. He was unable to kill any of his three bulls and subsequently renounced the alternative and ended his career as a professional matador. Norman Mailer would not write “the novel about the bullfight.”</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Since the identification of the writer and torero, as well as the larger context of war, came first from Hemingway, Mailer’s ultimate insight—his fleeting recognition of himself in the other, of the other in himself, and of both of them as one with Hemingway and his taurine shadow—was derivative in its source, yet original in its vision, adding another layer in its peculiar confirmation to Hemingway’s discovery of the literary value of toreo. Thanks to the clue Amado Ramírez had given him through his erratic performances (clue harks back to the ball of thread Theseus used to escape the labyrinth, after killing them in Otaur), Mailer’s eureka-like moment helps turn a messy essay in an unfortunate tome into an intricately conceived footnote to Death in the Afternoon. Mailer’s fascination with Hemingway’s works inspired him to pursue similar ambitions in his <del style="font-weight: bold; text-decoration: none;">own </del>writing (Rodriquez 97).</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Since the identification of the writer and torero, as well as the larger context of war, came first from Hemingway, Mailer’s ultimate insight—his fleeting recognition of himself in the other, of the other in himself, and of both of them as one with Hemingway and his taurine shadow—was derivative in its source, yet original in its vision, adding another layer in its peculiar confirmation to Hemingway’s discovery of the literary value of toreo. Thanks to the clue Amado Ramírez had given him through his erratic performances (clue harks back to the ball of thread Theseus used to escape the labyrinth, after killing them in Otaur), Mailer’s eureka-like moment helps turn a messy essay in an unfortunate tome into an intricately conceived footnote to Death in the Afternoon. Mailer’s fascination with Hemingway’s works inspired him to pursue similar ambitions in his writing (Rodriquez 97).</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>{{pg| 292 • T H E M A I L E R R E V I E W|a l l e n j o s e p h s • 293}}</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>{{pg| 292 • T H E M A I L E R R E V I E W|a l l e n j o s e p h s • 293}}</div></td></tr>
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</table>KForemanhttps://projectmailer.net/index.php?title=User:KForeman/sandbox&diff=18374&oldid=prevKForeman at 05:16, 8 April 20252025-04-08T05:16:59Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Form is the record of a war: On the 6th of February, 1955, Amado Ramírez, El Loco, took the alternative to become a full matador. He was unable to kill any of his three bulls and subsequently renounced the alternative and ended his career as a professional matador. Norman Mailer would not write “the novel about the bullfight.”</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Form is the record of a war: On the 6th of February, 1955, Amado Ramírez, El Loco, took the alternative to become a full matador. He was unable to kill any of his three bulls and subsequently renounced the alternative and ended his career as a professional matador. Norman Mailer would not write “the novel about the bullfight.”</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Since the identification of the writer and torero, as well as the larger context of war, came first from Hemingway, Mailer’s ultimate insight—his fleeting recognition of himself in the other, of the other in himself, and of both of them as one with Hemingway and his taurine shadow—was derivative in its source, yet original in its vision, adding another layer in its peculiar confirmation to Hemingway’s discovery of the literary value of toreo. Thanks to the clue Amado Ramírez had given him through his erratic performances (clue harks back to the ball of thread Theseus used to escape the labyrinth, after killing them in Otaur), Mailer’s eureka-like moment helps turn a messy essay in an unfortunate tome into an intricately conceived footnote to Death in the Afternoon.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Since the identification of the writer and torero, as well as the larger context of war, came first from Hemingway, Mailer’s ultimate insight—his fleeting recognition of himself in the other, of the other in himself, and of both of them as one with Hemingway and his taurine shadow—was derivative in its source, yet original in its vision, adding another layer in its peculiar confirmation to Hemingway’s discovery of the literary value of toreo. Thanks to the clue Amado Ramírez had given him through his erratic performances (clue harks back to the ball of thread Theseus used to escape the labyrinth, after killing them in Otaur), Mailer’s eureka-like moment helps turn a messy essay in an unfortunate tome into an intricately conceived footnote to Death in the Afternoon<ins style="font-weight: bold; text-decoration: none;">. Mailer’s fascination with Hemingway’s works inspired him to pursue similar ambitions in his own writing (Rodriquez 97)</ins>.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>{{pg| 292 • T H E M A I L E R R E V I E W|a l l e n j o s e p h s • 293}}</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>{{pg| 292 • T H E M A I L E R R E V I E W|a l l e n j o s e p h s • 293}}</div></td></tr>
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</table>KForemanhttps://projectmailer.net/index.php?title=User:KForeman/sandbox&diff=18373&oldid=prevKForeman: /* Works Cited */2025-04-08T05:09:48Z<p><span class="autocomment">Works Cited</span></p>
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</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l254">Line 254:</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref>Adams, Laura Gail. Norman Mailer's Aesthetics of Growth. Diss. 1972.</ref></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref>Adams, Laura Gail. Norman Mailer's Aesthetics of Growth. Diss. 1972.</ref></div></td></tr>
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<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"><ref>Rodríguez, Emilio Cañadas. "Norman Mailer and Truman Capote: A Brief Account of Parallel Lives." 2008,</ref></ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>{{Reflist}}</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>{{Reflist}}</div></td></tr>
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</table>KForemanhttps://projectmailer.net/index.php?title=User:KForeman/sandbox&diff=18370&oldid=prevKForeman at 04:51, 8 April 20252025-04-08T04:51:54Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Love affair? Well, that’s what he says: “I fell in love with a bullfighter.”Not that they ever met: “Meeting him could only have spoiled the perfection of my love, so pure was my affection.” That courtly sentiment emanates from Mailer’s watching “El Loco, the Crazy One. It is not a term of endearment in Mexico, where half the populace is crazy” (8).</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Love affair? Well, that’s what he says: “I fell in love with a bullfighter.”Not that they ever met: “Meeting him could only have spoiled the perfection of my love, so pure was my affection.” That courtly sentiment emanates from Mailer’s watching “El Loco, the Crazy One. It is not a term of endearment in Mexico, where half the populace is crazy” (8).</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The rest of the essay proceeds to elucidate and obfuscate Mailer’s affair with El Loco. Obfuscation: As a sort of preface to our knowing El Loco, Mailer explains: “The bullfight is nine-tenths cruelty. The bullfight brews one’s cruelty out of one’s pores—it makes an elixir of cruelty.”Those are his chosen words—“an elixir of cruelty.” Mailer deliberately twists the old alchemical elixir of life into something oxymoronically reprehensible. Can he mean such an assertion? In Spanis, we say: “Vaya usted a saber,” which is not far from“Go figure.” <del style="font-weight: bold; text-decoration: none;">Norman </del>Mailer’s bold, outspoken, and prolific personality was reflected in his writing style. He was unafraid to express his thoughts, regardless of how controversial or risky they might be (Adams 7).</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The rest of the essay proceeds to elucidate and obfuscate Mailer’s affair with El Loco. Obfuscation: As a sort of preface to our knowing El Loco, Mailer explains: “The bullfight is nine-tenths cruelty. The bullfight brews one’s cruelty out of one’s pores—it makes an elixir of cruelty.”Those are his chosen words—“an elixir of cruelty.” Mailer deliberately twists the old alchemical elixir of life into something oxymoronically reprehensible. Can he mean such an assertion? In Spanis, we say: “Vaya usted a saber,” which is not far from“Go figure.” Mailer’s bold, outspoken, and prolific personality was reflected in his writing style. He was unafraid to express his thoughts, regardless of how controversial or risky they might be (Adams 7).</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>{{pg| 284 • T H E M A I L E R R E V I E W|a l l e n j o s e p h s • 285}}</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>{{pg| 284 • T H E M A I L E R R E V I E W|a l l e n j o s e p h s • 285}}</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>This sociological quicksand that Mailer is creating gets deeper: “[. . .] one of the few gleams in the muck of all this dubious Mexican majesty called existence is that one can on occasion laugh bitterly with the gods.” As Mailer rakes through the Mexican muck, all he manages to do is to splatter his essay with Kinnamon’s hasty generalizations and preposterous inferences: “In the Spanish-Indian blood, the substance of one’s dignity is found in sharing the cruel vision of the gods.” Is Mailer comparing the sacrifice of the bull to the Aztec sacrifice of humans or is he conveniently forgetting that the corrida has its origins in the most profoundly Spanish Catholic traditions? Or both? “In fact,” he goes on, “dignity can be found nowhere else. For courage is seen as the servant of the gods’ cruel vision” (11). There is no dignity to be found in all of Mexico except in the bullring? Courage is a joke?</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>This sociological quicksand that Mailer is creating gets deeper: “[. . .] one of the few gleams in the muck of all this dubious Mexican majesty called existence is that one can on occasion laugh bitterly with the gods.” As Mailer rakes through the Mexican muck, all he manages to do is to splatter his essay with Kinnamon’s hasty generalizations and preposterous inferences: “In the Spanish-Indian blood, the substance of one’s dignity is found in sharing the cruel vision of the gods.” Is Mailer comparing the sacrifice of the bull to the Aztec sacrifice of humans or is he conveniently forgetting that the corrida has its origins in the most profoundly Spanish Catholic traditions? Or both? “In fact,” he goes on, “dignity can be found nowhere else. For courage is seen as the servant of the gods’ cruel vision” (11). There is no dignity to be found in all of Mexico except in the bullring? Courage is a joke?</div></td></tr>
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</table>KForemanhttps://projectmailer.net/index.php?title=User:KForeman/sandbox&diff=18369&oldid=prevKForeman at 04:50, 8 April 20252025-04-08T04:50:20Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Love affair? Well, that’s what he says: “I fell in love with a bullfighter.”Not that they ever met: “Meeting him could only have spoiled the perfection of my love, so pure was my affection.” That courtly sentiment emanates from Mailer’s watching “El Loco, the Crazy One. It is not a term of endearment in Mexico, where half the populace is crazy” (8).</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Love affair? Well, that’s what he says: “I fell in love with a bullfighter.”Not that they ever met: “Meeting him could only have spoiled the perfection of my love, so pure was my affection.” That courtly sentiment emanates from Mailer’s watching “El Loco, the Crazy One. It is not a term of endearment in Mexico, where half the populace is crazy” (8).</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The rest of the essay proceeds to elucidate and obfuscate Mailer’s affair with El Loco. Obfuscation: As a sort of preface to our knowing El Loco, Mailer explains: “The bullfight is nine-tenths cruelty. The bullfight brews one’s cruelty out of one’s pores—it makes an elixir of cruelty.”Those are his chosen words—“an elixir of cruelty.” Mailer deliberately twists the old alchemical elixir of life into something oxymoronically reprehensible. Can he mean such an assertion? In Spanis, we say: “Vaya usted a saber,” which is not far from“Go figure.”</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The rest of the essay proceeds to elucidate and obfuscate Mailer’s affair with El Loco. Obfuscation: As a sort of preface to our knowing El Loco, Mailer explains: “The bullfight is nine-tenths cruelty. The bullfight brews one’s cruelty out of one’s pores—it makes an elixir of cruelty.”Those are his chosen words—“an elixir of cruelty.” Mailer deliberately twists the old alchemical elixir of life into something oxymoronically reprehensible. Can he mean such an assertion? In Spanis, we say: “Vaya usted a saber,” which is not far from“Go figure.” <ins style="font-weight: bold; text-decoration: none;">Norman Mailer’s bold, outspoken, and prolific personality was reflected in his writing style. He was unafraid to express his thoughts, regardless of how controversial or risky they might be (Adams 7).</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>{{pg| 284 • T H E M A I L E R R E V I E W|a l l e n j o s e p h s • 285}}</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>{{pg| 284 • T H E M A I L E R R E V I E W|a l l e n j o s e p h s • 285}}</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>This sociological quicksand that Mailer is creating gets deeper: “[. . .] one of the few gleams in the muck of all this dubious Mexican majesty called existence is that one can on occasion laugh bitterly with the gods.” As Mailer rakes through the Mexican muck, all he manages to do is to splatter his essay with Kinnamon’s hasty generalizations and preposterous inferences: “In the Spanish-Indian blood, the substance of one’s dignity is found in sharing the cruel vision of the gods.” Is Mailer comparing the sacrifice of the bull to the Aztec sacrifice of humans or is he conveniently forgetting that the corrida has its origins in the most profoundly Spanish Catholic traditions? Or both? “In fact,” he goes on, “dignity can be found nowhere else. For courage is seen as the servant of the gods’ cruel vision” (11). There is no dignity to be found in all of Mexico except in the bullring? Courage is a joke?</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>This sociological quicksand that Mailer is creating gets deeper: “[. . .] one of the few gleams in the muck of all this dubious Mexican majesty called existence is that one can on occasion laugh bitterly with the gods.” As Mailer rakes through the Mexican muck, all he manages to do is to splatter his essay with Kinnamon’s hasty generalizations and preposterous inferences: “In the Spanish-Indian blood, the substance of one’s dignity is found in sharing the cruel vision of the gods.” Is Mailer comparing the sacrifice of the bull to the Aztec sacrifice of humans or is he conveniently forgetting that the corrida has its origins in the most profoundly Spanish Catholic traditions? Or both? “In fact,” he goes on, “dignity can be found nowhere else. For courage is seen as the servant of the gods’ cruel vision” (11). There is no dignity to be found in all of Mexico except in the bullring? Courage is a joke?</div></td></tr>
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</table>KForemanhttps://projectmailer.net/index.php?title=User:KForeman/sandbox&diff=18367&oldid=prevKForeman: /* Works Cited */2025-04-08T04:36:24Z<p><span class="autocomment">Works Cited</span></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref>Messenger, Christian K. "Norman Mailer: Boxing and the Art of His Narrative." MFS Modern Fiction Studies, vol. 33 no. 1, 1987, p. 85-104. Project MUSE</ref></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref>Messenger, Christian K. "Norman Mailer: Boxing and the Art of His Narrative." MFS Modern Fiction Studies, vol. 33 no. 1, 1987, p. 85-104. Project MUSE</ref></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"><ref>Adams, Laura Gail. Norman Mailer's Aesthetics of Growth. Diss. 1972.</ref></ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>{{Reflist}}</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>{{Reflist}}</div></td></tr>
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</table>KForemanhttps://projectmailer.net/index.php?title=User:KForeman/sandbox&diff=18354&oldid=prevKForeman at 02:07, 8 April 20252025-04-08T02:07:55Z<p></p>
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</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l53">Line 53:</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Sergius O’Shaugnessy, Mailer’s autobiographical protagonist in The Deer Park, quoted above in the epigraph, tries to write about a Mexican torero but finds that his novel was “[. . .] not very good. It was inevitably imitative of that excellently exiguous mathematician, Mr. Ernest Hemingway, and I [SO’S] was learning that it is not creatively satisfying to repeat the work of a good writer”(353), which is to say that O’Shaughnessy also suffers from the problem of Hemingway’s shadow. O’Shaugnessy ceases work on the taurine novel and writes (the first-person) The Deer Park instead; however, without having left himself an escape: “I tried for a long time to write that novel, and someday maybe I will” (352).</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Sergius O’Shaugnessy, Mailer’s autobiographical protagonist in The Deer Park, quoted above in the epigraph, tries to write about a Mexican torero but finds that his novel was “[. . .] not very good. It was inevitably imitative of that excellently exiguous mathematician, Mr. Ernest Hemingway, and I [SO’S] was learning that it is not creatively satisfying to repeat the work of a good writer”(353), which is to say that O’Shaughnessy also suffers from the problem of Hemingway’s shadow. O’Shaugnessy ceases work on the taurine novel and writes (the first-person) The Deer Park instead; however, without having left himself an escape: “I tried for a long time to write that novel, and someday maybe I will” (352).</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>That novel, the one Sergius O’Shaugnessy did not write, was to be about an apprentice torero, a novillero, who resembles physically, as well as in time and in place and in character, especially in his wildly vacillating bravery and cowardice, the real Amado Ramírez, El Loco, the subject of Mailer’s essay. There can be little doubt that SO’S’s character in the fictitious novel would have been based on Ramírez, especially since Ramírez was the only torero Mailer saw often enough to write about with any confidence. In the essay, Mailer tells us that he is writing about “the origin of an addiction,” then“ the history of a passion,” and finally that in that summer of 1954, “I was going to write the novel about a bullfight, dig, digary” (sic, 6; Mailer’s emphasis). Mailer, like SO’S, never wrote “The Novel about Bullfight,” or any novel about it, and the essay itself seems a kind of surrogate piece for the novel neither of them wrote. (Perhaps I should mention that Mailer had published an earlier, prize-winning version of this essay—virtually identical—in the October 1967 issue of Playboy, in which he does not mention “the novel about bullfight”).</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>That novel, the one Sergius O’Shaugnessy did not write, was to be about an apprentice torero, a novillero, who resembles physically, as well as in time and in place and in character, especially in his wildly vacillating bravery and cowardice, the real Amado Ramírez, El Loco, the subject of Mailer’s essay. There can be little doubt that SO’S’s character in the fictitious novel would have been based on Ramírez, especially since Ramírez was the only torero Mailer saw often enough to write about with any confidence. In the essay, Mailer tells us that he is writing about “the origin of an addiction,” then“ the history of a passion,” and finally that in that summer of 1954, “I was going to write the novel about a bullfight, dig, digary” (sic, 6; Mailer’s emphasis). Mailer, like SO’S, never wrote “The Novel about Bullfight,” or any novel about it, and the essay itself seems a kind of surrogate piece for the novel neither of them wrote. (Perhaps I should mention that Mailer had published an earlier, prize-winning version of this essay—virtually identical—in the October 1967 issue of Playboy, in which he does not mention “the novel about bullfight”). <ins style="font-weight: bold; text-decoration: none;">For years, Mailer has worked to develop his prose to become a prized writer (Gutierrez 5)</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The real question becomes: What was Mailer trying to do with his so-called footnote? With only the minor nod to Hemingway noted above, it certainly was not an overt homage. So was he coat-tailing? Merely being cheeky? Was he justifying not having written “The Novel on Bullfight”? How is the essay meant to be a footnote to Death in the Afternoon when Death in the Afternoon is only mentioned in the title, and Hemingway himself only in passing? Is it a footnote because it couldn’t rise to a level of competence equal to anything greater? These are not idle questions and the answers are not readily forthcoming.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The real question becomes: What was Mailer trying to do with his so-called footnote? With only the minor nod to Hemingway noted above, it certainly was not an overt homage. So was he coat-tailing? Merely being cheeky? Was he justifying not having written “The Novel on Bullfight”? How is the essay meant to be a footnote to Death in the Afternoon when Death in the Afternoon is only mentioned in the title, and Hemingway himself only in passing? Is it a footnote because it couldn’t rise to a level of competence equal to anything greater? These are not idle questions and the answers are not readily forthcoming.</div></td></tr>
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</table>KForemanhttps://projectmailer.net/index.php?title=User:KForeman/sandbox&diff=18339&oldid=prevKForeman at 01:42, 8 April 20252025-04-08T01:42:54Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In any case, Farbar had charge of the book. It was his project. The overriding impression that Daley left me with was that Farbar was difficult to work with, did not know what he was doing, taurinely speaking, and was responsible in large part for the haphazardness of the book’s production. To what extent Mailer was aware of how bad the final product was I cannot say, but in subsequent publications, no listing of this item appears on the “Books by Norman Mailer” page.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In any case, Farbar had charge of the book. It was his project. The overriding impression that Daley left me with was that Farbar was difficult to work with, did not know what he was doing, taurinely speaking, and was responsible in large part for the haphazardness of the book’s production. To what extent Mailer was aware of how bad the final product was I cannot say, but in subsequent publications, no listing of this item appears on the “Books by Norman Mailer” page.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>{{pg| 278 • T H E M A I L E R R E V I E W|a l l e n j o s e p h s • 279}}</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>{{pg| 278 • T H E M A I L E R R E V I E W|a l l e n j o s e p h s • 279}}</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>But what part of the essay, of Norman Mailer’s “Footnote to Death in the Afternoon”? Aside from the obvious allusion to Hemingway’s book in his title, Mailer only mentions Hemingway once. On the first page he avers: “In Mexico, the hour before the fight is always the best hour of the week. It would be memorable not to sound like Hemingway, but you would get happy the night before just thinking of that hour the next day.”That does sound something like Hemingway, but after that first mention, there is no more Hemingway, except perhaps that shadow of his that hovers, sometimes nearer and sometimes farther, but always there, over every word written in English on the subject since 1932. That shadow is one of Mailer’s problems and he not unwisely chooses to go with Hemingway in his tone and title instead of against him, at least in principle.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>But what part of the essay, of Norman Mailer’s “Footnote to Death in the Afternoon”? Aside from the obvious allusion to Hemingway’s book in his title, Mailer only mentions Hemingway once. On the first page he avers: “In Mexico, the hour before the fight is always the best hour of the week. It would be memorable not to sound like Hemingway, but you would get happy the night before just thinking of that hour the next day.”That does sound something like Hemingway, but after that first mention, there is no more Hemingway, except perhaps that shadow of his that hovers, sometimes nearer and sometimes farther, but always there, over every word written in English on the subject since 1932<ins style="font-weight: bold; text-decoration: none;">. Although it may not be intended, Mailer’s writing closely bears a resemblance to Hemingway’s (Gutierrez 3)</ins>. That shadow is one of Mailer’s problems and he not unwisely chooses to go with Hemingway in his tone and title instead of against him, at least in principle.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Sergius O’Shaugnessy, Mailer’s autobiographical protagonist in The Deer Park, quoted above in the epigraph, tries to write about a Mexican torero but finds that his novel was “[. . .] not very good. It was inevitably imitative of that excellently exiguous mathematician, Mr. Ernest Hemingway, and I [SO’S] was learning that it is not creatively satisfying to repeat the work of a good writer”(353), which is to say that O’Shaughnessy also suffers from the problem of Hemingway’s shadow. O’Shaugnessy ceases work on the taurine novel and writes (the first-person) The Deer Park instead; however, without having left himself an escape: “I tried for a long time to write that novel, and someday maybe I will” (352).</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Sergius O’Shaugnessy, Mailer’s autobiographical protagonist in The Deer Park, quoted above in the epigraph, tries to write about a Mexican torero but finds that his novel was “[. . .] not very good. It was inevitably imitative of that excellently exiguous mathematician, Mr. Ernest Hemingway, and I [SO’S] was learning that it is not creatively satisfying to repeat the work of a good writer”(353), which is to say that O’Shaughnessy also suffers from the problem of Hemingway’s shadow. O’Shaugnessy ceases work on the taurine novel and writes (the first-person) The Deer Park instead; however, without having left himself an escape: “I tried for a long time to write that novel, and someday maybe I will” (352).</div></td></tr>
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</table>KForemanhttps://projectmailer.net/index.php?title=User:KForeman/sandbox&diff=18335&oldid=prevKForeman at 01:18, 8 April 20252025-04-08T01:18:27Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td>
<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 21:18, 7 April 2025</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l35">Line 35:</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The ninety-one black and white photographs, all the same snapshot size (approximately five inches by three and a half inches), are meant to give “an almost cinematic experience,” and according to the dust jacket, they intend to portray the spectacle “in the natural order of one complete corrida de toros.”They do no such thing, showing instead one composite bull with one composite matador. The overall effect is not that of cinema nor that of a complete corrida of six bulls, but rather that of a clumsily constructed one-bull collage, a concept that might have worked artificially except for the absurdly small photographs, so small sometimes that the figures become almost indistinguishable, especially to an untrained eye, with the odd Lilliputian torero less than an inch high (for example, nos. 11, 28, 79).</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The ninety-one black and white photographs, all the same snapshot size (approximately five inches by three and a half inches), are meant to give “an almost cinematic experience,” and according to the dust jacket, they intend to portray the spectacle “in the natural order of one complete corrida de toros.”They do no such thing, showing instead one composite bull with one composite matador. The overall effect is not that of cinema nor that of a complete corrida of six bulls, but rather that of a clumsily constructed one-bull collage, a concept that might have worked artificially except for the absurdly small photographs, so small sometimes that the figures become almost indistinguishable, especially to an untrained eye, with the odd Lilliputian torero less than an inch high (for example, nos. 11, 28, 79).</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Mailer, in the opening sentences of his essay, in one of only two references to the photos, tells us: “Turning through the pages of this book one is captured finally by a modest addiction. One keeps going back. As the pages are toured for the tenth time, a small magic emerges” (1). The author’s passive, impersonal, subdued, even removed tone is quite remarkable for the opening of an essay, particularly one by Mailer, presenting to the reader a weak lead, and projecting a weird sort of disconnect, as though the writer we're seeing the photographs for the first time. Magic is the last thing that emerges from the photos or the initial prose.Also, the notion that anyone would “tour” these pages ten times, becoming even modestly addicted, falls somewhere between fanciful and absurd. Mailer uses a nonconventional approach to his prose (Messenger <del style="font-weight: bold; text-decoration: none;">85</del>).</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Mailer, in the opening sentences of his essay, in one of only two references to the photos, tells us: “Turning through the pages of this book one is captured finally by a modest addiction. One keeps going back. As the pages are toured for the tenth time, a small magic emerges” (1). The author’s passive, impersonal, subdued, even removed tone is quite remarkable for the opening of an essay, particularly one by Mailer, presenting to the reader a weak lead, and projecting a weird sort of disconnect, as though the writer we're seeing the photographs for the first time. Magic is the last thing that emerges from the photos or the initial prose.Also, the notion that anyone would “tour” these pages ten times, becoming even modestly addicted, falls somewhere between fanciful and absurd. Mailer uses a nonconventional approach to his prose (Messenger <ins style="font-weight: bold; text-decoration: none;">86</ins>).</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The photographers twenty of them range from noted taurine experts such as Robert Daley, Vincent Kehoe, and Peter Buckley, all of whom had already published excellent photographic essays on the bulls (in suitable large format), to those of news agencies and, in the case of the photos of Dominguín (credited “courtesy of Luis Miguel Dominguín”), an anonymous photographer, probably one of the Spanish taurine professionals such as Cano or Cuevas. Some of the images notably two by Bob Cato (nos. 60, 78) should have gone straight into the trash can.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The photographers twenty of them range from noted taurine experts such as Robert Daley, Vincent Kehoe, and Peter Buckley, all of whom had already published excellent photographic essays on the bulls (in suitable large format), to those of news agencies and, in the case of the photos of Dominguín (credited “courtesy of Luis Miguel Dominguín”), an anonymous photographer, probably one of the Spanish taurine professionals such as Cano or Cuevas. Some of the images notably two by Bob Cato (nos. 60, 78) should have gone straight into the trash can.</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>There are other fundamental errors, such as the so-labeled derechazo by Dominguín, which is in fact a pase circular cambiado or invertido (nos. 61– 65), the confusion of which is tantamount to calling a backhand swing in tennis a forehand, but it would become more than a little technical and tedious to explore such technical matters here. At this point in my consideration, somewhat disgusted by the mounting errors and problems, whether they were Mailer’s or not, I decided to call Robert Daley and ask him if he knew what the hell had been going on.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>There are other fundamental errors, such as the so-labeled derechazo by Dominguín, which is in fact a pase circular cambiado or invertido (nos. 61– 65), the confusion of which is tantamount to calling a backhand swing in tennis a forehand, but it would become more than a little technical and tedious to explore such technical matters here. At this point in my consideration, somewhat disgusted by the mounting errors and problems, whether they were Mailer’s or not, I decided to call Robert Daley and ask him if he knew what the hell had been going on.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Daley remembered the project in detail. To resume very briefly my conversation with him on January 24, 2010; 1) Mailer had, as I suspected, nothing to do with the selection or placement of the photos, and Daley believes he may well have written the essay much earlier and simply used this vehicle to publish it some dozen years had elapsed since the summer and fall of the essay, 1954 an explanation that would help account for that strangely disconnected opening; 2) Bernard “Buzz” Farbar, a book editor at CBS Records, who knew nothing about bulls (the book’s dedication reads: “For Buzz and Mickey”), was in charge of the project and had originally asked Daley to do all the photos; 3) Farbar later tried to get out of paying Daley for the thirty-eight photos of his they eventually did use and Daley had to threaten legal action to get paid; 4) the photos were originally to have been full-size, but the creditless young man serving as art director at that time (not the credited book designer, Lydia Ferrera) foolishly insisted they had to be small for maximum artistic effect; 5) Daley got understandably upset about the unsuitability of the format and the non-payment, but Mailer would not take his call on at least two occasions although he and Daley had E.L. Doctorow in common as editor at the time. Due to Mailer’s personal and competitive demeanor, he included the essay in the book, then later distanced himself from the project (Messenger <del style="font-weight: bold; text-decoration: none;">85</del>). </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Daley remembered the project in detail. To resume very briefly my conversation with him on January 24, 2010; 1) Mailer had, as I suspected, nothing to do with the selection or placement of the photos, and Daley believes he may well have written the essay much earlier and simply used this vehicle to publish it some dozen years had elapsed since the summer and fall of the essay, 1954 an explanation that would help account for that strangely disconnected opening; 2) Bernard “Buzz” Farbar, a book editor at CBS Records, who knew nothing about bulls (the book’s dedication reads: “For Buzz and Mickey”), was in charge of the project and had originally asked Daley to do all the photos; 3) Farbar later tried to get out of paying Daley for the thirty-eight photos of his they eventually did use and Daley had to threaten legal action to get paid; 4) the photos were originally to have been full-size, but the creditless young man serving as art director at that time (not the credited book designer, Lydia Ferrera) foolishly insisted they had to be small for maximum artistic effect; 5) Daley got understandably upset about the unsuitability of the format and the non-payment, but Mailer would not take his call on at least two occasions although he and Daley had E.L. Doctorow in common as editor at the time. Due to Mailer’s personal and competitive demeanor, he included the essay in the book, then later distanced himself from the project (Messenger <ins style="font-weight: bold; text-decoration: none;">86</ins>). </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In any case, Farbar had charge of the book. It was his project. The overriding impression that Daley left me with was that Farbar was difficult to work with, did not know what he was doing, taurinely speaking, and was responsible in large part for the haphazardness of the book’s production. To what extent Mailer was aware of how bad the final product was I cannot say, but in subsequent publications, no listing of this item appears on the “Books by Norman Mailer” page.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In any case, Farbar had charge of the book. It was his project. The overriding impression that Daley left me with was that Farbar was difficult to work with, did not know what he was doing, taurinely speaking, and was responsible in large part for the haphazardness of the book’s production. To what extent Mailer was aware of how bad the final product was I cannot say, but in subsequent publications, no listing of this item appears on the “Books by Norman Mailer” page.</div></td></tr>
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</table>KForemanhttps://projectmailer.net/index.php?title=User:KForeman/sandbox&diff=18333&oldid=prevKForeman at 01:07, 8 April 20252025-04-08T01:07:57Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td>
<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 21:07, 7 April 2025</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l45">Line 45:</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>There are other fundamental errors, such as the so-labeled derechazo by Dominguín, which is in fact a pase circular cambiado or invertido (nos. 61– 65), the confusion of which is tantamount to calling a backhand swing in tennis a forehand, but it would become more than a little technical and tedious to explore such technical matters here. At this point in my consideration, somewhat disgusted by the mounting errors and problems, whether they were Mailer’s or not, I decided to call Robert Daley and ask him if he knew what the hell had been going on.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>There are other fundamental errors, such as the so-labeled derechazo by Dominguín, which is in fact a pase circular cambiado or invertido (nos. 61– 65), the confusion of which is tantamount to calling a backhand swing in tennis a forehand, but it would become more than a little technical and tedious to explore such technical matters here. At this point in my consideration, somewhat disgusted by the mounting errors and problems, whether they were Mailer’s or not, I decided to call Robert Daley and ask him if he knew what the hell had been going on.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Daley remembered the project in detail. To resume very briefly my conversation with him on January 24, 2010; 1) Mailer had, as I suspected, nothing to do with the selection or placement of the photos, and Daley believes he may well have written the essay much earlier and simply used this vehicle to publish it some dozen years had elapsed since the summer and fall of the essay, 1954 an explanation that would help account for that strangely disconnected opening; 2) Bernard “Buzz” Farbar, a book editor at CBS Records, who knew nothing about bulls (the book’s dedication reads: “For Buzz and Mickey”), was in charge of the project and had originally asked Daley to do all the photos; 3) Farbar later tried to get out of paying Daley for the thirty-eight photos of his they eventually did use and Daley had to threaten legal action to get paid; 4) the photos were originally to have been full-size, but the creditless young man serving as art director at that time (not the credited book designer, Lydia Ferrera) foolishly insisted they had to be small for maximum artistic effect; 5) Daley got understandably upset about the unsuitability of the format and the non-payment, but Mailer would not take his call on at least two occasions although he and Daley had E.L. Doctorow in common as editor at the time. Due to Mailer’s personal and competitive demeanor, he included the essay in the book, then later distanced himself from the project (85). </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Daley remembered the project in detail. To resume very briefly my conversation with him on January 24, 2010; 1) Mailer had, as I suspected, nothing to do with the selection or placement of the photos, and Daley believes he may well have written the essay much earlier and simply used this vehicle to publish it some dozen years had elapsed since the summer and fall of the essay, 1954 an explanation that would help account for that strangely disconnected opening; 2) Bernard “Buzz” Farbar, a book editor at CBS Records, who knew nothing about bulls (the book’s dedication reads: “For Buzz and Mickey”), was in charge of the project and had originally asked Daley to do all the photos; 3) Farbar later tried to get out of paying Daley for the thirty-eight photos of his they eventually did use and Daley had to threaten legal action to get paid; 4) the photos were originally to have been full-size, but the creditless young man serving as art director at that time (not the credited book designer, Lydia Ferrera) foolishly insisted they had to be small for maximum artistic effect; 5) Daley got understandably upset about the unsuitability of the format and the non-payment, but Mailer would not take his call on at least two occasions although he and Daley had E.L. Doctorow in common as editor at the time. Due to Mailer’s personal and competitive demeanor, he included the essay in the book, then later distanced himself from the project (<ins style="font-weight: bold; text-decoration: none;">Messenger </ins>85). </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In any case, Farbar had charge of the book. It was his project. The overriding impression that Daley left me with was that Farbar was difficult to work with, did not know what he was doing, taurinely speaking, and was responsible in large part for the haphazardness of the book’s production. To what extent Mailer was aware of how bad the final product was I cannot say, but in subsequent publications, no listing of this item appears on the “Books by Norman Mailer” page.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In any case, Farbar had charge of the book. It was his project. The overriding impression that Daley left me with was that Farbar was difficult to work with, did not know what he was doing, taurinely speaking, and was responsible in large part for the haphazardness of the book’s production. To what extent Mailer was aware of how bad the final product was I cannot say, but in subsequent publications, no listing of this item appears on the “Books by Norman Mailer” page.</div></td></tr>
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</table>KForeman