The Structured Vision of Norman Mailer/2. Barbary Shore: Difference between revisions
Jules Carry (talk | contribs) m Removed space from top. |
m Display title. |
||
| (One intermediate revision by the same user not shown) | |||
| Line 1: | Line 1: | ||
{{DISPLAYTITLE:''The Structured Vision of Norman Mailer''/2. ''Barbary Shore''}}__NOTOC__{{Template:Structured Vision}} | {{DISPLAYTITLE:<span style="font-size:22px;">''The Structured Vision of Norman Mailer''/</span>2. ''Barbary Shore''}}__NOTOC__{{Template:Structured Vision}} | ||
''Barbary Shore'' (1951) is of more interest as a stage in Mailer’s development than as a artistically effective work in itself. Certainly it fits easily into a treatment of the five novels, dealing as it does with the two basic issues with which Mailer always concerns himself: the state of American society and the problems of the individual in it. But the second novel, for several reasons, marks a faltering in Mailer’s progress. This is not to say that it is a retrogression, for though it falls short of the artistic success of ''The Naked and the Dead'', ''Barbary Shore'' represents a step in the direction of an increasingly nonderivative art. | ''Barbary Shore'' (1951) is of more interest as a stage in Mailer’s development than as a artistically effective work in itself. Certainly it fits easily into a treatment of the five novels, dealing as it does with the two basic issues with which Mailer always concerns himself: the state of American society and the problems of the individual in it. But the second novel, for several reasons, marks a faltering in Mailer’s progress. This is not to say that it is a retrogression, for though it falls short of the artistic success of ''The Naked and the Dead'', ''Barbary Shore'' represents a step in the direction of an increasingly nonderivative art. | ||
| Line 431: | Line 431: | ||
{{DEFAULTSORT:Structured Vision of Norman Mailer, The}} | {{DEFAULTSORT:Structured Vision of Norman Mailer, The}} | ||