User:HCooper/sandbox

• Nabokov, Vladimir (1970). Alfred Appel, ed. "The Annotated Lolita". Vintage.
• Baker, Carlos (1972). Hemingway:The Writer as Artist. Princeton UP.
• Barke, Megan; et al. (2000). "Breakdown in 20th Century American Culture". Journal of Social History. 33 (3): 565–584.CS1 maint: Explicit use of et al. (link)
• Batchelor, Bob (2013). "Visions of the American Dream: F. Scott Fitzgerald, Bob Dylan, and Norman Mailer Probe at the Heart of the National Idea". The Mailer Review. 7 (1): 74–89.
• Benson, Jackson (1989). "Ernest Hemingway:The Life as Fiction and the Fiction as Life". American Literature. 61 (3): 345–358.
• Braudey, Leo (1981). "Providence, Paranoia, and the Novel". ELH. 43 (3): 619–637.
• Burwell, Rose Marie (1996). Hemingway:The Postwar Years and the Posthumous Novels. Cambridge UP.
• Castronovo, David (Fall 2003). "Norman Mailer as Midcentury Advertisement". New England Review. 4 (24): 179–186.
• Conrad, Joseph (2002). Cedric Watts, ed. Heart of Darkness and other Tales. Oxford UP.
• Cowley, Malcolm (1976). Malcom Cowley, ed. "Introduction:Leaves of Grass". Penguin. 1 (1): 7–37.
• Donaldson, Scott (Summer 1980). "The Crisis of Fitzgerald's 'Crack-up'". Twentieth Century Literature. 26 (2): 171–188.
• Ruth Prigozy, ed. (2002). "Fitzgerald's Nonfiction". The Cambridge Companion to F. Scott Fitzgerald. Cambridge UP. pp. 164–188.
• Eliot, T.S. (1933). The Use of Poetry and the Use of Criticism. Faber and Faber.
• Fitzgerald, F. Scott (2005). An Introduction to Bryant Mangum, ed. The Best Early Stories of Scotts Fitzgerald. Modern Library.
• Edmund Wilson, ed. (1993). "The Crack Up". New Directions.
• Bruccoli, Matthew J. (1955). The Great Gatsby. Scribner.
• Scriber III, Charles (2003). Tender is the Night. Scribner.
• Foster, Richard (Spring 1968). "Mailer and Fitzgerald Tradition". Novel: A Forum on Fiction. 3 (1): 219–230.
• Glenday, Michael K. (2012). "The Blade and the Gambler:F. Scott Fitzgerald and Norman Mailer". The Mailer Review. 6 (1): 117–128.
• Hampl, Patricia (2012). "F. Scott Fitzgerald:Essays from the Edge". American Scholar. 81 (2): 104–111.
• Harding, Jennifer Riddle (2011). "'He had Never Written a Word of That':Regret and Counterfactuals in Hemingway's 'The Snow of Kilimanjaro'". The Hemingway Review. 30 (2): 21–35.
• Hemingway, Ernest (2003). "The Short Happy Life of Francis Macomber". The Snows of Kilimanjaro and Other Stories. New Scribner: 121–154.
• "The Snows of Kilimanjaro". The Snows of Kilimanjaro and Other Stories. Scribner: 3–28. 2003.
• Hicks, Alexander. "Advertisements for Myself:Mailer's Künstlerroman". Unpublished Manuscript.
• Johnston, Kenneth G. (1984). "'The Snows of Kilimanjaro':An African Purge". Studies in Short Fiction. 21 (3): 223–227.
• Justice, Hilary K. (2010). "Authorship and Alienation in Death in the Afternon and Advertisements for myself". The Mailer Review. 3 (1): 259–272.
• Kennedy, Gerald J. (1999). "Doing Country:Hemingay's Geographical Imagination". Southern Review. 35 (2): 325–329.
• Lethem, Jonathon (2013). "Introduction". In Phillip Sipiora. Mind of an Outlaw. Random House. pp. xi–xvi.
• Mangum, Bryant (2005). "Introduction". In Bryant Mangum. The Best Early Stories of F. Scott Fitzgerald. Modern Library. pp. xvii=xxvii.
• Peterson, Marvin V. (1981). "More Muddy Water: Wilson's Shakespeare in 'The Short Happy Life of Francis Macomber". Studies in Short Fiction. 18 (1): 82–85.
• Mailer, Norman (1959). "Advertisements for Myself". Putnam's.
• Phillip Sipiora, ed. (2013). "Punching Papa". Mind of an Outlaw. Scribner. pp. 168–170.
• Reynolds, Michael (1997). "Hemingway:The 1930s". Norton.
• Robinson, Roxana (2005). Bryant Mangum, ed. "Foreword". The Best Early Stories of F. Scott Fitzgerald. Modern Library: xi–xvi.
• Stoltzfus, Ben (2005). "Satre, Nada, and Hemingway's African Stories". Comparative Literature. 42 (3): 205–228.
• Whitman, Walt (1976). Malcolm Cowley, ed. "Leaves of Grass". Penguin.
• Wilson, Edmund (1933). "Autobiographical Pieces". In Edmund Wilson. The Crack-Up. New Directions.

It is not easy being a great writer.Nor is it easy—as various members of Norman Mailer’s family have testified—living with a great writer. The vocation of the serious author involves, along with a multitude of passions and perspectives, a good deal of angst. In using the term angst, I mean a deep sense of existential dread, but more particularly a peculiar experience of alienation that may be inseparable—it has been argued—from twentieth-century authorship. Hilary Justice has described a kind of “writer/author alienation” () experienced both by Mailer and Hemingway, and their differing responses to that alienation.1

Hemingway saw this alienation as a paradox and sought to eliminate it through force of will and pedantry. Mailer, having learned from Hemingway (and writing not as a Modernist but Postmodernist), embraced the paradox and gave it center stage. . . . Their future success as novelists (which would in both cases be uneven) would depend for the remainder of their careers on how successfully each negotiated the inescapable alienation of writer from author that was intrinsic to mid-twentieth-century American authorship. ()

Written by
Raymond M. Vince