User:APKnight25/sandbox: Difference between revisions

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These works, Death in the Afternoon (1932) and Advertisements for Myself (1959), occur at almost precisely the same point in their careers — after initial critical success for quasi-autobiographical war novels, after the consequent achievement of celebrity, and after a major disappointment when that

These works, ''Death in the Afternoon'' (1932) and ''Advertisements for Myself'' (1959), occur at almost precisely the same point in their careers — after initial critical success for quasi-autobiographical war novels, after the consequent achievement of celebrity, and after a major disappointment when that celebrity alone was not enough to overcome the restrictive vicissitudes of their respective moments in publishing culture. Although their disappointments differed in degree — Hemingway’s A Farewell to Arms was published with missing profanity and an enforced blurring of the direct, explicit prose that he preferred. {{sfn|Bruccoli and Trogdon|119|p=259-260}}</blockquote>

celebrity alone was not enough to overcome the restrictive vicissitudes of their respective moments in publishing culture. Although their disappointments differed in degree — Hemingway’s A Farewell to Arms was published with missing profanity and an enforced blurring of the direct, explicit prose that he preferred (Bruccoli and Trogdon 119).

Mailer’s ''The Deer Park'' was rejected by eight publishing houses before a ninth (Putnam) picked it up solely because he was Norman Mailer (Mailer, Advertisements 230–231) and with their next full-length books, both writers took urgent stances against the capitalist imposition of the social, implicitly performative role of “authorship” over and against their shared goals as writers who sought to capture truth in language as a prerequisite to presenting their works publicly.

~~{{sfn|Bruccoli and Trogdon|119|p=259-260}}</blockquote>~~

Mailer’s The Deer Park was rejected by eight publishing houses before a ninth (Putnam) picked it up solely because he was Norman Mailer (Mailer, Advertisements 230–231) and with their next full-length books, both writers took urgent stances against the capitalist imposition of the social, implicitly performative role of “authorship” over and against their shared goals as writers who sought to capture truth in language as a prerequisite to presenting their works publicly.

=== Notes ===

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3. This is perhaps most evident in Shakespeare’s plays, usually occurring in III.ii, and subsequent literary works pre-dating Modernism (Dickens’ Bleak House contains a striking meta-example; its central pivot occurs in iambic pentameter), but the phenomenon is hegemonic and not limited to literary prose writing. Bullfights and symphonies work on the same sort of narrative arc.

===Citations===

===Works Cited===

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 {{pg|259|260}}
-These works, Death in the Afternoon (1932) and Advertisements for Myself (1959), occur at almost precisely the same point in their careers — after initial critical success for quasi-autobiographical war novels, after the consequent achievement of celebrity, and after a major disappointment when that
+These works, ''Death in the Afternoon'' (1932) and ''Advertisements for Myself'' (1959), occur at almost precisely the same point in their careers — after initial critical success for quasi-autobiographical war novels, after the consequent achievement of celebrity, and after a major disappointment when that celebrity alone was not enough to overcome the restrictive vicissitudes of their respective moments in publishing culture. Although their disappointments differed in degree — Hemingway’s A Farewell to Arms was published with missing profanity and an enforced blurring of the direct, explicit prose that he preferred. {{sfn|Bruccoli and Trogdon|119|p=259-260}}</blockquote>
-celebrity alone was not enough to overcome the restrictive vicissitudes of their respective moments in publishing culture. Although their disappointments differed in degree — Hemingway’s A Farewell to Arms was published with missing profanity and an enforced blurring of the direct, explicit prose that he preferred (Bruccoli and Trogdon 119).
+Mailer’s ''The Deer Park'' was rejected by eight publishing houses before a ninth (Putnam) picked it up solely because he was Norman Mailer (Mailer, Advertisements 230–231) and with their next full-length books, both writers took urgent stances against the capitalist imposition of the social, implicitly performative role of “authorship” over and against their shared goals as writers who sought to capture truth in language as a prerequisite to presenting their works publicly.
-{{sfn|Bruccoli and Trogdon|119|p=259-260}}</blockquote>
-Mailer’s The Deer Park was rejected by eight publishing houses before a ninth (Putnam) picked it up solely because he was Norman Mailer (Mailer, Advertisements 230–231) and with their next full-length books, both writers took urgent stances against the capitalist imposition of the social, implicitly performative role of “authorship” over and against their shared goals as writers who sought to capture truth in language as a prerequisite to presenting their works publicly.
 === Notes ===
@@ Line 33: / Line 32: @@
 . This is perhaps most evident in Shakespeare’s plays, usually occurring in III.ii, and subsequent literary works pre-dating Modernism (Dickens’ Bleak House contains a striking meta-example; its central pivot occurs in iambic pentameter), but the phenomenon is hegemonic and not limited to literary prose writing. Bullfights and symphonies work on the same sort of narrative arc.
+===Citations===
+{{Reflist}}
 ===Works Cited===