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{{DISPLAYTITLE:<span style="font-size:22px;">{{BASEPAGENAME}}/</span>Authorship and Alienation in ''Death in the Afternoon'' and ''Advertisements for Myself''}}
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{{Byline |last=Justice |first=Hilary K. |url=. . . |abstract=Ernest Hemingway and Norman Mailer each strove to achieve lasting success and power as novelists, yet two of their most revealing and thus interesting works in no way qualify as novels. 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. Their stances in response to the writer/author alienation would initially differ thus: Hemingway saw this alienation as a paradox and sought to eliminate it through force of will and pedantry. Mailer, having learned from Hemingway, embraced the paradox and gave it center stage. }}
{{Byline |last=Justice |first=Hilary K. |url=http://prmlr.us/mr04jus |abstract=Ernest Hemingway and Norman Mailer each strove to achieve lasting success and power as novelists, yet two of their most revealing and thus interesting works in no way qualify as novels. 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. Their stances in response to the writer/author alienation would initially differ thus: Hemingway saw this alienation as a paradox and sought to eliminate it through force of will and pedantry. Mailer, having learned from Hemingway, embraced the paradox and gave it center stage. }}
''In 1930, still smarting from compromises required of him by the publishing industry, Ernest Hemingway received a letter from an editor and pulled the "emergency stop" cord on the speeding train of his career. Crumpling the letter in his fist, he stepped out of the car and onto the platform of non-fiction; he stood there, in this empty page of a place, his eyes focused in the distance as though there he saw the Spanish bullfights he had long wanted to capture in words. But a shadow passed between his eyes and his object - a Hemingway-shaped shadow, both him and not him, through which he could not see clearly.''  
''In 1930, still smarting from compromises required of him by the publishing industry, Ernest Hemingway received a letter from an editor and pulled the "emergency stop" cord on the speeding train of his career. Crumpling the letter in his fist, he stepped out of the car and onto the platform of non-fiction; he stood there, in this empty page of a place, his eyes focused in the distance as though there he saw the Spanish bullfights he had long wanted to capture in words. But a shadow passed between his eyes and his object - a Hemingway-shaped shadow, both him and not him, through which he could not see clearly.''  


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