The Mailer Review/Volume 2, 2008/A New Politics of Form in Harlot's Ghost: Difference between revisions

No edit summary
No edit summary
Line 35: Line 35:
would situate him as part of a literary tradition that includes authors he admires most: Balzac, Tolstoy, and Zola, who also strove to tell the truth of their times. However, to invent a character revealing the meaning behind historical events brings to mind the superficiality of conspiracy theories, one form of historical fiction that seems to be growing in popularity (sometimes
would situate him as part of a literary tradition that includes authors he admires most: Balzac, Tolstoy, and Zola, who also strove to tell the truth of their times. However, to invent a character revealing the meaning behind historical events brings to mind the superficiality of conspiracy theories, one form of historical fiction that seems to be growing in popularity (sometimes
interestingly in literature but tragically in public discourse).
interestingly in literature but tragically in public discourse).
{{efn|6. Conspiracy theories have been taken by several critics as the hallmark of postmodern historical representation. See Jameson, and McHale, among others.}}  
{{efn|6. Conspiracy theories have been taken by several critics as the hallmark of postmodern historical representation. See Jameson, and McHale, among others.}} On the other hand, Bertolt Brecht’s goal for writers that they should “render reality to men
in a form they can master” (Aesthetics and Politics 81){{efn|7. This phrase comes from Brecht’s polemic around the ''nature'' of realism with Georg Lukács “Against Lukács” in ''Aesthetics and Politics'' (NY: Verso, 1978 p. 81).}} seems the prerequisite for any politically useful fiction and sets up relevant criteria for evaluating ''Harlot’s Ghost''. Therefore, Mailer’s unwillingness or inability to write an ending or sequel to ''Harlot’s Ghost'' will be considered in light of such Brechtian goals. This paper will show that the novel’s lack of resolution is best understood not as a personal failure, or as symptomatic of the impossibility of political writing at the present time, but rather represents a new and valuable strategy in Mailer’s efforts to present unpleasant realities of American society. It should be noted, in passing, that my argument is not based on Mailer’s conscious ''intention'', which cannot be definitively ascertained, but rather on the logic of the novel in relation to its historical and political subject matter and Mailer’s stated objectives. These objectives are derived from
Mailer’s career-long writings, interviews and public pronouncements and, in my view, form a clear and definable worldview and approach to human existence and human freedom.
 








On the other
hand, Bertolt Brecht’s goal for writers that they should “render reality to men
in a form they can master” ~Aesthetics and Politics 81! 7 seems the prerequisite for any politically useful fiction and sets up relevant criteria for evaluating Harlot’s Ghost. Therefore, Mailer’s unwillingness or inability to write an
ending or sequel to Harlot’s Ghost will be considered in light of such Brechtian goals. This paper will show that the novel’s lack of resolution is best
understood not as a personal failure, or as symptomatic of the impossibility of political writing at the present time, but rather represents a new and
valuable strategy in Mailer’s efforts to present unpleasant realities of American society. It should be noted, in passing, that my argument is not based on
Mailer’s conscious intention, which cannot be definitively ascertained, but
rather on the logic of the novel in relation to its historical and political subject matter and Mailer’s stated objectives. These objectives are derived from
Mailer’s career-long writings, interviews and public pronouncements and, in
my view, form a clear and definable worldview and approach to human existence and human freedom.


With a few notable exceptions, this novel hasn’t fared well among critics
With a few notable exceptions, this novel hasn’t fared well among critics
Line 511: Line 504:




7. This phrase comes from Brecht’s polemic around the nature of realism with Georg Lukács
 
“Against Lukács” in Aesthetics and Politics ~NY: Verso, 1978 p. 81!.
8. Mary Dearborn in her recent biography of Norman Mailer takes this view of the work.
8. Mary Dearborn in her recent biography of Norman Mailer takes this view of the work.
She writes, “To Hubbard, America is a country that ‘had God’s sanction’ and he is privileged and honored to serve it” and concludes from her reading of the novel that “Norman’s admiration for the CIA, and his approval of what he takes to be its patrician ways,
She writes, “To Hubbard, America is a country that ‘had God’s sanction’ and he is privileged and honored to serve it” and concludes from her reading of the novel that “Norman’s admiration for the CIA, and his approval of what he takes to be its patrician ways,
Retrieved from "https://projectmailer.net/pm/The_Mailer_Review/Volume_2,_2008/A_New_Politics_of_Form_in_Harlot%27s_Ghost"