The Mailer Review/Volume 13, 2019/Angst, Authorship, Critics: “The Snows of Kilimanjaro,” “The Crack-Up,” Advertisements for Myself: Difference between revisions

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«	The Mailer Review • Volume 13 Number 1 • 2019	»

Written by
Raymond M. Vince

Abstract: Mailer,

Raymond Vince to the work of Norman Mailer.

Hemingway, and Fitzgerald face personal and cultural angst. Despite critical disapproval at the time, the works use counterfactuals and aesthetic distance to mark “a fundamental change in American consciousness.” Vladimir Nabokov suggests that we possess “only words to play with.” Using such frail and fallible words, these writers transformed their personal angst into great art, creating works that—like Mount Kilimanjaro—endure.

URL: http://prmlr.us/mr13vin

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”^[1] experienced both by Mailer and Hemingway, and their differing responses to that alienation.^[a]

. . .

Notes

↑ In arguing her claim, Hilary Justice compares Hemingway’s Death in the Afternoon (1932) with Mailer’s Advertisements for Myself (1959), using the phrase “authorship and alienation.” This suggested to me the theme of writer/author alienation, but I decided to use instead Hemingway’s short story “The Snows of Kilimanjaro” (1936), published four years later, and to add Fitzgerald’s “The Crack-Up” (1936). It seemed to me that “Snows” is a more successful work than Death in the Afternoon, and was also published the same year as Fitzgerald’s articles. All three works, I believe, reveal this writer/author alienation, but I decided to use as my title “Angst, Authorship, and the Critics” to highlight other factors. The article by Justice, however, was the primary catalyst for my paper.

Citations

↑ Justice 2010, p. 260.

Works Cited

Justice, Hilary K. (2010). "Authorship and Alienation in Death in the Afternoon and Advertisements for Myself". The Mailer Review. 4 (1): 259–272.

{{DEFAULTSORT:Angst, Authorship, Critics: “The Snows of Kilimanjaro,” “The Crack-Up,” Advertisements for Myself

[2] In arguing her claim, Hilary Justice compares Hemingway’s Death in the Afternoon (1932) with Mailer’s Advertisements for Myself (1959), using the phrase “authorship and alienation.” This suggested to me the theme of writer/author alienation, but I decided to use instead Hemingway’s short story “The Snows of Kilimanjaro” (1936), published four years later, and to add Fitzgerald’s “The Crack-Up” (1936). It seemed to me that “Snows” is a more successful work than Death in the Afternoon, and was also published the same year as Fitzgerald’s articles. All three works, I believe, reveal this writer/author alienation, but I decided to use as my title “Angst, Authorship, and the Critics” to highlight other factors. The article by Justice, however, was the primary catalyst for my paper.

[FOOTNOTEJustice2010260-1] Justice 2010, p. 260.

[1]

[a]

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 {{Working}}
 {{MR13}}
-{{Byline|last=Vince|first=Raymond M.|url=http://prmlr.us/mr13vin|abstract=Mailer, Hemingway, and Fitzgerald face personal and cultural angst. Despite critical disapproval at the time, the works use counterfactuals and aesthetic distance to mark “a fundamental change in American consciousness.” Vladimir Nabokov suggests that we possess “only words to play with.” Using such frail and fallible words, these writers transformed their personal angst into great art, creating works that—like Mount Kilimanjaro—endure.}}
+{{Byline|last=Vince|first=Raymond M.|url=http://prmlr.us/mr13vin|abstract=Mailer,
+[[w: Raymond Vince| Raymond Vince]] to the work of [[Norman Mailer]].
+ Hemingway, and Fitzgerald face personal and cultural angst. Despite critical disapproval at the time, the works use counterfactuals and aesthetic distance to mark “a fundamental change in American consciousness.” Vladimir Nabokov suggests that we possess “only words to play with.” Using such frail and fallible words, these writers transformed their personal angst into great art, creating works that—like Mount Kilimanjaro—endure.}}
 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”{{sfn|Justice|2010|p=260}} experienced both by Mailer and Hemingway, and their differing responses to that alienation.{{efn|In arguing her claim, Hilary Justice compares Hemingway’s ''Death in the Afternoon'' (1932) with Mailer’s ''Advertisements for Myself'' (1959), using the phrase “authorship and alienation.” This suggested to me the theme of writer/author alienation, but I decided to use instead Hemingway’s short story “The Snows of Kilimanjaro” (1936), published four years later, and to add Fitzgerald’s “The Crack-Up” (1936). It seemed to me that “Snows” is a more successful work than ''Death in the Afternoon'', and was also published the same year as Fitzgerald’s articles. All three works, I believe, reveal this writer/author alienation, but I decided to use as my title “Angst, Authorship, and the Critics” to highlight other factors. The article by Justice, however, was the primary catalyst for my paper.}}