The Mailer Review/Volume 4, 2010/Authorship and Alienation in Death in the Afternoon and Advertisements for Myself: Difference between revisions
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the reading public (expecting something more in line with his war novels and Nick Adams stories) would have been surprised by this strange departure from fiction by the already restrictively codified “Ernest Hemingway.” Mailer mentions his own experience with such codification—one of many aspects of authorship—and how it can intrude into and contaminate the space of writing in The Spooky Art, when he reflects on this very intrusion: | |||
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“Sometimes, you can tell in advance you’re headed for trouble. Obviously, with a book about ancient Egypt, everyone would have been happier if some unknown author had written it. There might have been then a lively curiosity about the author. Who is this unknown and most curious talent? One hurdle I had to overcome with Ancient Evenings was knowing in advance that a lot of people would pick it up and spend the first fifty pages saying, ‘What is Norman Mailer up to?’” | |||
{{sfn |Mailer|2003| p= 54}} | |||
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=== Notes === | === Notes === | ||
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{{Refbegin}} | {{Refbegin}} | ||
{{Cite book| author-last= Bruccoli|author-first= Matthew J.|date= 1996|title= The Only Thing That Counts: Ernest Hemingway-Maxwell Perkins Correspondence|location= New York|publisher= Scribner|ref=harv}} | {{Cite book| author-last= Bruccoli|author-first= Matthew J.|date= 1996|title= The Only Thing That Counts: Ernest Hemingway-Maxwell Perkins Correspondence|location= New York|publisher= Scribner|ref=harv}} | ||
{{cite magazine |last= Costronovo|first= David|date= 2003|title= Norman Mailer as Mid-Century Advertisment|magazine= The New England Review|pages= 174-194|ref=harv }} | {{cite magazine |last= Costronovo|first= David|date= 2003|title= Norman Mailer as Mid-Century Advertisment|magazine= The New England Review|pages= 174-194|ref=harv }} | ||