User:KForeman/sandbox: Difference between revisions

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Mailer didn’t understand the corrida as well. Without Hemingway’s knowledge and concentration, he was more like El Loco, one tube hot and one tube not, concentrating on the emotion rather than the physical sequence from which it arose. Even so, he made the same important connection between torero and the writer that Hemingway had made. The tacit the realization that he was treading familiar ground must have been part of Mailer’s original inspiration, as he more or less admitted in the beginning, and he suggests now a subtle attendant epiphany with the phrase form is the record of a war. Once we consider this larger context of the piece and the carefully worded meaning of that embedded phrase, his literarily conceived doppelgänger Norman-Amado, Amado-Norman—with its improbable narcissistic pun—takes shape like El Loco’s equally improbable toreo in those rare moments when he could stand still and get it right.

{{pg| 290 • T H E M A I L E R R E V I E W|a l l e n j o s e p h s • 291}}

Form is the record of a war: Mailer’s own version of grace under pressure, his own and El Loco’s. Form is the record of a war: His recognition of Amado as his curate, his twin, his artistic double. Form is the record of a war: This essay of Mailer’s is that record and the record of the summer of Amado, fused.

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 Mailer didn’t understand the corrida as well. Without Hemingway’s knowledge and concentration, he was more like El Loco, one tube hot and one tube not, concentrating on the emotion rather than the physical sequence from which it arose. Even so, he made the same important connection between torero and the writer that Hemingway had made. The tacit the realization that he was treading familiar ground must have been part of Mailer’s original inspiration, as he more or less admitted in the beginning, and he suggests now a subtle attendant epiphany with the phrase form is the record of a war. Once we consider this larger context of the piece and the carefully worded meaning of that embedded phrase, his literarily conceived doppelgänger Norman-Amado, Amado-Norman—with its improbable narcissistic pun—takes shape like El Loco’s equally improbable toreo in those rare moments when he could stand still and get it right.
+{{pg| 290 • T H E  M A I L E R  R E V I E W|a l l e n  j o s e p h s • 291}}
 Form is the record of a war: Mailer’s own version of grace under pressure, his own and El Loco’s. Form is the record of a war: His recognition of Amado as his curate, his twin, his artistic double. Form is the record of a war: This essay of Mailer’s is that record and the record of the summer of Amado, fused.