User:KForeman/sandbox: Difference between revisions

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Form is the record of a war: On the 6th of February, 1955, Amado Ramírez, El Loco, took the alternative to become a full matador. He was unable to kill any of his three bulls and subsequently renounced the alternative and ended his career as a professional matador. Norman Mailer would not write “the novel about the bullfight.”

Since the identification of the writer and torero, as well as the larger context of war, came first from Hemingway, Mailer’s ultimate insight—his fleeting recognition of himself in the other, of the other in himself, and of both of them as one with Hemingway and his taurine shadow—was derivative in its source, yet original in its vision, adding another layer in its peculiar confirmation to Hemingway’s discovery of the literary value of toreo. Thanks to the clue Amado Ramírez had given him through his erratic performances (clue harks back to the ball of thread Theseus used to escape the labyrinth, after killing them in Otaur), Mailer’s eureka-like moment helps turn a messy essay in an unfortunate tome into an intricately conceived footnote to Death in the Afternoon.

Since the identification of the writer and torero, as well as the larger context of war, came first from Hemingway, Mailer’s ultimate insight—his fleeting recognition of himself in the other, of the other in himself, and of both of them as one with Hemingway and his taurine shadow—was derivative in its source, yet original in its vision, adding another layer in its peculiar confirmation to Hemingway’s discovery of the literary value of toreo. Thanks to the clue Amado Ramírez had given him through his erratic performances (clue harks back to the ball of thread Theseus used to escape the labyrinth, after killing them in Otaur), Mailer’s eureka-like moment helps turn a messy essay in an unfortunate tome into an intricately conceived footnote to Death in the Afternoon. Mailer’s fascination with Hemingway’s works inspired him to pursue similar ambitions in his own writing (Rodriquez 97).

{{pg| 292 • 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 • 293}}

===Works Cited===

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 Form is the record of a war: On the 6th of February, 1955, Amado Ramírez, El Loco, took the alternative to become a full matador. He was unable to kill any of his three bulls and subsequently renounced the alternative and ended his career as a professional matador. Norman Mailer would not write “the novel about the bullfight.”
-Since the identification of the writer and torero, as well as the larger context of war, came first from Hemingway, Mailer’s ultimate insight—his fleeting recognition of himself in the other, of the other in himself, and of both of them as one with Hemingway and his taurine shadow—was derivative in its source, yet original in its vision, adding another layer in its peculiar confirmation to Hemingway’s discovery of the literary value of toreo. Thanks to the clue Amado Ramírez had given him through his erratic performances (clue harks back to the ball of thread Theseus used to escape the labyrinth, after killing them in Otaur), Mailer’s eureka-like moment helps turn a messy essay in an unfortunate tome into an intricately conceived footnote to Death in the Afternoon.
+Since the identification of the writer and torero, as well as the larger context of war, came first from Hemingway, Mailer’s ultimate insight—his fleeting recognition of himself in the other, of the other in himself, and of both of them as one with Hemingway and his taurine shadow—was derivative in its source, yet original in its vision, adding another layer in its peculiar confirmation to Hemingway’s discovery of the literary value of toreo. Thanks to the clue Amado Ramírez had given him through his erratic performances (clue harks back to the ball of thread Theseus used to escape the labyrinth, after killing them in Otaur), Mailer’s eureka-like moment helps turn a messy essay in an unfortunate tome into an intricately conceived footnote to Death in the Afternoon. Mailer’s fascination with Hemingway’s works inspired him to pursue similar ambitions in his own writing (Rodriquez 97).
 {{pg| 292 • 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 • 293}}
 ===Works Cited===