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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Initially, it could appear that Hemingway’s response in “Snows” is more successful in narrative technique, less bound by the particular context of the 1930s, and more timeless as a literary work. That view seems plausible. However, by including Fitzgerald’s other essays from the 1930s to form a wider “autobiographical sequence,” {{sfn|Wilson|1993|pp=11}} his original 1936 articles reveal a mature perspective on that cultural context—the contradictions of America in the 1920s and 1930s—that goes beyond anything Hemingway could have written. | Initially, it could appear that Hemingway’s response in “Snows” is more successful in narrative technique, less bound by the particular context of the 1930s, and more timeless as a literary work. That view seems plausible. However, by including Fitzgerald’s other essays from the 1930s to form a wider “autobiographical sequence,” {{sfn|Wilson|1993|pp=11}} his original 1936 articles reveal a mature perspective on that cultural context—the contradictions of America in the 1920s and 1930s—that goes beyond anything Hemingway could have written. | ||
So, despite | So, despite differences in narrative form and intention, “The Snows of Kilimanjaro” and “The Crack-Up” share a common landscape—that of authorial anxiety and cultural depression. Both works were written under personal stress, both are revealing, and both proved therapeutic for their authors.<sup>22</sup> To use a handy German phrase, the ''Sitz im Leben'' of both Hemingway and Fitzgerald in 1936 had far more similarity than either author was prepared to admit. | ||
=== MAILER AND ADVERTISEMENTS FOR MYSELF (1959) === | |||
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