The Mailer Review/Volume 4, 2010/Authorship and Alienation in Death in the Afternoon and Advertisements for Myself: Difference between revisions
APKnight25 (talk | contribs) Continuint to try and fix the error code. Found it is Bruccoli, Matthew J. (1996). The Only Thing That Counts: Ernest Hemingway-Maxwell Perkins Correspondence. New York: Scribner not linking. Putting a pin in it to edit other things and seek help. |
APKnight25 (talk | contribs) m Worked on fixing citation issue. |
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These works, ''Death in the Afternoon'' (1932) and ''Advertisements for Myself'' (1959), occur at almost precisely the same point in their careers — after initial critical success for quasi-autobiographical war novels, after the consequent achievement of celebrity, and after a major disappointment when that celebrity alone was not enough to overcome the restrictive vicissitudes of their respective moments in publishing culture. Although their disappointments differed in degree — Hemingway’s A Farewell to Arms was published with missing profanity and an enforced blurring of the direct, explicit prose that he preferred. {{sfn|Bruccoli|1996|p=119 | These works, ''Death in the Afternoon'' (1932) and ''Advertisements for Myself'' (1959), occur at almost precisely the same point in their careers — after initial critical success for quasi-autobiographical war novels, after the consequent achievement of celebrity, and after a major disappointment when that celebrity alone was not enough to overcome the restrictive vicissitudes of their respective moments in publishing culture. Although their disappointments differed in degree — Hemingway’s A Farewell to Arms was published with missing profanity and an enforced blurring of the direct, explicit prose that he preferred. {{sfn|Bruccoli|1996|p=119}} | ||
Mailer’s ''The Deer Park'' was rejected by eight publishing houses before a ninth (Putnam) picked it up solely because he was Norman Mailer {{sfn|Mailer|1959|p=230-231}} and with their next full-length books, both writers took urgent stances against the capitalist imposition of the social, implicitly performative role of “authorship” over and against their shared goals as writers who sought to capture truth in language as a prerequisite to presenting their works publicly. | Mailer’s ''The Deer Park'' was rejected by eight publishing houses before a ninth (Putnam) picked it up solely because he was Norman Mailer {{sfn|Mailer|1959|p=230-231}} and with their next full-length books, both writers took urgent stances against the capitalist imposition of the social, implicitly performative role of “authorship” over and against their shared goals as writers who sought to capture truth in language as a prerequisite to presenting their works publicly. | ||
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{{Cite book| author- | {{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 }} | ||