User:MerAtticus/sandbox: Difference between revisions

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Mailer's sly manipulation here is blatantly self-serving in an additional manner. By making this particularly egregious episode Exhibit B in the trial, he can enjoy his imaginary voyeurism again. Not only are the offenisve events in the book, but in case the reader of ''New York'' does not buy the book, Mailer has the opportunity to present his self-indulgent imaginings for a different audience--those who might pick up the magazine. He has the prosecution make him read the whole episode to the court as Exhibit B. The titillation quotient is high.

As a sidelight, it can be said that still another use Mailer made of his writing about Marilyn is payback or appreciation to Milton and Amy Greene. Whatever the realities of their behavior in their relationship with Monroe, in both ''Of Women and Their Elegance'' and ''Strawhead,'' Mailer casts them a very positive light and puts complimentary language in Marilyn's mouth when she speaks of them. Milton Greene's particular charm is portrayed with Marilyn's initial reaction at their first meeting: "You're just a boy".{{sfn|Mailer|10 Nov 1980|p=34}} Her expectation, given his fame as a fashion photographer, was for an older man. Mailer also tries to make him appealing in a scruffy kind of way when he has Marilyn describe him as looking like a young John Garfield if Garfield had been chewed a bit a by a toothless lion.{{sfn|Mailer|10 Nov 1980|p=34}} He is portrayed as the only man who did not take advantage of Marilyn and she blames Arthur Miller for ruining their relationship. Besides the direct compliments, such as when Marilyn tells Amy her eyes are like stars{{sfn|Mailer|10 Nov 1980|p=28}} and compliments her performance during the Edward R. Murrow interview as "truly scintillating" and done with "real poise" and "real vivacity".{{sfn|Mailer|1980|p=126}} Mailer also portrays Amy Greene as a mentor to Marilyn in matters of fashion, introducing her to the fashions of Norman Norell.{{efn|Although Norell's fashions are given prominence in Mailer's writing, he is ignored in many of the biographies. An interesting sidelight is that Michelle Obama wore a vintage Norell dress during the 2010 Christmas season}} Marilyn lauds Amy's organization down to her color coordination of her underwear with her clothing. Of course, the Greenes are his co-authors in a way as they provided the reminiscences and the photographs that make up the bulk of the book. Milton Greene's ethics are also presented in a most favorable light when the break-up of Marilyn Monroe Productions occurs. With the comment, "It was not my idea to make{{pg|273|274}}

As a sidelight, it can be said that still another use Mailer made of his writing about Marilyn is payback or appreciation to Milton and Amy Greene. Whatever the realities of their behavior in their relationship with Monroe, in both ''Of Women and Their Elegance'' and ''Strawhead,'' Mailer casts them a very positive light and puts complimentary language in Marilyn's mouth when she speaks of them. Milton Greene's particular charm is portrayed with Marilyn's initial reaction at their first meeting: "You're just a boy".{{sfn|Mailer|10 Nov 1980|p=34}} Her expectation, given his fame as a fashion photographer, was for an older man. Mailer also tries to make him appealing in a scruffy kind of way when he has Marilyn describe him as looking like a young John Garfield if Garfield had been chewed a bit a by a toothless lion.{{sfn|Mailer|10 Nov 1980|p=34}} He is portrayed as the only man who did not take advantage of Marilyn and she blames Arthur Miller for ruining their relationship. Besides the direct compliments, such as when Marilyn tells Amy her eyes are like stars{{sfn|Mailer|10 Nov 1980|p=28}} and compliments her performance during the Edward R. Murrow interview as "truly scintillating" and done with "real poise" and "real vivacity".{{sfn|Mailer|1980|p=126}} Mailer also portrays Amy Greene as a mentor to Marilyn in matters of fashion, introducing her to the fashions of Norman Norell.{{efn|Although Norell's fashions are given prominence in Mailer's writing, he is ignored in many of the biographies. An interesting sidelight is that Michelle Obama wore a vintage Norell dress during the 2010 Christmas season}} Marilyn lauds Amy's organization down to her color coordination of her underwear with her clothing. Of course, the Greenes are his co-authors in a way as they provided the reminiscences and the photographs that make up the bulk of the book. Milton Greene's ethics are also presented in a most favorable light when the break-up of Marilyn Monroe Productions occurs. With the comment, "It was not my idea to make{{pg|273|274}} money on Marilyn Monroe," Greene explains why he takes only $100,000 for his share when all had expected him to hold out for five times that much. The irony is not lost that Mailer, who ''is'' trying to make money on Marilyn Monroe, chooses this vindication for Greene. One might also say that Mailer uses this opportunity to pay the Greenes back by telling their stories along with Marilyn's. We learn a lot of their histories and talents. One of the last things Mailer has Marilyn do is recall how beautiful Milton's photographs are and remember, "Oh, how exquisite he could be".{{sfn|Mailer|1980|p=235}}

The reception of ''Of Women and Their Elegance'' was mixed. The exploitive nature of Mailer's use of Monroe did not go without notice. Although David Marshall considered it a "wonderful treasure," mainly because of the photographs, he also remarked that Mailer was "squeezing the last dollar out of a woman he never met." Lawrence Wright's ''Texas Monthly'' article that explores the connections between fact and fiction, particularly in what is called the "new journalism," compares Mailer's ''Of Women and Their Elegance'' unfavorably to ''The Executioner's Song.'' Wright terms the former "reader abuse" and concludes that Mailer's depiction of Marilyn is unconvincing as he is "trying to fill the unexplored spaces in her personlaity with his own".{{sfn|Wright|June 1981|p=202}} In addition, beyond the critiques of the text of the book, it has the dubious distinction that the 1999 ''Esquire'' Book Awards named ''Of Women and Their Elegance'' as Worst Title.

It took Mailer a few years to get back to "piling on" Marilyn. This time, the medium was theatre. Although ''Strawhead'' is often categorized as a dramatization of ''Of Women and Their Elegance,'' there are a number of variances, probably occasioned by the differences in media and perhaps by Mailer's desire to emphasize the imaginary truth aspect of his take on Marilyn. Richard Hannum is listed as the co-author of the play. Among the number of drafts housed at the Harry Ransom Center is a bound copy that emphasizes the "staged" quality of the production.{{efn|There are numerous drafts in the Mailer collection, reflecting pre- and post-production rewrites.}} It begins with the ACTRESS, the DIRECTOR, and the PLAYWRIGHT discussing the issue of whether or not the ACTRESS should take the part and whether she feels up to it. She names her boyfriend, her agent and her consciousness-raising group as reason not to take the part. In terms of the latter, Mailer's cognizance of previous feminist reations to his "Marilyn" works may be in play. The ACTRESS names feminist indecision about whether to consider Marilyn a martyr, a victim, or a collaborator with the enemy. Further removal of the distance between audience and subject is accom-{{pg|274|275}}

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* {{cite book |last=Merrill |first=Robert |date=1992 |title=Norman Mailer Revisited |location=New York |publisher= Twayne Publishers |pages= |type=Print |ref=harv }}

* {{cite book|last=Rollyson |first=Carl |date=1991 |title=The Lives of Norman Mailer: A Biography |location=New York |publisher=Paragon House |page= |type=Print |ref=harv }}

* {{cite magazine |last=Wright |first=Lawrence |date=June 1981 |title=Shades of Gray |magazine=Texas Monthly |pages=196-207 |type=Print |ref=harv }}

@@ Line 27: / Line 27: @@
 Mailer's sly manipulation here is blatantly self-serving in an additional manner. By making this particularly egregious episode Exhibit B in the trial, he can enjoy his imaginary voyeurism again. Not only are the offenisve events in the book, but in case the reader of ''New York'' does not buy the book, Mailer has the opportunity to present his self-indulgent imaginings for a different audience--those who might pick up the magazine. He has the prosecution make him read the whole episode to the court as Exhibit B. The titillation quotient is high.
-As a sidelight, it can be said that still another use Mailer made of his writing about Marilyn is payback or appreciation to Milton and Amy Greene. Whatever the realities of their behavior in their relationship with Monroe, in both ''Of Women and Their Elegance'' and ''Strawhead,'' Mailer casts them a very positive light and puts complimentary language in Marilyn's mouth when she speaks of them. Milton Greene's particular charm is portrayed with Marilyn's initial reaction at their first meeting: "You're just a boy".{{sfn|Mailer|10 Nov 1980|p=34}} Her expectation, given his fame as a fashion photographer, was for an older man. Mailer also tries to make him appealing in a scruffy kind of way when he has Marilyn describe him as looking like a young John Garfield if Garfield had been chewed a bit a by a toothless lion.{{sfn|Mailer|10 Nov 1980|p=34}} He is portrayed as the only man who did not take advantage of Marilyn and she blames Arthur Miller for ruining their relationship. Besides the direct compliments, such as when Marilyn tells Amy her eyes are like stars{{sfn|Mailer|10 Nov 1980|p=28}} and compliments her performance during the Edward R. Murrow interview as "truly scintillating" and done with "real poise" and "real vivacity".{{sfn|Mailer|1980|p=126}} Mailer also portrays Amy Greene as a mentor to Marilyn in matters of fashion, introducing her to the fashions of Norman Norell.{{efn|Although Norell's fashions are given prominence in Mailer's writing, he is ignored in many of the biographies. An interesting sidelight is that Michelle Obama wore a vintage Norell dress during the 2010 Christmas season}} Marilyn lauds Amy's organization down to her color coordination of her underwear with her clothing. Of course, the Greenes are his co-authors in a way as they provided the reminiscences and the photographs that make up the bulk of the book. Milton Greene's ethics are also presented in a most favorable light when the break-up of Marilyn Monroe Productions occurs. With the comment, "It was not my idea to make{{pg|273|274}}
+As a sidelight, it can be said that still another use Mailer made of his writing about Marilyn is payback or appreciation to Milton and Amy Greene. Whatever the realities of their behavior in their relationship with Monroe, in both ''Of Women and Their Elegance'' and ''Strawhead,'' Mailer casts them a very positive light and puts complimentary language in Marilyn's mouth when she speaks of them. Milton Greene's particular charm is portrayed with Marilyn's initial reaction at their first meeting: "You're just a boy".{{sfn|Mailer|10 Nov 1980|p=34}} Her expectation, given his fame as a fashion photographer, was for an older man. Mailer also tries to make him appealing in a scruffy kind of way when he has Marilyn describe him as looking like a young John Garfield if Garfield had been chewed a bit a by a toothless lion.{{sfn|Mailer|10 Nov 1980|p=34}} He is portrayed as the only man who did not take advantage of Marilyn and she blames Arthur Miller for ruining their relationship. Besides the direct compliments, such as when Marilyn tells Amy her eyes are like stars{{sfn|Mailer|10 Nov 1980|p=28}} and compliments her performance during the Edward R. Murrow interview as "truly scintillating" and done with "real poise" and "real vivacity".{{sfn|Mailer|1980|p=126}} Mailer also portrays Amy Greene as a mentor to Marilyn in matters of fashion, introducing her to the fashions of Norman Norell.{{efn|Although Norell's fashions are given prominence in Mailer's writing, he is ignored in many of the biographies. An interesting sidelight is that Michelle Obama wore a vintage Norell dress during the 2010 Christmas season}} Marilyn lauds Amy's organization down to her color coordination of her underwear with her clothing. Of course, the Greenes are his co-authors in a way as they provided the reminiscences and the photographs that make up the bulk of the book. Milton Greene's ethics are also presented in a most favorable light when the break-up of Marilyn Monroe Productions occurs. With the comment, "It was not my idea to make{{pg|273|274}} money on Marilyn Monroe," Greene explains why he takes only $100,000 for his share when all had expected him to hold out for five times that much. The irony is not lost that Mailer, who ''is'' trying to make money on Marilyn Monroe, chooses this vindication for Greene. One might also say that Mailer uses this opportunity to pay the Greenes back by telling their stories along with Marilyn's. We learn a lot of their histories and talents. One of the last things Mailer has Marilyn do is recall how beautiful Milton's photographs are and remember, "Oh, how exquisite he could be".{{sfn|Mailer|1980|p=235}}
+The reception of ''Of Women and Their Elegance'' was mixed. The exploitive nature of Mailer's use of Monroe did not go without notice. Although David Marshall considered it a "wonderful treasure," mainly because of the photographs, he also remarked that Mailer was "squeezing the last dollar out of a woman he never met." Lawrence Wright's ''Texas Monthly'' article that explores the connections between fact and fiction, particularly in what is called the "new journalism," compares Mailer's ''Of Women and Their Elegance'' unfavorably to ''The Executioner's Song.'' Wright terms the former "reader abuse" and concludes that Mailer's depiction of Marilyn is unconvincing as he is "trying to fill the unexplored spaces in her personlaity with his own".{{sfn|Wright|June 1981|p=202}} In addition, beyond the critiques of the text of the book, it has the dubious distinction that the 1999 ''Esquire'' Book Awards named ''Of Women and Their Elegance'' as Worst Title.
+It took Mailer a few years to get back to "piling on" Marilyn. This time, the medium was theatre. Although ''Strawhead'' is often categorized as a dramatization of ''Of Women and Their Elegance,'' there are a number of variances, probably occasioned by the differences in media and perhaps by Mailer's desire to emphasize the imaginary truth aspect of his take on Marilyn. Richard Hannum is listed as the co-author of the play. Among the number of drafts housed at the Harry Ransom Center is a bound copy that emphasizes the "staged" quality of the production.{{efn|There are numerous drafts in the Mailer collection, reflecting pre- and post-production rewrites.}} It begins with the ACTRESS, the DIRECTOR, and the PLAYWRIGHT discussing the issue of whether or not the ACTRESS should take the part and whether she feels up to it. She names her boyfriend, her agent and her consciousness-raising group as reason not to take the part. In terms of the latter, Mailer's cognizance of previous feminist reations to his "Marilyn" works may be in play. The ACTRESS names feminist indecision about whether to consider Marilyn a martyr, a victim, or a collaborator with the enemy. Further removal of the distance between audience and subject is accom-{{pg|274|275}}
@@ Line 50: / Line 54: @@
 * {{cite book |last=Merrill |first=Robert |date=1992 |title=Norman Mailer Revisited |location=New York |publisher= Twayne Publishers |pages= |type=Print |ref=harv }}
 * {{cite book|last=Rollyson |first=Carl |date=1991 |title=The Lives of Norman Mailer: A Biography |location=New York |publisher=Paragon House |page= |type=Print |ref=harv }}
+* {{cite magazine |last=Wright |first=Lawrence |date=June 1981 |title=Shades of Gray |magazine=Texas Monthly |pages=196-207 |type=Print |ref=harv }}