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Mailer may have felt he couldn’t match Hemingway’s reach, but Sanders argues—and rightly so that An American Dream proves otherwise. In fact, by Hemingway’s own definition of a great artist one who takes what has been known and “goes beyond to make something of his own” (Death 100)—Mailer earned his place as a guide and prophet for his generation. | Mailer may have felt he couldn’t match Hemingway’s reach, but Sanders argues—and rightly so that An American Dream proves otherwise. In fact, by Hemingway’s own definition of a great artist one who takes what has been known and “goes beyond to make something of his own” (Death 100)—Mailer earned his place as a guide and prophet for his generation. | ||
For existential thinkers, death is not the end—it's a mirror. Hemingway and Mailer use this mirror to inspire art. Death urges individuals to examine life as a whole, not just as fleeting moments. That "whole" gives life meaning, and it’s what both authors chase in their writing. | |||
Hemingway’s bullfight captures this unity—of life, death, and immortality. Mailer, meanwhile, looks for it in personal and cultural violence. In both cases, death becomes the key to authenticity. | |||