Talk:Lipton’s Journal: Difference between revisions

From Project Mailer
m (Format tweaks.)
Line 14: Line 14:
| 4 || 4 || In relation to (1) || L1 || || Note.
| 4 || 4 || In relation to (1) || L1 || || Note.
|-
|-
| 5 || 5 || The concentration camp novel || x || || Note. Unclear x-ref # in note.
| 5 || 5 || The concentration camp novel || {{icon|DYK2}} || || Note. Unclear x-ref # in note.
|-
|-
| 6 || 6 || One should always listen attentively ||  || || Note.
| 6 || 6 || One should always listen attentively ||  || || Note.
Line 26: Line 26:
| 10 || 10 || I upset Herbert [Aptheker] by saying || || ||
| 10 || 10 || I upset Herbert [Aptheker] by saying || || ||
|-
|-
| 11 || 11 || In a short novel || || x || Note.
| 11 || 11 || In a short novel || || {{icon|NO}} || Note.
|}
|}


Line 34: Line 34:
! # !! NM# !! First Words !! x-Refs !! Cut !! Notes
! # !! NM# !! First Words !! x-Refs !! Cut !! Notes
|-
|-
| 12 || 12 || One should always try to ||  || x ||
| 12 || 12 || One should always try to ||  || {{icon|NO}} ||
|-
|-
| 13 || 13 || It seems to me that || || ||
| 13 || 13 || It seems to me that || || ||
Line 168: Line 168:
| 69 || 68 || “Vested interest” is enormously more || || ||
| 69 || 68 || “Vested interest” is enormously more || || ||
|-
|-
| 70 || 69 || Get beneath words || || x || Partial cut.
| 70 || 69 || Get beneath words || || {{icon|NO}} (partial) ||  
|-
|-
| 71 || 70 || The gossip is the great || || ||
| 71 || 70 || The gossip is the great || || ||
Line 188: Line 188:
| 79 || 78 || The breakup with Lulu || || || Note.
| 79 || 78 || The breakup with Lulu || || || Note.
|-
|-
| 80 || 79 || Jokes. Charley Wiener just said || || x || Note needed?: Charley Wiener
| 80 || 79 || Jokes. Charley Wiener just said || || {{icon|NO}} || Note needed?: Charley Wiener
|-
|-
| 81 || 80 || Eitel in court || || x || Note.
| 81 || 80 || Eitel in court || || {{icon|NO}} || Note.
|-
|-
| 82 || 81 || In error there is also truth || || ||
| 82 || 81 || In error there is also truth || || ||
Line 204: Line 204:
| 87 || 86 || One thing must be said || L85, L71 || ||  
| 87 || 86 || One thing must be said || L85, L71 || ||  
|-
|-
| 88 || 87 || Stories of dreams || || x ||
| 88 || 87 || Stories of dreams || || {{icon|NO}} ||
|-
|-
| 89 || 88 || Bombing as the great shitting || || x ||
| 89 || 88 || Bombing as the great shitting || || {{icon|NO}} ||
|-
|-
| 90 || 89 || Comedians and comic writers || || x ||
| 90 || 89 || Comedians and comic writers || || {{icon|NO}} ||
|-
|-
| 91 || 90 || Women who always hate || || ||
| 91 || 90 || Women who always hate || || ||
Line 214: Line 214:
| 92 || 91 || The more knowledge || || ||
| 92 || 91 || The more knowledge || || ||
|-
|-
| 93 || 92 || Possibly, bad works of art || || x ||
| 93 || 92 || Possibly, bad works of art || || {{icon|NO}} ||
|-
|-
| 94 || 93 || The spy (another adventurer) || || || Note.
| 94 || 93 || The spy (another adventurer) || || || Note.
Line 220: Line 220:
| 95 || 94 || Actors and spies || || ||
| 95 || 94 || Actors and spies || || ||
|-
|-
| 96 || 95 || When a friend says || || x ||
| 96 || 95 || When a friend says || || {{icon|NO}} ||
|-
|-
| 97 || 96 || “Am I boring you?” || || ||
| 97 || 96 || “Am I boring you?” || || ||
Line 254: Line 254:
| 112 || 111 || My journal again || || ||
| 112 || 111 || My journal again || || ||
|-
|-
| 113 || 112 || False humility || || x || Seems like this should not be cut, as L115 alludes to it.
| 113 || 112 || False humility || || {{icon|NO}} || Seems like this should not be cut, as L115 alludes to it.
|-
|-
| 114 || 113 || Marion Faye journal || || ||
| 114 || 113 || Marion Faye journal || || ||
Line 262: Line 262:
| 116 || 115 || Humor is more than wit || || ||
| 116 || 115 || Humor is more than wit || || ||
|-
|-
| 117 || 116 || Marion Faye’s note || || x ||
| 117 || 116 || Marion Faye’s note || || {{icon|NO}} ||
|-
|-
| 118 || 117 || Man may be terrible || || x ||
| 118 || 117 || Man may be terrible || || {{icon|NO}} ||
|-
|-
| 119 || 118 || The fear of being ridiculous || || ||
| 119 || 118 || The fear of being ridiculous || || ||
|-
|-
| 120 || 119 || Toward the end of Marion || || x ||
| 120 || 119 || Toward the end of Marion || || {{icon|NO}} ||
|-
|-
| 121 || 120 || Marion Faye’s note about || || x ||
| 121 || 120 || Marion Faye’s note about || || {{icon|NO}} ||
|-
|-
| 122 || 121 || Any art-work which || || ||
| 122 || 121 || Any art-work which || || ||
Line 300: Line 300:
| 132 || 131 || Seriously, truly, just simply || || ||
| 132 || 131 || Seriously, truly, just simply || || ||
|-
|-
| 133 || 132 || In Marion Faye’s journal || || x ||
| 133 || 132 || In Marion Faye’s journal || || {{icon|NO}} ||
|-
|-
| 134 || 133 || Jazz is more creative || || ||
| 134 || 133 || Jazz is more creative || || ||
Line 306: Line 306:
| 135 || 134 || I used to be outwardly || || ||
| 135 || 134 || I used to be outwardly || || ||
|-
|-
| 136 || 135 || Years ago, working with Malaquais || || x ||
| 136 || 135 || Years ago, working with Malaquais || || {{icon|NO}} ||
|-
|-
| 137 || 136 || The world allows us to express || || ||
| 137 || 136 || The world allows us to express || || ||
Line 370: Line 370:
| 164 || 163 || Perhaps a man kills || || ||
| 164 || 163 || Perhaps a man kills || || ||
|-
|-
| 165 || 164 || With Marion Faye this took || || x ||
| 165 || 164 || With Marion Faye this took || || {{icon|NO}} ||
|-
|-
| 166 || 165 || A psychopath expands || || ||
| 166 || 165 || A psychopath expands || || ||
Line 384: Line 384:
| 171 || 170 || The sensitivity spectrum || || || Note.
| 171 || 170 || The sensitivity spectrum || || || Note.
|-
|-
| 172 || 171 || Does telepathic mean sick telepathy? || || x ||
| 172 || 171 || Does telepathic mean sick telepathy? || || {{icon|NO}} ||
|-
|-
| 173 || 172 || On television, many of the ads || || ||
| 173 || 172 || On television, many of the ads || || ||
Line 392: Line 392:
| 175 || 174 || Listening to Dizzy Gillespie || || || Note.
| 175 || 174 || Listening to Dizzy Gillespie || || || Note.
|-
|-
| 176 || 175 || Word echoes || || x ||
| 176 || 175 || Word echoes || || {{icon|NO}} ||
|-
|-
| 177 || 176 || I suspect that an index || || ||
| 177 || 176 || I suspect that an index || || ||
Line 424: Line 424:
| 191 || 190 || There’s no such thing || || ||
| 191 || 190 || There’s no such thing || || ||
|-
|-
| 192 || 191 || How do you like my || || x ||
| 192 || 191 || How do you like my || || {{icon|NO}} ||
|-
|-
| 193 || 192 || Fatty foods are cunt foods || || x ||
| 193 || 192 || Fatty foods are cunt foods || || {{icon|NO}} ||
|-
|-
| 194 || 193 || Bob told the pickle factory joke || || ||
| 194 || 193 || Bob told the pickle factory joke || || ||
|-
|-
| 195 || 194 || Obscenity substitutes || || x ||
| 195 || 194 || Obscenity substitutes || || {{icon|NO}} ||
|-
|-
| 196 || 195 || Obscenity echoes || || ||
| 196 || 195 || Obscenity echoes || || ||
|-
|-
| 197 || 196 || In ''Barbary Shore'' I planted || || x ||
| 197 || 196 || In ''Barbary Shore'' I planted || || {{icon|NO}} ||
|}
|}


Revision as of 09:41, 6 June 2019

Entry Dates

December 1, 1954

# NM# First Words x-Refs Cut Notes
1 1 Perhaps the artist is less
2 2 Lipton's seems to open one
3 3 Fucking is perhaps an approach
4 4 In relation to (1) L1 Note.
5 5 The concentration camp novel Did You Know? Note. Unclear x-ref # in note.
6 6 One should always listen attentively Note.
7 7 Herbert A[ptheker]. said of Lipton’s Note.
8 8 In modern jazz, one feels Note.
9 9 Thoreau’s beautiful remark Note.
10 10 I upset Herbert [Aptheker] by saying
11 11 In a short novel Unknown-Class article Note.

December 8, 1954

# NM# First Words x-Refs Cut Notes
12 12 One should always try to Unknown-Class article
13 13 It seems to me that
14 14 It is possible that many Note.
15 15 All of my life with Adele
16 16 If there is that other world
17 17 Listening to a child
18 18 I advertise to everyone
19 19 Six and Four are close
20 20 Knowledge is systematized ignorance
21 21 A novel is slowly emerging
22 22 It may be that the
23 23 In the conc. camp novel L17
24 24 There may actually be such
25 25 Every word sets up L24 Note.
26 26 Television may have some extraordinary Note.
27 27 Possibly the spasmodic nervous system
28 28 Vomiting may be the orgasm
29 29 No saint can be a teacher
30 30 Infants may be enormously wise
31 31 The saint and the psychopath Note.
32 32 No one is more unreligious
33 33 Medicine may be witchcraft end: [and] its emphasis on progress.
34 34 The aggressive instinct
35 35 Psychoanalysis, liberalism, etc. etc.
36 36 I have learned more from
37 37 In The Deer Park after the Note.
38 38 If the more saintly people
39 39 In a Collier’s article Note.
40 40 Words are not entirely bad
41 41 Death may be the price
42 42 I know nothing about semantics
43 43 Talk with Rhoda L. Note.

December 17, 1954

# NM# First Words x-Refs Cut Notes
44 44 The saint and the churchman
45 45 There is no death-instinct
46 46 What worries me today
47 47 Spengler is a great writer L48 Notes.
48 48 Swing in jazz is different
49 49 When Susie speaks of “war”
50 50 There is a lesson for me L47
51 51 A remark on why psychoanalysts
52 52 When the businessman thinks
53 53 Perhaps the reason Susy Note.
54 54 I understand now what Danny Notes.
55 55 The word is a flat
56 56 In the larger sense Note.
57 57 The Stalinists have sneered Note.
58 58 My characters in The Deer Park
59 58 Equations: Man is born Added punctuation in ¶3.
60 59 The big novel could Note.
61 60 I learned a practical matter
62 61 I have always hated sentimentality
63 62 The measurement of time
64 63 Advertising and television and radio Note.
65 64 Because the desire for material
66 65 Almost always experts can never

December 28, 1954

# NM# First Words x-Refs Cut Notes
67 66 At its best, my mind
68 67 Over and over again

December 29, 1954

# NM# First Words x-Refs Cut Notes
69 68 “Vested interest” is enormously more
70 69 Get beneath words Unknown-Class article (partial)
71 70 The gossip is the great
72 71 Words have not only echoes
73 72 The concealments of language
74 73 The sensual is the soul’s
75 74 The Sense of the Past
76 75 There are two kinds of hatred
77 76 The power of the word Note.
78 77 They key to Sergius’ character
79 78 The breakup with Lulu Note.
80 79 Jokes. Charley Wiener just said Unknown-Class article Note needed?: Charley Wiener
81 80 Eitel in court Unknown-Class article Note.
82 81 In error there is also truth
83 82 Eitel and Elena—last chapter Note. Use partial w/ L81, too.
84 83 Don Beda Note.
85 84 Interpretations of present events Notes.
86 85 My feeling about semantics L42 Note.
87 86 One thing must be said L85, L71
88 87 Stories of dreams Unknown-Class article
89 88 Bombing as the great shitting Unknown-Class article
90 89 Comedians and comic writers Unknown-Class article
91 90 Women who always hate
92 91 The more knowledge
93 92 Possibly, bad works of art Unknown-Class article
94 93 The spy (another adventurer) Note.
95 94 Actors and spies
96 95 When a friend says Unknown-Class article
97 96 “Am I boring you?”
98 97 So, boredom, depression, laughter
99 98 Saints and psychopaths
100 99 Laughter is spiritual
101 100 The psychopath sees the present
102 101 So the hipster is the adventurer
103 102 Given my intellectual verbal mind
104 103 A possibility occurs to me Note.
105 104 Marion Faye note
106 105 Note 103 could be L103 Could the x-ref actually be L105?
107 106 Marion Faye note Note.
108 107 Marion Faye on Eitel
109 108 Marion Faye in prison
110 109 Sergius is my brother
111 110 Marion F Journal
112 111 My journal again
113 112 False humility Unknown-Class article Seems like this should not be cut, as L115 alludes to it.
114 113 Marion Faye journal
115 114 (My journal) Arrogance
116 115 Humor is more than wit
117 116 Marion Faye’s note Unknown-Class article
118 117 Man may be terrible Unknown-Class article
119 118 The fear of being ridiculous
120 119 Toward the end of Marion Unknown-Class article
121 120 Marion Faye’s note about Unknown-Class article
122 121 Any art-work which
123 122 “Do you know, Sergius?”
124 123 Dorothea O’Faye could figure

December 31, 1954

# NM# First Words x-Refs Cut Notes
125 124 I am getting whole bodies
126 125 Thoughts. All thoughts in words Note.
127 126 People who make love
128 127 Get a tape recorder Note. [add tea time info] still needed
129 128 Word echoes: We have
130 129 On the understanding of genius
131 130 Word echoes. Mother and smother
132 131 Seriously, truly, just simply
133 132 In Marion Faye’s journal Unknown-Class article
134 133 Jazz is more creative
135 134 I used to be outwardly
136 135 Years ago, working with Malaquais Unknown-Class article
137 136 The world allows us to express
138 137 My ambition remains
139 138 I think that the new
140 139 Sexual psychopathy would be normal Note.
141 140 What I learn about The Deer Park
142 141 Most celebrities are people
143 142 Marion Faye’s journal
144 143 Anyone reading these notes
145 144 At the point where Eitel
146 145 The universe is a vast puzzle
147 146 In N.Y. if we want Note.
148 147 Time is the sense of society
149 148 The so-called decadent writers
150 149 Wild thought. The atom bomb Note.
151 150 Don Beda should be
152 151 What Stalinists see
153 152 Don Beda should be
154 153 Time as the sense of society Hand-written note not included.
155 154 Bob Lindner. As he reads Notes.
156 155 The homo-erotic corollary Notes.
157 156 The corollary of this Note.
158 157 What courage Adele has Notes.
159 158 What terrifies me is exactly
160 159 The fuck novel, “Antacid Analgesique.” Note.

January 3, 1955

# NM# First Words x-Refs Cut Notes
161 160 If this record is to have
162 161 One of the curious effects
163 162 What I dislike so much
164 163 Perhaps a man kills
165 164 With Marion Faye this took Unknown-Class article
166 165 A psychopath expands
167 166 Any human scene
168 167 Precise speech appeals
169 168 Our fear of ghosts
170 169 On the other hand
171 170 The sensitivity spectrum Note.
172 171 Does telepathic mean sick telepathy? Unknown-Class article
173 172 On television, many of the ads
174 173 There is also the possibility
175 174 Listening to Dizzy Gillespie Note.
176 175 Word echoes Unknown-Class article
177 176 I suspect that an index
178 177 Psychopathic love
179 178 Consider whether Elena after
180 179 Sports and sex
181 180 Musicians. The saxophonist
182 181 Steve Allen talking while Note.
183 182 I heard “The Star-Spangled Banner”
184 183 Competition of personality marks
185 184 Name for a Negro
186 185 Be-bop chorus
187 186 We may all have a social Notes.
188 187 Perhaps the secret Note.
189 188 This is the age
190 189 Memory may be a layer Mailer underlined the first two sentences and wrote “Expand” in the margin.
191 190 There’s no such thing
192 191 How do you like my Unknown-Class article
193 192 Fatty foods are cunt foods Unknown-Class article
194 193 Bob told the pickle factory joke
195 194 Obscenity substitutes Unknown-Class article
196 195 Obscenity echoes
197 196 In Barbary Shore I planted Unknown-Class article

January 20, 1955

# NM# First Words x-Refs Cut Notes
198 197 The poor drawing Unknown-Class article
199 198 Looking at myself Note.
200 199 This is the age Notes.
201 200 When we run across Note.
202 201 The tragic air of Mexico Note.
203 202 Rich boys are proud
204 203 “Instants” and “moments”
205 204 John Walsh is a homosexual Note. NM wrote “expand” in the margin-left of the last paragraph.
206 205 If I have qualities of genius
207 206 The Perfect Secretary See NM’s written gloss.
208 207 The night Bob spoke Note.
209 208 The affected person Unknown-Class article
210 209 How much real hatred
211 210 What we do on the surface
212 211 Homeostasis may be true Unknown-Class article (partial)
213 212 Our perception of others
214 213 Word echoes. Son is sin

January 24, 1955

January 25, 1955

January 26, 1955

January 27, 1955

January 31, 1955

February 1, 1955

February 2, 1955

February 7, 1955

February 10, 1955

February 14, 1955

February 21, 1955

February 22, 1955

March 4, 1955

Questions

  1. What do we want to do with omitted entry numbers? Just skip them? Or should they be included in the digital version but not the printed?
  2. Are the numbers on Donna’s transcript the new, correct numbers? (I know Mike said that Mailer mis-numbered some entries.)
  3. Should each entry date have its own index page? Perhaps each numbered entry could be summarized here?
  4. Should each numbered entry should have its own (sub)page? I think yes.
  5. Should each numbered entry have a title other than a number? Each could have a shortcut, so if the title is Lipton’s Journal/December 1, 1954/1, the shortcut could be LJ1 or just L1.
  6. Should we categorize numbered entries? Thematically? Style of entry?
Retrieved from "https://projectmailer.net/index.php?title=Talk:Lipton’s_Journal&oldid=8866"