The Mailer Review/Volume 2, 2008/A New Politics of Form in Harlot's Ghost

Written by
David Anshen

“The sour truth is that I am imprisoned with a perception which will settle for nothing less than making a revolution in the consciousness of our time” (Advertisements for Myself 17).

“Please do not understand me too quickly.” (Norman Mailer’s quoting of Andre Gide in the epigraph to The Deer Park).

I. Introduction

Norman Mailer was one of the most ambitious writers of our time. He had enormous faith in the power of writing to influence and change society and to alter the quality of human life. Despite the controversies that swirled around his public figure, he should be more recognized for the scope of his efforts to use his writing to transform America. With bravado, courage, and a bit of recklessness, he has repeatedly proclaimed his personal ambition to place himself, as a writer, in the company of literary giants and thereby remedy what he believes are America’s literary deficiencies, while also promising that he is about to write a novel that will create the “revolution in consciousness” (Advertisements 17) which he believes is necessary to rejuvenate a stagnant America,1 through writing the “great American novel” which will “tell the truth of our times.” Undoubtedly, however, this effort has been fraught with difficulties; as Carl Rollyson explains in his biography of Mailer: “In the forty years since The Naked and the Dead Mailer has been searching for a way to write the great panoramic American novel.... America had seemed too complex for any single novelist—no matter how mature—to take on (359).” His last, sustained effort to reveal America through a work of fiction is the long historical novel about the CIA, Harlot’s Ghost. However, this novel has been overlooked as the culmination of Mailer’s project of a fictional representation of America and therefore largely ignored as the important work of politically engaged fiction that I believe it is.2 This is undoubtedly because the novel presents a strange puzzle; both its content and form need careful consideration before its significance can be understand.

My essay offers a reading of the novel in relation to Mailer’s efforts to use fiction writing to reveal contradictions at the heart of American society and challenge American ideology, particularly in relation to the Cold War, while offering an explanation for the unorthodox formal features. In contrast to most critics who have written on the novel, I believe that Harlot’s Ghost presents a fierce indictment of America during the Cold War and after, which is intensified by the unconventional form.3 Indeed, I hope to show that the novel’s importance and significance, the truth it tells about American society, lies in what might appear its utter failure, both as a novel and a judgment on the history and politics, namely the way the novel fails to cohere as a novel. The novel refuses overt judgments on the events narrated. Paradoxical as it may seem, I will argue that the failure of traditional novelistic form and resolution creates a dialectic between reader and text allowing important revelations about American society to emerge which make the novel a success in telling the “truth of our times.” The truths revealed are precisely that the issues of the novel, which concern the meaning of the Cold War and the struggle between capitalism and its challenges, are not over and that instead of “the end of history” ~to use Francis Fukiyama’s famous phrase! we are still plunged into unresolved history. Therefore, the novel’s form and its political and social content are unified in their challenge to the dominant societal narratives about America and how these narratives are traditionally told.

II. A Mystery wrapped in an Enigma

The relative neglect of the novel is easily understandable. After 1,168 pages, Norman Mailer terminates Harlot’s Ghost with a promise. He writes in bold capital letters at the end of the novel “TO BE CONTINUED.” 4 There has been no sequel. To make matters worse, none of the conflicts of the novel, DAVID ANSHEN { 453 whether personal or political, are resolved, leaving readers to wonder about the fate of Harry Hubbard, the central character, and the other characters in the novel. This has obviously frustrated many readers. Given that Hubbard is a CIA agent caught in highly charged, real episodes in the history of the Cold War, and considering Mailer’s career-long ambition to tell the “truth of our times,” more information is expected. The novel ends with Hubbard in Moscow, after years of service to the CIA, looking for his godfather and career mentor, known as Harlot, who may have faked death and defected to the Soviets. In the last sentence of the novel, Hubbard poses a question: “Could I be ready to find my godfather and ask him, along with everything else I would ask: ‘Whom?’ In the immortal words of Vladimir Ilich Lenin, ‘Whom? Whom does all this benefit?’” 5 It is puzzling that this question, so starkly posed, has not received an answer in the sequel promised at the end of the novel.

Mailer sets up grandiose expectations for the sequel by the incomplete ending and the final questions of the novel. The information left open concerns the fictional life of Harry Hubbard but also implies a verdict on the politics of America in the Cold War. To explain the events of Harlot’s Ghost means to reveal history since Hubbard is conveniently placed in the midst of major episodes in the Cold War due to his role in the CIA as an “agent” trying to influence developments. It is only at the end that Hubbard and readers realize the degree to which there is uncertainty as to what exactly has happened and why. In effect, the novel has set up a mystery without providing answers. However, to provide the meaning of the political events so starkly, in the form of answers to a question ~“Whom does all this benefit?”!, which will supposedly be answered when Harlot is located, is difficult to imagine given the deep level of political truths involved. Can any person, no matter how well placed, really be imagined who can answer ultimate truths about the meaning of the Cold War? In my view, it is to Mailer’s credit that he challenges himself to find a way to imaginatively create persuasive answers and meaning to the most important political issues of our times. Yet, it is further to his credit that, whether consciously or not, he has shown the honesty to abandon a simple approach to a career long objective which could only be achieved, I will argue, at the cost of intellectual, political, and literary triviality. In effect, Mailer turns away from a dream that, if achieved, would situate him as part of a literary tradition that includes authors he admires most: Balzac, Tolstoy, and Zola, who also strove to tell the truth of their times. However, to invent a character revealing the meaning behind historical events brings to mind the superficiality of conspiracy theories, one form of historical fiction that seems to be growing in popularity ~sometimes interestingly in literature but tragically in public discourse!. 6 On the other hand, Bertolt Brecht’s goal for writers that they should “render reality to men in a form they can master” ~Aesthetics and Politics 81! 7 seems the prerequisite for any politically useful fiction and sets up relevant criteria for evaluating Harlot’s Ghost. Therefore, Mailer’s unwillingness or inability to write an ending or sequel to Harlot’s Ghost will be considered in light of such Brechtian goals. This paper will show that the novel’s lack of resolution is best understood not as a personal failure, or as symptomatic of the impossibility of political writing at the present time, but rather represents a new and valuable strategy in Mailer’s efforts to present unpleasant realities of American society. It should be noted, in passing, that my argument is not based on Mailer’s conscious intention, which cannot be definitively ascertained, but rather on the logic of the novel in relation to its historical and political subject matter and Mailer’s stated objectives. These objectives are derived from Mailer’s career-long writings, interviews and public pronouncements and, in my view, form a clear and definable worldview and approach to human existence and human freedom.

With a few notable exceptions, this novel hasn’t fared well among critics and readers because it has been taken as conservative and sympathetic to the CIA, and because of its lack of an ending. These reactions need to be reconsidered. The novel is not a flattering portrait of the CIA, as we shall see, despite the tendency of some commentators to conflate the politics of Harlot’s Ghost with that of its narrator and protagonist, Harry Hubbard who, at least initially, views the CIA as a noble organization.8 Harlot’s Ghost presents a damning vision of contemporary American society that fits into an alternative canon of politically engaged, Cold War literature that find traditional modes of representation inadequate for conditions of late capitalism. The novel’s lack of closure, although frustrating to many readers, reflects an unwillingness to artificially resolve the real historical conditions and conflicts depicted in the novel—even if this is a post-facto explanation. This refusal of premature closure represents a new politics of form for Mailer. To understand the novel’s lack of ending, we need to consider the subtle and unexpected affinities between Mailer’s performance and the Brechtian concepts of how political art should function as elaborated by Walter Benjamin.9 The novel’s lack of closure is best understood by considering it in light of Walter Benjamin’s famous essay, influenced by Brecht, “The Author as Producer.” 10 Benjamin confronts the question that has haunted Mailer for years—namely, how can authors effectively and meaningfully use their writing to expand creativity and human freedom11 in the face of the de-personalizing effects of modern capitalism. It is often the case that the politics of a work of fiction is reduced to its explicit political content but Benjamin, in contrast makes the claim, still radical in current circumstances, that “the tendency of a work of literature can be politically correct only if it is also correct in the literary sense,” ~86! inextricably linking political content to form. Therefore, by Benjamin’s criteria the politics of Harlot’s Ghost do not reside in what it overtly tells us about the politics of the CIA, but rather through a more complex dialectic between the novel’s form and content. The justification for Benjamin’s assertion lies in his description of a situation in which,“we are in the midst of a vast process in which literary forms are being melted down, a process in which many of the contrasts in terms of which we have been accustomed to think may lose their relevance” ~87!, which is more true in the contemporary media and information explosion that accompanies late capitalism than when Benjamin wrote. Mailer’s incomplete novel can be taken as coherent if, despite the belief that we live in a post-ideological era where the struggle between capitalism and its challenges are over, the issues at the heart of the Cold War remain unresolved, leaving a final word impossible.

III. The Portrait of a Young Man—Hubbard and Mailer

There is a strange ambiguity within Harlot’s Ghost concerning the novel’s subject matter. The novel is about real historical events yet it also serves as a Bildüngsroman ~as Hubbard himself describes the work! ~HG 109! under the veneer of the spy genre. Harlot’s Ghost certainly disappoints readers who expect the traditional features of spy novels, since all of the experiences described are left profoundly opaque and there are no heroic resolutions à la Ian Fleming. Perhaps the closest literary comparison would be Conrad’s The Secret Agent since both novels are filled with bureaucratic machinations, unsavory characters, and a vision of society in terminal crisis, although Mailer never provides even the limited cognitive satisfaction of Conrad’s highly ambiguous work. In The Secret Agent, readers are at least provided with enough details to understand the motivations of the characters and the events of the novel. Harlot’s Ghost features an almost complete, radical indeterminacy, where it is not just the characters that don’t know the meaning of the events but also the readers and perhaps even the author himself. This situation is justified by understanding the real subject matter of the novel.

Critics who have written about the novel have generally taken it as a simple novel about the CIA, and have failed to notice its allegorical features and the way the novel operates.12 On the literal level, the novel treats historical events from the Cold War and espionage. On a deeper level, the novel concerns issues central to Mailer, namely the possibility of creativity, freedom, and the cost of success in American society. Mailer’s intellectual framework, based on the valorization of courage and existential integrity as the road to self-expansion, is tested in this novel through characters who strive to succeed in influencing history.13 Further, as is often true of Mailer’s writing, questions of individuality and freedom intersect with the status of writing and being a writer. The status of writing is explicitly at stake since the novel is formed by a series of incomplete narratives with missing information from the protagonist Hubbard, who at one point explains, “I clung to my writings as if they were body organs” ~102!. Hubbard feels that if he can narrate the events he will have gained knowledge and provided absolute truths; however, since his narrative if fragmentary, filled with gaps, and incomplete, he cannot fulfill either goal.

Mailer’s treatment of the dangers and conditions of life in the CIA gives a clue to the novel’s real subject matter, which is broader than just the military and information gathering features of the Cold War. The Cold War and espionage serve as parts of a greater whole, as metonymic representations of the nature of life in America. This explains the fact that we find few episodes of physical danger in Mailer’s CIA. Instead, the difficulty of CIA work seems to parallel the struggles of any individual striving for success inside a large, faceless bureaucracy and an impersonal society. Harry Hubbard describes himself at the beginning of the novel when he reviews his entire career, as a once-promising CIA operative, who is reduced to hack status. He has failed in every major project and has been reduced to the object of amusement by his colleagues who whisper about his failed potential. Indeed, all the agents in the novel, whether fictional or based on real CIA agents, are obsessed with the most American of ambitions: career advancement. Courage, skill, and grace ~key values for Mailer! are generally tested in the shark infested waters of “the Company,” not by evil madmen intent on taking over the world, but by common features of life in capitalist America, including the struggle for career advancement. The dangers to America are what America is becoming. This theme is familiar in Mailer’s work and has been accurately summarized by Harold Bloom as conditions of,“@A#n America where he @Mailer# sees our bodies and spirits as becoming increasingly artificial, even ‘plastic’ ....” ~“Norman” 40!. In other words, authentic experience and meaningful action is constantly threatened by standardizing features and mediocrity prevalent in the CIA ~“the Company” extraordinaire!.

An indicative example of life in the CIA and its “dangers” face Hubbard on his first assignment. He is placed in a records room known as the “Snake Pit” and ordered to provide information and files on an individual known only by a code acronym. He cannot locate the data since it has either been removed or lost. Since he is under orders by a superior officer overseas to provide this information, which cannot be located, his mission becomes to conceal his own identity as an incompetent data clerk. He is able to do this with the help of his mentor and Godfather, Harlot, who has the power to change Harry’s own code name acronym. Eventually, he gets placed overseas and finds himself in West Germany, serving under Bill Harvey ~the real CIA station head at that time! who gives him the assignment of locating the real identity of the incompetent data clerk who, it turns out, failed to locate information for Harvey. Hubbard’s mission becomes investigating and reporting on the real identity of an incompetent clerk who turns out to be Hubbard himself ~shades of Oedipus!.

Hubbard manages to conceal his identity despite close dealings with Harvey. However, he never finds out the significance of his original inability to locate the data requested. Perhaps the original missing information would have provided Harvey with information about a double agent, reporting to the East Germans about the secret construction of a tunnel, which would have aided the West in spiriting information and people across the Iron Curtain. In other words, Hubbard’s failure might have been of real importance in the Cold War. This distinguishes life in the CIA from other agencies or bureaus of government or business, since the CIA is, to a very large degree, in the business of directly intervening in history through the achievement of accurate information or “intelligence.” Hubbard makes clear that he is attracted to the CIA precisely because, as he explains in his CIA personal history statement, “I have been brought up to face ultimates” ~182!, which reflects the belief that the CIA is the road to truth and effective action. However, truth is never so easy. Harlot argues to Hubbard that the successful completion of the tunnel would have been a disaster because it would have provided too much information about the real state of affairs in the Soviet bloc ~a weak level of military preparedness and a series of bankrupt economies!, which would threaten CIA funding. Harlot prefers disinformation to accurate information because it justifies future government expenditures. Did he set up Hubbard? Another possibility readers are forced to consider is that Harlot himself is a double agent and therefore subverts the tunnel to aid the Soviets. Readers, like Hubbard, never know for sure.

When Hubbard moves on to operations in Uruguay to fight communist influence, he receives a secret message from a high-ranking KGB official that there is a high-ranking double agent and he shouldn’t trust anyone— particularly the Soviet Division of the CIA.When Hubbard is debriefed; that is, interrogated by the Soviet Division, he decides not to report this part of the message. His evasion sets in motion a prolonged series of questions: it seems suspicious to the Soviet Division, experts on how the KGB works, that a KGB agent would become a double agent for the US by fingering double agents against the US without specifying who they are. And, of course, the KGB does act exactly as expected to act, but Harry, not knowing how the KGB is supposed to act, puts himself in jeopardy. If his omission is revealed, Hubbard will appear as a double agent himself, but with the help of Harlot he is able to get out of the jam. Harlot himself offers the theory that if Hubbard mentioned the Soviet Division, it would be taken, by the Soviet Division, as evidence that Harlot and Harry were intent on destroying the Soviet Division.

This picture of CIA activities would be ridiculous if it didn’t present a convincing picture of institutional logic. All of these gaps in knowledge are typical of the novel. Indeed, they present a consistent picture of inherent, systematic obstacles to effective activity. As Hubbard puts it,“As an Agency officer, I ... encountered my fair share of plots ... but I was rarely able to see them whole” ~109–110!. This conflicts with the “existential” quest for courage, freedom and effective action since for an individual to freely choose his or her behavior, they must be able to understand their situation with a certain degree of accuracy. What prevents success in Harlot’s Ghost is not lack of courage or unwillingness to face unpleasant truths, but rather the daily functioning of compartmentalized, fragmented, and isolated individuals pursuing their own local interests. Knowledge and effective action are revealed as impossible on a micro-level, despite the traditional claim that competing interests in a market system result in maximum efficiency, fair results, and the common good. Truth, if it exists at all in this fictional world of espionage, can only be imagined as a whole picture looked at from the outside of the multiple bureaus and interests. However, if we take these episodes as suggestive of American society more broadly with its logic of privatization and the market system, we are given a critical picture of how the divergent interests that operate within American capitalist society serve to frustrate the interests of the whole. The ultimate logic of capitalism and the market ~where each individual pursues individual interests! are revealed as leading to incoherence and flawed results. American society is in crisis, unable to function effectively in the Cold War because so-called intelligence gathering can never effectively provide more than limited and partial information, and truth is contingent upon pragmatic considerations.

The major characters and their problems also function more narrowly. The CIA agents, determined to influence history, are all would-be authors; they are not just writers-in-general, but the characters often articulate ideas similar to Mailer himself.14 On the most general level, they are all ambitious and determined, but are left in a precarious status in terms of their ultimate contribution to history ~like Mailer!.

The novel opens with Hubbard reading over his memoirs. He opines that under other circumstances he might have settled as a writer ~just as Mailer states in the “Author’s note” that under other circumstances he might have been a CIA agent, which reveals similarities between the two “spooky arts”! but he wonders if anyone will ever read his document. We flash back to his early life where, notably, there are many common features between the tradecraft of writing and espionage. Hubbard learns that espionage is an art. He finds out that “codes” express and determine the life of an agent. Codes change an individual’s name, and Hubbard expresses the view that “the change of name itself ought to be enough to alter one’s character” ~196! and that “even as shifting one’s cryptonym called forth a new potentiality for oneself, so there was a shiver of metamorphosis in this alteration of appearance”~197!. Developing a code name is taken as the construction of a personality, one of the primary tasks of writers and CIA agents alike. Being an effective agent is almost directly compared to the kinds of imagination and creativity required for producing powerful literature. For example, Hubbard describes his early training:

We were assigned a specific color for each number...

@n#ext, we were asked to visualize a wall, a table, a lamp. If the first three digits of the telephone number were 586, we were to picture a red wall behind a gray table on which was sitting an orange lamp. For the succeeding four numbers, we might visualize a woman in a purple jacket, green skirt, and yellow shoes sitting on an orange chair. That was our mental notation for 4216. By such means,586-4216 had been converted into a picture with seven colored objects.... I became so proficient at these

equivalents that I saw hues so soon as I heard numbers. ~197–198!