Talk:Lipton’s Journal
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 | x | 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 | x | Note. |
December 8, 1954
# | NM# | First Words | x-Refs | Cut | Notes |
---|---|---|---|---|---|
12 | 12 | One should always try to | x | ||
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 | x | Partial cut. | |
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 | x | Note needed?: Charley Wiener | |
81 | 80 | Eitel in court | x | 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 | x | ||
89 | 88 | Bombing as the great shitting | x | ||
90 | 89 | Comedians and comic writers | x | ||
91 | 90 | Women who always hate | |||
92 | 91 | The more knowledge | |||
93 | 92 | Possibly, bad works of art | x | ||
94 | 93 | The spy (another adventurer) | Note. | ||
95 | 94 | Actors and spies | |||
96 | 95 | When a friend says | x | ||
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 | x | 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 | x | ||
118 | 117 | Man may be terrible | x | ||
119 | 118 | The fear of being ridiculous | |||
120 | 119 | Toward the end of Marion | x | ||
121 | 120 | Marion Faye’s note about | x | ||
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 | x | ||
134 | 133 | Jazz is more creative | |||
135 | 134 | I used to be outwardly | |||
136 | 135 | Years ago, working with Malaquais | x | ||
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 | x | ||
166 | 165 | A psychopath expands |
January 20, 1955
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
- 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?
- Are the numbers on Donna’s transcript the new, correct numbers? (I know Mike said that Mailer mis-numbered some entries.)
- Should each entry date have its own index page? Perhaps each numbered entry could be summarized here?
- Should each numbered entry should have its own (sub)page? I think yes.
- 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 beLJ1
or justL1
. - Should we categorize numbered entries? Thematically? Style of entry?