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 | 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 | Note. |
December 8, 1954
# | NM# | First Words | x-Refs | Cut | Notes |
---|---|---|---|---|---|
12 | 12 | One should always try to | |||
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 | (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 | Note needed?: Charley Wiener | ||
81 | 80 | Eitel in court | 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 | |||
89 | 88 | Bombing as the great shitting | |||
90 | 89 | Comedians and comic writers | |||
91 | 90 | Women who always hate | |||
92 | 91 | The more knowledge | |||
93 | 92 | Possibly, bad works of art | |||
94 | 93 | The spy (another adventurer) | Note. | ||
95 | 94 | Actors and spies | |||
96 | 95 | When a friend says | |||
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 | 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 | |||
118 | 117 | Man may be terrible | |||
119 | 118 | The fear of being ridiculous | |||
120 | 119 | Toward the end of Marion | |||
121 | 120 | Marion Faye’s note about | |||
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 | |||
134 | 133 | Jazz is more creative | |||
135 | 134 | I used to be outwardly | |||
136 | 135 | Years ago, working with Malaquais | |||
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 | |||
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? | |||
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 | |||
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 | |||
193 | 192 | Fatty foods are cunt foods | |||
194 | 193 | Bob told the pickle factory joke | |||
195 | 194 | Obscenity substitutes | |||
196 | 195 | Obscenity echoes | |||
197 | 196 | In Barbary Shore I planted |
January 20, 1955
# | NM# | First Words | x-Refs | Cut | Notes |
---|---|---|---|---|---|
198 | 197 | The poor drawing | |||
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 | |||
210 | 209 | How much real hatred | |||
211 | 210 | What we do on the surface | |||
212 | 211 | Homeostasis may be true | (partial) | ||
213 | 212 | Our perception of others | |||
214 | 213 | Word echoes. Son is sin |
January 24, 1955
# | NM# | First Words | x-Refs | Cut | Notes |
---|---|---|---|---|---|
215 | 214 | Word echoes. Possible way | |||
216 | 215 | Friday, Saturday, and Sunday | Note. | ||
217 | 216 | To begin with, one | Notes. | ||
218 | 217 | How I’m getting to love | |||
219 | 218 | Spies are takers | |||
220 | 219 | Thoughts about The Deer Park | |||
221 | 220 | When Elena is first introduced | |||
222 | 221 | Wrestlers and boxers | |||
223 | 222 | Homeostasis and sociostasis | Note. | ||
224 | 223 | What I have noticed | Note. | ||
225 | 224 | My character. I have always | Notes. | ||
226 | 225 | Remember: The fear of being | |||
227 | 226 | In The Journal of Marion Faye | |||
228 | 227 | The movement of my writing | Should McLeod be glossed? | ||
229 | 228 | I have always been the romantic | |||
230 | 229 | To condemn | L205, L228 | ||
231 | 230 | Our resistance about changing | Note. | ||
232 | 231 | Rojo and ojo | |||
233 | 232 | Man and his dog | |||
234 | 233 | For three years while writing | |||
235 | 234 | Romance and realism | Note. | ||
236 | 235 | The saint and the psychopath | |||
237 | 236 | In the saint-psychopath sense | |||
238 | 237 | This is the best day | |||
239 | 238 | I was deeply instinctively right | |||
240 | 239 | Yet the course of human history | |||
241 | 240 | For years, unknowingly | |||
242 | 241 | Bebop. P and B are sibling consonants | Notes. | ||
244 | 243 | Golfers are people who take | |||
245 | 244 | Put another way, the sociostatic | |||
246 | 245 | But look at the philosophical | |||
247 | 246 | It also suggests that action | |||
248 | 247 | Which leads me to | Note. | ||
249 | 248 | English is so magnificently blunt | |||
250 | 249 | To go back to note 245 | L245 | Notes. | |
251 | 250 | Joyful thought | |||
252 | 251 | Children’s eating | Note. | ||
253 | 252 | Everybody is both male and female | Should NM’s spelling be made consistent: e.g., bi-sexual or bisexual? |
January 25, 1955
# | NM# | First Words | x-Refs | Cut | Notes |
---|---|---|---|---|---|
254 | 253 | The advances in medicine | |||
255 | 254 | The predictor, the prophet | Note. | ||
256 | 255 | The above note | L255 | ||
257 | 256 | Bob is the dishonest man | |||
258 | 257 | I wonder if one doesn’t | |||
259 | 258 | Typing errors | |||
260 | 259 | But I wanted to finish | (partial) | Note. | |
261 | 260 | What I wrote about Sergius | |||
262 | 261 | This Journal in so far | |||
263 | 262 | I realized so many funny | |||
264 | 263 | Since I started this Journal | Notes. | ||
265 | 264 | The sense of time | |||
266 | 265 | Old people don’t slow down | |||
267 | 266 | To continue 265 I wonder | L265 | ||
268 | 268 | The interesting confirmation | L267 | ||
269 | 269 | Fed up. We stuff ourselves | |||
270 | 270 | Radicals. Particularly socialists | |||
271 | 271 | Prose on wings, tra-la, tra-la | L270 | Note. | |
272 | 272 | So, modestly, I see my mission | |||
273 | 273 | Jews hated Hitler violently | |||
274 | 274 | What is a monster? |
January 26, 1955
# | NM# | First Words | x-Refs | Cut | Notes |
---|---|---|---|---|---|
275 | 275 | I am coming to believe | |||
276 | 276 | I have noticed in analytic | Note. | ||
277 | 277 | Let me put it this way | Should "basis" be "basic" in sentence 1? | ||
278 | 278 | I know now why I | |||
279 | 279 | Clues, mysteries, puns | |||
280 | 280 | In this sense, we are all | |||
281 | 281 | If the above sounds very fancy | L280 | ||
282 | 282 | Sociostasis and sociostasis | Notes. | ||
283 | 283 | So in that sense | L282 | Note. | |
284 | 284 | Little confirmations of 282 | L282 | ||
285 | 285 | I have to face something | Note. | ||
286 | 286 | Dialogue: Yesterday, Hiram Haydn | Note. | ||
287 | 287 | Word echoes: Go, man, go | |||
288 | 288 | Bob Lindner is in the dramatic | Note. | ||
289 | 289 | Let me try 283 again | L283 | Note. | |
290 | 290 | Now I come back | |||
291 | 291 | The all-out Marxist | |||
292 | 292 | Now, back to 290 | L290, L395 (in note) | Note. | |
293 | 293 | I’m getting exhausted | |||
294 | 294 | One takes in order to understand | |||
295 | 295 | But wrestlers who are givers | |||
296 | 296 | Talk is cheap, action is hard | |||
297 | 297 | Jokes. Argo. | |||
298 | 298 | No wonder I’ve always been | |||
299 | 299 | Back to x Jargon | |||
300 | 300 | B is the first consonant | |||
301 | 301 | Infant and I am faint | |||
302 | 302 | Ant and and | |||
303 | 303 | Obscenities: 69 | |||
304 | 304 | Jazz. Z and s are sibling components | |||
305 | 305 | At this moment I’m sick | |||
306 | 306 | But what a compulsion | L305 | ||
307 | 307 | I’m getting weary | Note. | ||
308 | 308 | Fuck, piss, cock, shit, cunt | |||
309 | 309 | I have heard writers say | |||
310 | 310 | When I was a kid | Note. | ||
311 | 311 | My pompous man again | |||
312 | 312 | It seems obvious that insanity | |||
313 | 313 | Word echoes. Job | |||
314 | 314 | Aristocrats are usually takers |
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?