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'''J. Michael Lennon''': It’s not an easy question. I have so many memories of Norman. But one of the things that has always impressed me about him, right to the very end, is work ethic. Norman was always devoted to the literary arts, which took a toll on other relationships. Yet it was it was something that drove him. For example, when he entered the hospital for his last round of operations and treatments, he brought with him a half dozen books on Adolf Hitler. I was just stunned by that! I thought, oh, my God, when is he going to give it a break? No, he just didn’t give up. | '''J. Michael Lennon''': It’s not an easy question. I have so many memories of Norman. But one of the things that has always impressed me about him, right to the very end, is work ethic. Norman was always devoted to the literary arts, which took a toll on other relationships. Yet it was it was something that drove him. For example, when he entered the hospital for his last round of operations and treatments, he brought with him a half dozen books on Adolf Hitler. I was just stunned by that! I thought, oh, my God, when is he going to give it a break? No, he just didn’t give up. | ||
As a writer, he was devoted to the notion that the novel was the art form that had the greatest capacity for understanding society and human psychology. He believed the novel made the world more understandable, made it a better place to live in. | |||
The other issue that comes to mind is his identity as an insider/outsider. Norman knew a lot of famous people, of course, including Muhammad Ali, Jack Kennedy, Bill Clinton, John Lennon, and practically every one of his major contemporaries in the United States: Bellow, Mary McCarthy, Robert Lowell, Dwight Macdonald, the Beats—Kerouac, Ginsberg and Burroughs—Bill Styron, Henry Miller, Lillian Hellman, Bill Kennedy, George Plimpton, Diana Trilling, James Baldwin, Gay Talese, John Irving, Joyce Carol Oates, Philip Roth, and James Jones (his dearest friend), and Don DeLillo (with whom he had a special kinship), and Gore Vidal and Truman Capote, with whom he had off-and-on friendships with—I could name more. He also | |||
knew many major writers around the world, including Gabriel Garcia Marquez, Carlos Fuentes, Romain Gary, Salman Rushdie, Martin Amis, and Günter Grass. But he never really wanted to be a conspicuous part of the literary establishment. He wanted to maintain a modicum of distance from it so that he could criticize it; he was resolute about not losing his independent perspective, and so he backed out of many activities. However, he was president of PEN for a couple of years, and yes, that is certainly the establishment. But he got out of there after only two years. He called it his “church work.” With Norman there was always the sense of “I want to be an outsider. I do not want to be trammeled by my affiliations with any literary, political or what-have-you establishment to the extent that it will dampen my independence, or constrict my perspective.” Norman felt that one must be there to speak to one’s time on the planet. He was also exceptionally devoted to his family and his friends; there had to be at least fifty people who thought of | |||
themselves as “Norman Mailer’s best friend.” He had a kind of openness, candor, and generosity of spirit with his friends and his family, a personal magnetism. | |||
PS: Do you feel that this duality of insider and outsider hurt him at times? | |||
Did it accelerate tensions or create conflicts that perhaps someone with a | |||
more stable identity of either insider or outsider might not encounter? | |||