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<small>It is not easy being a great writer.</small>Nor is it easy—as various members of Norman Mailer’s family have testified—living with a great writer. The vocation of the serious author involves, along with a multitude of passions and perspectives, a good deal of angst. In using the term angst, I mean a deep sense of existential dread, but more particularly a peculiar experience of alienation that may be inseparable—it has been argued—from twentieth-century authorship. Hilary Justice has described a kind of “writer/author alienation” () experienced both by Mailer and Hemingway, and their differing responses to that alienation.1 | <small>It is not easy being a great writer.</small>Nor is it easy—as various members of Norman Mailer’s family have testified—living with a great writer. The vocation of the serious author involves, along with a multitude of passions and perspectives, a good deal of angst. In using the term angst, I mean a deep sense of existential dread, but more particularly a peculiar experience of alienation that may be inseparable—it has been argued—from twentieth-century authorship. Hilary Justice has described a kind of “writer/author alienation” () experienced both by Mailer and Hemingway, and their differing responses to that alienation.1 | ||
<blockquote>Hemingway saw this alienation as a paradox and sought to eliminate it through force of will and pedantry. Mailer, having learned from Hemingway (and writing not as a Modernist but Postmodernist), embraced the paradox and gave it center stage. . . . Their future success as novelists (which would in both cases be uneven) would depend for the remainder of their careers on how successfully each negotiated the inescapable alienation of writer from author that was intrinsic to mid-twentieth-century American authorship. ()</blockquote> | <blockquote>Hemingway saw this alienation as a paradox and sought to eliminate it through force of will and pedantry. Mailer, having learned from Hemingway (and writing not as a Modernist but Postmodernist), embraced the paradox and gave it center stage. . . . Their future success as novelists (which would in both cases be uneven) would depend for the remainder of their careers on how successfully each negotiated the inescapable alienation of writer from author that was intrinsic to mid-twentieth-century American authorship. ()</blockquote> | ||
Her description of Mailer as one who “embraced the paradox and gave it center stage” sounds familiar to those of us who value and teach his work. | |||
The phrase brings us face to face with the complex relationship between Mailer’s fiction and nonfiction, and between the writer and the public figure. Few contemporary writers have “embraced the paradox” as much as Mailer, but this “writer/author alienation” (Justice ) would seem to be common to many twentieth-century authors. My conviction is that these three authors—Norman Mailer (–), Ernest Hemingway | |||
(–), and F. Scott Fitzgerald (–)—in struggling with that alienation, reveal a profound experience of angst, an angst that was both personal and cultural. Their literary responses were very different, as we shall see, but each writer was able to find a degree of aesthetic distance that transformed that angst into art. | |||