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Lipton’s Journal/Correspondence of Robert Lindner and Norman Mailer/April 15, 1953: Difference between revisions
Lipton’s Journal/Correspondence of Robert Lindner and Norman Mailer/April 15, 1953 (view source)
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Dear Bob, | Dear Bob, | ||
I hope you’ll excuse this long delay, but things have been kind of up in the air. I’ve started working on the second draft of my book | I hope you’ll excuse this long delay, but things have been kind of up in the air. I’ve started working on the second draft of my book,{{refn|''[[The Deer Park]]''.}} and the first month on a book (as I said this second draft is virtually a new book) is the worst kind of hell I know. If anything drives me to analysis in the near future, it’s going to be exactly that depression, ambivalence, anxiety, etc. etc. etc. which just comes upon me, predictably as a railroad schedule, whenever I start. Indeed at the moment this second draft strikes me as being conceivably a roaring error. No sooner had I gotten into it, than a whole set of ideas occurred to me on how to save the first draft, and I’m still debating whether to go back to that—hence the non-appearance of my promised manuscript in your mail. Will you be patient on that? I feel at the moment as if it would be very bad to have anyone read that first draft, for I’m so susceptible to opinion at the moment that I think a man I picked off the street to read a page of mine could depress or elate me according to his reaction. And since your reaction would be far more important to me than that, I think it best to bull through this on my own for the next few months. | ||
Lamont<ref>John Lamont is a friend of Mailer’s.</ref> mentioned to me that you had remarked how much you had enjoyed our luncheon. Well, I did too, Bob, and I hope we can make it a regular function on your trips to New York. In fact I’m looking forward to your next appearance. There are so many things to talk about. One of the things I’d like to go into with you, are the curious psychological prerequisites for writing a novel in the first person or the third person.<ref> See Mailer’s discussion of the opportunities and hazards of both points of view in ''[[The Spooky Art]]'' (2003), 84-88.</ref> I’ve been very aware of it the last few weeks, for there have been alternate days in which I’ve written in first person, third person, and finally both, and think I have a certain small knowledge of why.
| Lamont<ref>John Lamont is a friend of Mailer’s.</ref> mentioned to me that you had remarked how much you had enjoyed our luncheon. Well, I did too, Bob, and I hope we can make it a regular function on your trips to New York. In fact I’m looking forward to your next appearance. There are so many things to talk about. One of the things I’d like to go into with you, are the curious psychological prerequisites for writing a novel in the first person or the third person.<ref> See Mailer’s discussion of the opportunities and hazards of both points of view in ''[[The Spooky Art]]'' (2003), 84-88.</ref> I’ve been very aware of it the last few weeks, for there have been alternate days in which I’ve written in first person, third person, and finally both, and think I have a certain small knowledge of why.
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