The Mailer Review/Volume 13, 2019/Angst, Authorship, Critics: “The Snows of Kilimanjaro,” “The Crack-Up,” Advertisements for Myself: Difference between revisions
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It is not easy being a great writer. 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”{{sfn|Justice|2010|p=260}} experienced both by Mailer and Hemingway, and their differing responses to that alienation.{{efn|In arguing her claim, Hilary Justice compares Hemingway’s ''Death in the Afternoon'' (1932) with Mailer’s ''Advertisements for Myself'' (1959), using the phrase “authorship and alienation.” This suggested to me the theme of writer/author alienation, but I decided to use instead Hemingway’s short story “The Snows of Kilimanjaro” (1936), published four years later, and to add Fitzgerald’s “The Crack-Up” (1936). It seemed to me that “Snows” is a more successful work than ''Death in the Afternoon'', and was also published the same year as Fitzgerald’s articles. All three works, I believe, reveal this writer/author alienation, but I decided to use as my title “Angst, Authorship, and the Critics” to highlight other factors. The article by Justice, however, was the primary catalyst for my paper.}} | It is not easy being a great writer. 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”{{sfn|Justice|2010|p=260}} experienced both by Mailer and Hemingway, and their differing responses to that alienation.{{efn|In arguing her claim, Hilary Justice compares Hemingway’s ''Death in the Afternoon'' (1932) with Mailer’s ''Advertisements for Myself'' (1959), using the phrase “authorship and alienation.” This suggested to me the theme of writer/author alienation, but I decided to use instead Hemingway’s short story “The Snows of Kilimanjaro” (1936), published four years later, and to add Fitzgerald’s “The Crack-Up” (1936). It seemed to me that “Snows” is a more successful work than ''Death in the Afternoon'', and was also published the same year as Fitzgerald’s articles. All three works, I believe, reveal this writer/author alienation, but I decided to use as my title “Angst, Authorship, and the Critics” to highlight other factors. The article by Justice, however, was the primary catalyst for my paper.}} | ||
<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.{{sfn|Justice|2010|p=230}}</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”{{sfn|Justice|2010|p=260}} would seem to be common to many twentieth-century authors. My conviction is that these three authors—Norman Mailer (1923–2007), Ernest Hemingway (1899–1961), and F. Scott Fitzgerald (1896–1940)—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. | |||
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| « | The Mailer Review • Volume 13 Number 1 • 2019 | » |
Raymond M. Vince
Abstract: Mailer, Hemingway, and Fitzgerald face personal and cultural angst. Despite critical disapproval at the time, the works use counterfactuals and aesthetic distance to mark “a fundamental change in American consciousness.” Vladimir Nabokov suggests that we possess “only words to play with.” Using such frail and fallible words, these writers transformed their personal angst into great art, creating works that—like Mount Kilimanjaro—endure.
URL: http://prmlr.us/mr13vin
It is not easy being a great writer. 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”[1] experienced both by Mailer and Hemingway, and their differing responses to that alienation.[a]
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.[2]
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”[1] would seem to be common to many twentieth-century authors. My conviction is that these three authors—Norman Mailer (1923–2007), Ernest Hemingway (1899–1961), and F. Scott Fitzgerald (1896–1940)—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.
. . .
Notes
- ↑ In arguing her claim, Hilary Justice compares Hemingway’s Death in the Afternoon (1932) with Mailer’s Advertisements for Myself (1959), using the phrase “authorship and alienation.” This suggested to me the theme of writer/author alienation, but I decided to use instead Hemingway’s short story “The Snows of Kilimanjaro” (1936), published four years later, and to add Fitzgerald’s “The Crack-Up” (1936). It seemed to me that “Snows” is a more successful work than Death in the Afternoon, and was also published the same year as Fitzgerald’s articles. All three works, I believe, reveal this writer/author alienation, but I decided to use as my title “Angst, Authorship, and the Critics” to highlight other factors. The article by Justice, however, was the primary catalyst for my paper.
Citations
- ↑ 1.0 1.1 Justice 2010, p. 260.
- ↑ Justice 2010, p. 230.
Works Cited
- Justice, Hilary K. (2010). "Authorship and Alienation in Death in the Afternoon and Advertisements for Myself". The Mailer Review. 4 (1): 259–272.
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