https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_13,_2019/Angst,_Authorship,_Critics:_%E2%80%9CThe_Snows_of_Kilimanjaro,%E2%80%9D_%E2%80%9CThe_Crack-Up,%E2%80%9D_Advertisements_for_Myself&feed=atom&action=historyThe Mailer Review/Volume 13, 2019/Angst, Authorship, Critics: “The Snows of Kilimanjaro,” “The Crack-Up,” Advertisements for Myself - Revision history2024-03-28T12:07:18ZRevision history for this page on the wikiMediaWiki 1.39.0https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_13,_2019/Angst,_Authorship,_Critics:_%E2%80%9CThe_Snows_of_Kilimanjaro,%E2%80%9D_%E2%80%9CThe_Crack-Up,%E2%80%9D_Advertisements_for_Myself&diff=13271&oldid=prevGrlucas: Added missing source. Removed working banner.2021-03-03T14:01:25Z<p>Added missing source. Removed working banner.</p>
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<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">{{Working}}</del></div></td><td colspan="2" class="diff-side-added"></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>{{Byline|last=Vince|first=Raymond M.|url=http://prmlr.us/mr13vin|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.|note=An earlier version of this paper was presented at the Seventeenth Norman Mailer Conference at Wilkes University, Pennsylvania, 10–12 October, 2019.}}</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>{{Byline|last=Vince|first=Raymond M.|url=http://prmlr.us/mr13vin|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.|note=An earlier version of this paper was presented at the Seventeenth Norman Mailer Conference at Wilkes University, Pennsylvania, 10–12 October, 2019.}}</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Mailer saw clearly the problem of writer/author alienation in the mid-twentieth-century. However, in contrast to Hemingway, he “embraced the paradox and gave it center stage.”{{Sfn|Justice|2010|p=260}} We can also see a contrast with the kind of heroes that Mailer creates in his writing, compared with the heroes of the earlier Modernist era. In an older article from the 1960s, Frederick J. Hoffman suggests that Mailer’s heroes, such as Sergius O’Shaugnessy, seem to be polar opposites to T. S. Eliot’s Prufrock. They act with passion, and they act without inhibitions.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Mailer saw clearly the problem of writer/author alienation in the mid-twentieth-century. However, in contrast to Hemingway, he “embraced the paradox and gave it center stage.”{{Sfn|Justice|2010|p=260}} We can also see a contrast with the kind of heroes that Mailer creates in his writing, compared with the heroes of the earlier Modernist era. In an older article from the 1960s, Frederick J. Hoffman suggests that Mailer’s heroes, such as Sergius O’Shaugnessy, seem to be polar opposites to T. S. Eliot’s Prufrock. They act with passion, and they act without inhibitions.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>{{quote|Mailer’s writings explicitly state the terms of the modern revolt against conventional society. It is very different from past literary rebellions: it begins in the instinctual life, and it is free both from established conventions and ideological complications. Sergius O’Shaugnessy, Mailer’s favorite hero, as a personality stands at the opposite pole from Eliot’s J. Alfred Prufrock. He acts independently of all the inhibitions which allowed Prufrock to postpone action; his major impulse is both to murder and to create, to express passion through instinctive acts. He is the “marginal ego,” the dislocated and “disaffiliated” self, who tries to make a way of life from the energy and strategy of pure rebellion.{{sfn|Hoffman|<del style="font-weight: bold; text-decoration: none;">xxxx</del>|p=12}} }}</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>{{quote|Mailer’s writings explicitly state the terms of the modern revolt against conventional society. It is very different from past literary rebellions: it begins in the instinctual life, and it is free both from established conventions and ideological complications. Sergius O’Shaugnessy, Mailer’s favorite hero, as a personality stands at the opposite pole from Eliot’s J. Alfred Prufrock. He acts independently of all the inhibitions which allowed Prufrock to postpone action; his major impulse is both to murder and to create, to express passion through instinctive acts. He is the “marginal ego,” the dislocated and “disaffiliated” self, who tries to make a way of life from the energy and strategy of pure rebellion.{{sfn|Hoffman|<ins style="font-weight: bold; text-decoration: none;">1960</ins>|p=12}} }}</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In a recent article, Alex Hicks has made a strong case that we should see ''Advertisements'' as Mailer’s ''Künstlerroman'' or artist-novel—similar in scope to Joyce’s ''Portrait of the Artist as a Young Man'' and other examples. His thesis is “that ''Advertisements for Myself'' is better appreciated as a novelistic autobiography than as an anthology-like collection of writings,” and he finds support for this view from Bloom, Frye, Jonathan Lethem and many others.{{sfn|Hicks|n.d.|}} The quotation from Lethem is particularly powerful, “''Advertisements for Myself'' is Mailer’s greatest book, simply because it frames the drama of the construction of this voice, the thrilling resurrection of his personality as his greatest asset after the public pratfalls accompanying his second and third novels.”{{sfn|Lethem|2013|p=xiv}} Lethem saw Mailer “in the late fifties to have become a radar detector for the onset of . . . the post-modern cultural condition generally.”{{sfn|Lethem|2013|p=xii}} I find the arguments of both Hicks and Lethem cogent and persuasive, but I do wonder if elements of this artist-novel mode are not also found in Hemingway’s “Snows” and Fitzgerald’s “The Crack-Up”—albeit in a rudimentary form.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In a recent article, Alex Hicks has made a strong case that we should see ''Advertisements'' as Mailer’s ''Künstlerroman'' or artist-novel—similar in scope to Joyce’s ''Portrait of the Artist as a Young Man'' and other examples. His thesis is “that ''Advertisements for Myself'' is better appreciated as a novelistic autobiography than as an anthology-like collection of writings,” and he finds support for this view from Bloom, Frye, Jonathan Lethem and many others.{{sfn|Hicks|n.d.|}} The quotation from Lethem is particularly powerful, “''Advertisements for Myself'' is Mailer’s greatest book, simply because it frames the drama of the construction of this voice, the thrilling resurrection of his personality as his greatest asset after the public pratfalls accompanying his second and third novels.”{{sfn|Lethem|2013|p=xiv}} Lethem saw Mailer “in the late fifties to have become a radar detector for the onset of . . . the post-modern cultural condition generally.”{{sfn|Lethem|2013|p=xii}} I find the arguments of both Hicks and Lethem cogent and persuasive, but I do wonder if elements of this artist-novel mode are not also found in Hemingway’s “Snows” and Fitzgerald’s “The Crack-Up”—albeit in a rudimentary form.</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* {{cite book |last=Hemingway |first=Ernest |date=2003 |title=The Snows of Kilimanjaro and Other Stories |publisher=New Scribner |ref=harv}}</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* {{cite book |last=Hemingway |first=Ernest |date=2003 |title=The Snows of Kilimanjaro and Other Stories |publisher=New Scribner |ref=harv}}</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* {{cite journal |last=Hicks |first=Alexander |date=n.d. |title=''Advertisements for Myself'': Mailer's ''Künstlerroman'' |publisher=Unpublished Manuscript |ref=harv}} [Later published in ''[[The Mailer Review/Volume 12, 2018|The Mailer Review]]'', volume 12. —Ed.]</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* {{cite journal |last=Hicks |first=Alexander |date=n.d. |title=''Advertisements for Myself'': Mailer's ''Künstlerroman'' |publisher=Unpublished Manuscript |ref=harv}} [Later published in ''[[The Mailer Review/Volume 12, 2018|The Mailer Review]]'', volume 12. —Ed.]</div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">* {{cite journal |last=Hoffman |first=Frederick |title=Norman Mailer and the Revolt of the Ego: Some Observations on Recent American Literature |url= |journal=Wisconsin Studies in Contemporary Literature |volume=1 |issue=3 |date=1960 |pages=5–12 |access-date= |ref=harv }}</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* {{cite journal |last=Johnston |first=Kenneth G. |date=1984 |title=‘The Snows of Kilimanjaro’: An African Purge |journal=Studies in Short Fiction |volume=21 |issue=3 |pages=223-227 |ref=harv}}</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* {{cite journal |last=Johnston |first=Kenneth G. |date=1984 |title=‘The Snows of Kilimanjaro’: An African Purge |journal=Studies in Short Fiction |volume=21 |issue=3 |pages=223-227 |ref=harv}}</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* {{cite journal |last=Justice |first=Hilary K. |title=Authorship and Alienation in ''Death in the Afternoon'' and ''Advertisements for Myself'' |url= |journal=The Mailer Review |volume=4 |issue=1 |date=2010 |pages=259–272 |access-date= |ref=harv }}</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* {{cite journal |last=Justice |first=Hilary K. |title=Authorship and Alienation in ''Death in the Afternoon'' and ''Advertisements for Myself'' |url= |journal=The Mailer Review |volume=4 |issue=1 |date=2010 |pages=259–272 |access-date= |ref=harv }}</div></td></tr>
</table>Grlucashttps://projectmailer.net/index.php?title=The_Mailer_Review/Volume_13,_2019/Angst,_Authorship,_Critics:_%E2%80%9CThe_Snows_of_Kilimanjaro,%E2%80%9D_%E2%80%9CThe_Crack-Up,%E2%80%9D_Advertisements_for_Myself&diff=13165&oldid=prevJules Carry: Removed protection from "The Mailer Review/Volume 13, 2019/Angst, Authorship, Critics: “The Snows of Kilimanjaro,” “The Crack-Up,” Advertisements for Myself"2021-03-02T23:52:30Z<p>Removed protection from "<a href="/pm/The_Mailer_Review/Volume_13,_2019/Angst,_Authorship,_Critics:_%E2%80%9CThe_Snows_of_Kilimanjaro,%E2%80%9D_%E2%80%9CThe_Crack-Up,%E2%80%9D_Advertisements_for_Myself" title="The Mailer Review/Volume 13, 2019/Angst, Authorship, Critics: “The Snows of Kilimanjaro,” “The Crack-Up,” Advertisements for Myself">The Mailer Review/Volume 13, 2019/Angst, Authorship, Critics: “The Snows of Kilimanjaro,” “The Crack-Up,” Advertisements for Myself</a>"</p>
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</td></tr></table>Jules Carryhttps://projectmailer.net/index.php?title=The_Mailer_Review/Volume_13,_2019/Angst,_Authorship,_Critics:_%E2%80%9CThe_Snows_of_Kilimanjaro,%E2%80%9D_%E2%80%9CThe_Crack-Up,%E2%80%9D_Advertisements_for_Myself&diff=13164&oldid=prevJules Carry: Finished remediation. Still awaiting one reference to fix the error.2021-03-02T23:51:06Z<p>Finished remediation. Still awaiting one reference to fix the error.</p>
<a href="https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_13,_2019/Angst,_Authorship,_Critics:_%E2%80%9CThe_Snows_of_Kilimanjaro,%E2%80%9D_%E2%80%9CThe_Crack-Up,%E2%80%9D_Advertisements_for_Myself&diff=13164&oldid=13142">Show changes</a>Jules Carryhttps://projectmailer.net/index.php?title=The_Mailer_Review/Volume_13,_2019/Angst,_Authorship,_Critics:_%E2%80%9CThe_Snows_of_Kilimanjaro,%E2%80%9D_%E2%80%9CThe_Crack-Up,%E2%80%9D_Advertisements_for_Myself&diff=13142&oldid=prevJules Carry: Protected "The Mailer Review/Volume 13, 2019/Angst, Authorship, Critics: “The Snows of Kilimanjaro,” “The Crack-Up,” Advertisements for Myself" ([Edit=Allow only administrators] (expires 22:25, 3 March 2021 (UTC)) [Move=Allow only administrators] (expires 22:25, 3 March 2021 (UTC)))2021-03-02T22:25:19Z<p>Protected "<a href="/pm/The_Mailer_Review/Volume_13,_2019/Angst,_Authorship,_Critics:_%E2%80%9CThe_Snows_of_Kilimanjaro,%E2%80%9D_%E2%80%9CThe_Crack-Up,%E2%80%9D_Advertisements_for_Myself" title="The Mailer Review/Volume 13, 2019/Angst, Authorship, Critics: “The Snows of Kilimanjaro,” “The Crack-Up,” Advertisements for Myself">The Mailer Review/Volume 13, 2019/Angst, Authorship, Critics: “The Snows of Kilimanjaro,” “The Crack-Up,” Advertisements for Myself</a>" ([Edit=Allow only administrators] (expires 22:25, 3 March 2021 (UTC)) [Move=Allow only administrators] (expires 22:25, 3 March 2021 (UTC)))</p>
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</tr><tr><td colspan="2" class="diff-notice" lang="en"><div class="mw-diff-empty">(No difference)</div>
</td></tr></table>Jules Carryhttps://projectmailer.net/index.php?title=The_Mailer_Review/Volume_13,_2019/Angst,_Authorship,_Critics:_%E2%80%9CThe_Snows_of_Kilimanjaro,%E2%80%9D_%E2%80%9CThe_Crack-Up,%E2%80%9D_Advertisements_for_Myself&diff=13141&oldid=prevJules Carry: Finished 1930s §.2021-03-02T22:24:37Z<p>Finished 1930s §.</p>
<a href="https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_13,_2019/Angst,_Authorship,_Critics:_%E2%80%9CThe_Snows_of_Kilimanjaro,%E2%80%9D_%E2%80%9CThe_Crack-Up,%E2%80%9D_Advertisements_for_Myself&diff=13141&oldid=13139">Show changes</a>Jules Carryhttps://projectmailer.net/index.php?title=The_Mailer_Review/Volume_13,_2019/Angst,_Authorship,_Critics:_%E2%80%9CThe_Snows_of_Kilimanjaro,%E2%80%9D_%E2%80%9CThe_Crack-Up,%E2%80%9D_Advertisements_for_Myself&diff=13139&oldid=prevHCooper: punctuation error2021-03-02T22:23:16Z<p>punctuation error</p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>I said earlier that there was much ''literary art'' in Fitzgerald’s apparent self-disclosure in these essays. The “Crack-Up” confessions, while obviously related to a genuine experience of ''angst'' and breakdown at the time, possess a complex relationship to his literary creations to characters such as Jay Gatsby in ''The Great Gatsby'' (1925) or Dick Diver in ''Tender is the Night'' (1934). As with Mailer, the line between his fiction and nonfiction is a complex, contested border. In an interesting 2013 article in ''The Mailer Review'', comparing Fitzgerald, Mailer, and Dylan, Bob Batchelor writes,</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>I said earlier that there was much ''literary art'' in Fitzgerald’s apparent self-disclosure in these essays. The “Crack-Up” confessions, while obviously related to a genuine experience of ''angst'' and breakdown at the time, possess a complex relationship to his literary creations to characters such as Jay Gatsby in ''The Great Gatsby'' (1925) or Dick Diver in ''Tender is the Night'' (1934). As with Mailer, the line between his fiction and nonfiction is a complex, contested border. In an interesting 2013 article in ''The Mailer Review'', comparing Fitzgerald, Mailer, and Dylan, Bob Batchelor writes,</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>{{quote|Fitzgerald’s insight into Jay Gatsby revealed, according to critic Alfred Kazin, the author’s “tragic moodiness” and “a burst of self-understanding” that set the book apart from those of his 1920s contemporaries and writers ever since. . . . It took a special comprehension of the lives of the wealthy and the lives of ordinary people to create such a broad swath. . . . Kazin’s idea captures the strength and beauty of the novel and may actually reveal why it has such staying power. Fitzgerald, despite his claims of not really understanding Gatsby as he created him, desperately identified with the dreams the character espoused. He knew the pain of losing the girl and the joy in attaining her.{{sfn|Batchelor|2013|pp=76–77}} }}</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>{{quote|Fitzgerald’s insight into Jay Gatsby revealed, according to critic Alfred Kazin, the author’s “tragic moodiness” and “a burst of self-understanding” that set the book apart from those of his 1920s contemporaries and writers ever since. . . . It took a special comprehension of the lives of the wealthy and the lives of ordinary people to create such a broad swath. . . . Kazin’s idea captures the strength and beauty of the novel and may actually reveal why it has such staying power. Fitzgerald, despite his claims of not really understanding Gatsby as he created him, desperately identified with the dreams the character espoused. He knew the pain of losing the girl and the joy in attaining her. {{sfn|Batchelor|2013|pp=76–77}} }}</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Scott Donaldson agrees with this general point. “It is true of Fitzgerald,” he writes, “not only that his characters are modeled on himself but that he sometimes becomes his characters after the fact.”{{sfn|Donaldson|1980|p=185}}{{efn|“Thus his retreat to Ashville, Tyron, Hendersonville in North Carolina during the two years of his personal depression virtually repeat Dick Diver’s drifting among the small towns of upstate New York. . . . He will now be <del style="font-weight: bold; text-decoration: none;">‘ a </del>writer only,’ he announces in the last of the ‘Crack-Up’ articles, just as Dick Diver finally became only a doctor, no longer a scientist or entertainer or bon vivant.”{{sfn|Donaldson|1980|p=185}} }} Batchelor cites other critics who agree that Fitzgerald “virtually invented the confessional mode” of writing and that his own life seems to mirror his greatest artistic creations, characters such as Jay Gatsby.{{sfn|Batchelor|2013|p=78}}{{efn|Morris Dickstein discusses the author’s transformation from literary and celebrity prince to “representative man,” which led to him producing more “introspective” work. The result, Dickstein explains, was that the great novelist “virtually invented the confessional mode in American writing.”{{Sfn|Dickstein|2005|p=82}} Because of the “Crack-Up” essays in ''Esquire'', later writers felt free to explore the genre, including Norman Mailer in ''Advertisements for Myself''. Writing about Fitzgerald in late 1963, critic Malcolm Cowley assesses the author’s life as similar to one of his artistic creations, even greater than that perpetuated by Jay Gatsby. There is a certain duality, he concludes, between the study of Gatsby in high schools all over the nation and the author’s life becoming “a legend like that of Poe or even that of Davy Crockett.”{{sfn|Batchelor|2013|p=78}} }}</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Scott Donaldson agrees with this general point. “It is true of Fitzgerald,” he writes, “not only that his characters are modeled on himself but that he sometimes becomes his characters after the fact.”{{sfn|Donaldson|1980|p=185}}{{efn|“Thus his retreat to Ashville, Tyron, Hendersonville in North Carolina during the two years of his personal depression virtually repeat Dick Diver’s drifting among the small towns of upstate New York. . . . He will now be <ins style="font-weight: bold; text-decoration: none;">‘a </ins>writer only,’ he announces in the last of the ‘Crack-Up’ articles, just as Dick Diver finally became only a doctor, no longer a scientist or entertainer or bon vivant.”{{sfn|Donaldson|1980|p=185}} }} Batchelor cites other critics who agree that Fitzgerald “virtually invented the confessional mode” of writing and that his own life seems to mirror his greatest artistic creations, characters such as Jay Gatsby.{{sfn|Batchelor|2013|p=78}}{{efn|Morris Dickstein discusses the author’s transformation from literary and celebrity prince to “representative man,” which led to him producing more “introspective” work. The result, Dickstein explains, was that the great novelist “virtually invented the confessional mode in American writing.”{{Sfn|Dickstein|2005|p=82}} Because of the “Crack-Up” essays in ''Esquire'', later writers felt free to explore the genre, including Norman Mailer in ''Advertisements for Myself''. Writing about Fitzgerald in late 1963, critic Malcolm Cowley assesses the author’s life as similar to one of his artistic creations, even greater than that perpetuated by Jay Gatsby. There is a certain duality, he concludes, between the study of Gatsby in high schools all over the nation and the author’s life becoming “a legend like that of Poe or even that of Davy Crockett.”{{sfn|Batchelor|2013|p=78}} }}</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>It is also true that Fitzgerald is dealing with a profound sense of loss in “The Crack-Up” essays—whether we describe it as the loss of youth, innocence, naiveté or whatever. Moreover, that element of loss is characteristic of his best fiction: it is ''not'' restricted to the personal revelations of “The Crack-Up.” In a foreword to an anthology of Fitzgerald’s early short stories, Roxana Robinson writes:</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>It is also true that Fitzgerald is dealing with a profound sense of loss in “The Crack-Up” essays—whether we describe it as the loss of youth, innocence, naiveté or whatever. Moreover, that element of loss is characteristic of his best fiction: it is ''not'' restricted to the personal revelations of “The Crack-Up.” In a foreword to an anthology of Fitzgerald’s early short stories, Roxana Robinson writes:</div></td></tr>
</table>HCooperhttps://projectmailer.net/index.php?title=The_Mailer_Review/Volume_13,_2019/Angst,_Authorship,_Critics:_%E2%80%9CThe_Snows_of_Kilimanjaro,%E2%80%9D_%E2%80%9CThe_Crack-Up,%E2%80%9D_Advertisements_for_Myself&diff=13125&oldid=prevJules Carry: Fixing things I already fixed. Other errors to see to. Please, remediators, pay attention.2021-03-02T21:50:37Z<p>Fixing things I already fixed. Other errors to see to. Please, remediators, pay attention.</p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 17:50, 2 March 2021</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l79">Line 79:</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>We realize that such self-disclosure was rare in the 1930s, especially from a man. The language appeared antithetical to contemporary expectations of masculinity—expectations shaped by the hard-boiled novels of Raymond Chandler, the film persona of Humphrey Bogart, and the celebrity legends of Hemingway himself. In such a ''macho'' culture, it is not surprising that many were embarrassed by Fitzgerald’s revelations. After all, Fitzgerald had not hidden behind a fictional voice such as Harry’s; he had not used Joseph Conrad’s complex double framing device found in ''Heart of Darkness'' (1912); he had not written under a ''nom de plume'' as George Eliot had done.{{efn|“For George Eliot, the act of novelistic good faith is contained in the seventeenth chapter [of Adam Bede], where she moves ahead in “time” to tell the reader of a recent discussion she has had with Adam Bede, long after the events of the novel. Thus she brings Adam out of the story, making him less totally defined by the frame of the plot, even while she also recalls to us her own role in the creation and articulation of the novel’s elements, not as Mary Ann Evans but as ‘George Eliot,’ the novelist.”{{sfn|Braudy|1981|p=628}} }} Yet, despite the suspicion and derision of contemporaries and critics, Fitzgerald was creating something new.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>We realize that such self-disclosure was rare in the 1930s, especially from a man. The language appeared antithetical to contemporary expectations of masculinity—expectations shaped by the hard-boiled novels of Raymond Chandler, the film persona of Humphrey Bogart, and the celebrity legends of Hemingway himself. In such a ''macho'' culture, it is not surprising that many were embarrassed by Fitzgerald’s revelations. After all, Fitzgerald had not hidden behind a fictional voice such as Harry’s; he had not used Joseph Conrad’s complex double framing device found in ''Heart of Darkness'' (1912); he had not written under a ''nom de plume'' as George Eliot had done.{{efn|“For George Eliot, the act of novelistic good faith is contained in the seventeenth chapter [of Adam Bede], where she moves ahead in “time” to tell the reader of a recent discussion she has had with Adam Bede, long after the events of the novel. Thus she brings Adam out of the story, making him less totally defined by the frame of the plot, even while she also recalls to us her own role in the creation and articulation of the novel’s elements, not as Mary Ann Evans but as ‘George Eliot,’ the novelist.”{{sfn|Braudy|1981|p=628}} }} Yet, despite the suspicion and derision of contemporaries and critics, Fitzgerald was creating something new.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>We can also recognize that this new confessional voice is as much evasion as revelation. In Fitzgerald’s self-disclosure, there was much literary art, and a heavy dose of self-deception. At times, as writers or readers, are we all not guilty of such self-deception? As T.S. Eliot reminds us, “our lives are mostly a constant evasion of ourselves.”{{sfn|Eliot|1933|p=155}}“Poetry may make us from time to time a little more aware of the deeper, unnamed feelings which form the substratum of our being, to which we rarely penetrate; for our lives are mostly a constant evasion of ourselves.”{{sfn|Eliot|1933|p=155}}<del style="font-weight: bold; text-decoration: none;">. </del>It is interesting, therefore, that the opening sentences of the first essay are actually in second-person, not the supposed “greater authenticity provided by the first-person voice with all its limitations.”{{sfn|Hampl|2012|p=108}} “Of course all life is a process of breaking down, but the blows that do the dramatic side of the work—the big, sudden blows that come, or seem to come, from outside—the ones you remember and blame things on and, in moments of weakness, tell your friends about, don’t show their effect all at once. There is another kind of blow that comes from within—that you don’t feel until it’s too late to do anything about it, until you realize with finality that in some regard you will never be as good a man again.”{{Sfn|Fitzgerald|1993|p=69}} Fitzgerald begins with the provocative claim, “Of course all life is a process of breaking down . . .”{{sfn|Fitzgerald|1993|p=69}} Following these introductory sentences, there comes the oft-quoted aphorism of Fitzgerald, “[T]he test of a first-rate intelligence is the ability to hold opposed ideas in the mind at the same time, and still retain the ability to function. One should, for example, be able to see that things are hopeless and yet be determined to make them otherwise.”{{sfn|Fitzgerald|1993|p=69}} There are, of course, many precedents for a first-person voice—confessional or otherwise.{{efn|As first-person precedents to Fitzgerald voice in “The Crack-Up,” Hampl mentions Whitman’s “Song of <del style="font-weight: bold; text-decoration: none;">Myself ” </del>(1855), Nick Carraway in ''The Great Gatsby'' (1925), Hemingway’s Nick Adams, and “before that the narrators of ''Huckleberry Finn'' and ''Moby-Dick''.”{{sfn|Hampl|2012|p=118}} }} It is also true that while ''something'' is being revealed, “often in a wry, self-deprecating style,”{{sfn|Hampl|2012|p=104}} much more is being concealed. Fitzgerald makes no mention of his own alcoholism, his affair with a married woman, or of Zelda’s schizophrenia.{{efn|“Though he describes his psychological and spiritual breakdown, his utter collapse, often in a wry, self-deprecating style, he doesn’t spill many autobiographical beans. We don’t learn of his despair over his wife’s mental illness. He doesn’t divulge his bouts with drinking, his imprudent affair with a married woman, his money worries, his literary woes. Mother, father, those stock figures of personal narrative—never mentioned.”{{sfn|Hampl|2012|p=104}} }} Rather telling omissions, one might say. In his 1980 article, Donaldson says, “As it stands, ‘The Crack-Up’ tells its truth only between the lines.”{{sfn|Donaldson|1980|p=182}} Indeed it does. But that is true of much of Modernist fiction and poetry, is it not?</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>We can also recognize that this new confessional voice is as much evasion as revelation. In Fitzgerald’s self-disclosure, there was much literary art, and a heavy dose of self-deception. At times, as writers or readers, are we all not guilty of such self-deception? As T.S. Eliot reminds us, “our lives are mostly a constant evasion of ourselves.”{{sfn|Eliot|1933|p=155}}<ins style="font-weight: bold; text-decoration: none;">{{efn|</ins>“Poetry may make us from time to time a little more aware of the deeper, unnamed feelings which form the substratum of our being, to which we rarely penetrate; for our lives are mostly a constant evasion of ourselves.”{{sfn|Eliot|1933|p=155}} <ins style="font-weight: bold; text-decoration: none;">}} </ins>It is interesting, therefore, that the opening sentences of the first essay are actually in second-person, not the supposed “greater authenticity provided by the first-person voice with all its limitations.”{{sfn|Hampl|2012|p=108}}<ins style="font-weight: bold; text-decoration: none;">{{efn|</ins>“Of course all life is a process of breaking down, but the blows that do the dramatic side of the work—the big, sudden blows that come, or seem to come, from outside—the ones you remember and blame things on and, in moments of weakness, tell your friends about, don’t show their effect all at once. There is another kind of blow that comes from within—that you don’t feel until it’s too late to do anything about it, until you realize with finality that in some regard you will never be as good a man again.”{{Sfn|Fitzgerald|1993|p=69<ins style="font-weight: bold; text-decoration: none;">}} </ins>}} Fitzgerald begins with the provocative claim, “Of course all life is a process of breaking down . . .”{{sfn|Fitzgerald|1993|p=69}} Following these introductory sentences, there comes the oft-quoted aphorism of Fitzgerald, “[T]he test of a first-rate intelligence is the ability to hold opposed ideas in the mind at the same time, and still retain the ability to function. One should, for example, be able to see that things are hopeless and yet be determined to make them otherwise.”{{sfn|Fitzgerald|1993|p=69}} There are, of course, many precedents for a first-person voice—confessional or otherwise.{{efn|As first-person precedents to Fitzgerald voice in “The Crack-Up,” Hampl mentions Whitman’s “Song of <ins style="font-weight: bold; text-decoration: none;">Myself” </ins>(1855), Nick Carraway in ''The Great Gatsby'' (1925), Hemingway’s Nick Adams, and “before that the narrators of ''Huckleberry Finn'' and ''Moby-Dick''.”{{sfn|Hampl|2012|p=118}} }} It is also true that while ''something'' is being revealed, “often in a wry, self-deprecating style,”{{sfn|Hampl|2012|p=104}} much more is being concealed. Fitzgerald makes no mention of his own alcoholism, his affair with a married woman, or of Zelda’s schizophrenia.{{efn|“Though he describes his psychological and spiritual breakdown, his utter collapse, often in a wry, self-deprecating style, he doesn’t spill many autobiographical beans. We don’t learn of his despair over his wife’s mental illness. He doesn’t divulge his bouts with drinking, his imprudent affair with a married woman, his money worries, his literary woes. Mother, father, those stock figures of personal narrative—never mentioned.”{{sfn|Hampl|2012|p=104}} }} Rather telling omissions, one might say. In his 1980 article, Donaldson says, “As it stands, ‘The Crack-Up’ tells its truth only between the lines.”{{sfn|Donaldson|1980|p=182}} Indeed it does. But that is true of much of Modernist fiction and poetry, is it not?</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>I said earlier that there was much ''literary art'' in Fitzgerald’s apparent self-disclosure in these essays. The “Crack-Up” confessions, while obviously related to a genuine experience of ''angst'' and breakdown at the time, possess a complex relationship to his literary creations to characters such as Jay Gatsby in ''The Great Gatsby'' (1925) or Dick Diver in ''Tender is the Night'' (1934). As with Mailer, the line between his fiction and nonfiction is a complex, contested border. In an interesting 2013 article in ''The Mailer Review'', comparing Fitzgerald, Mailer, and Dylan, Bob Batchelor writes,</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>I said earlier that there was much ''literary art'' in Fitzgerald’s apparent self-disclosure in these essays. The “Crack-Up” confessions, while obviously related to a genuine experience of ''angst'' and breakdown at the time, possess a complex relationship to his literary creations to characters such as Jay Gatsby in ''The Great Gatsby'' (1925) or Dick Diver in ''Tender is the Night'' (1934). As with Mailer, the line between his fiction and nonfiction is a complex, contested border. In an interesting 2013 article in ''The Mailer Review'', comparing Fitzgerald, Mailer, and Dylan, Bob Batchelor writes,</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>{{quote|Fitzgerald’s insight into Jay Gatsby revealed, according to critic Alfred Kazin, the author’s “tragic moodiness” and “a burst of self-understanding” that set the book apart from those of his 1920s contemporaries and writers ever since. . . . It took a special comprehension of the lives of the wealthy and the lives of ordinary people to create such a broad swath. . . . Kazin’s idea captures the strength and beauty of the novel and may actually reveal why it has such staying power. Fitzgerald, despite his claims of not really understanding Gatsby as he created him, desperately identified with the dreams the character espoused. He knew the pain of losing the girl and the joy in attaining her. {{sfn|Batchelor|2013|pp=76–77}} }}</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>{{quote|Fitzgerald’s insight into Jay Gatsby revealed, according to critic Alfred Kazin, the author’s “tragic moodiness” and “a burst of self-understanding” that set the book apart from those of his 1920s contemporaries and writers ever since. . . . It took a special comprehension of the lives of the wealthy and the lives of ordinary people to create such a broad swath. . . . Kazin’s idea captures the strength and beauty of the novel and may actually reveal why it has such staying power. Fitzgerald, despite his claims of not really understanding Gatsby as he created him, desperately identified with the dreams the character espoused. He knew the pain of losing the girl and the joy in attaining her.{{sfn|Batchelor|2013|pp=76–77}} }}</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Scott Donaldson agrees with this general point. “It is true of Fitzgerald,” he writes, “not only that his characters are modeled on himself but that he sometimes becomes his characters after the fact.”{{sfn|Donaldson|1980|p=185}}{{efn|“Thus his retreat to Ashville, Tyron, Hendersonville in North Carolina during the two years of his personal depression virtually repeat Dick Diver’s drifting among the small towns of upstate New York. . . . He will now be ‘ a writer only,’ he announces in the last of the ‘Crack-Up’ articles, just as Dick Diver finally became only a doctor, no longer a scientist or entertainer or bon vivant.”{{sfn|Donaldson|1980|p=185}} }} Batchelor cites other critics who agree that Fitzgerald “virtually invented the confessional mode” of writing and that his own life seems to mirror his greatest artistic creations, characters such as Jay Gatsby.{{sfn|Batchelor|2013|p=78}}{{efn|Morris Dickstein discusses the author’s transformation from literary and celebrity prince to “representative man,” which led to him producing more “introspective” work. The result, Dickstein explains, was that the great novelist “virtually invented the confessional mode in American writing.”{{Sfn|Dickstein|2005|p=82}} Because of the “Crack-Up” essays in ''Esquire'', later writers felt free to explore the genre, including Norman Mailer in ''Advertisements for Myself''. Writing about Fitzgerald in late 1963, critic Malcolm Cowley assesses the author’s life as similar to one of his artistic creations, even greater than that perpetuated by Jay Gatsby. There is a certain duality, he concludes, between the study of Gatsby in high schools all over the nation and the author’s life becoming “a legend like that of Poe or even that of Davy Crockett.”{{sfn|Batchelor|2013|p=78}} }}</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Scott Donaldson agrees with this general point. “It is true of Fitzgerald,” he writes, “not only that his characters are modeled on himself but that he sometimes becomes his characters after the fact.”{{sfn|Donaldson|1980|p=185}}{{efn|“Thus his retreat to Ashville, Tyron, Hendersonville in North Carolina during the two years of his personal depression virtually repeat Dick Diver’s drifting among the small towns of upstate New York. . . . He will now be ‘ a writer only,’ he announces in the last of the ‘Crack-Up’ articles, just as Dick Diver finally became only a doctor, no longer a scientist or entertainer or bon vivant.”{{sfn|Donaldson|1980|p=185}} }} Batchelor cites other critics who agree that Fitzgerald “virtually invented the confessional mode” of writing and that his own life seems to mirror his greatest artistic creations, characters such as Jay Gatsby.{{sfn|Batchelor|2013|p=78}}{{efn|Morris Dickstein discusses the author’s transformation from literary and celebrity prince to “representative man,” which led to him producing more “introspective” work. The result, Dickstein explains, was that the great novelist “virtually invented the confessional mode in American writing.”{{Sfn|Dickstein|2005|p=82}} Because of the “Crack-Up” essays in ''Esquire'', later writers felt free to explore the genre, including Norman Mailer in ''Advertisements for Myself''. Writing about Fitzgerald in late 1963, critic Malcolm Cowley assesses the author’s life as similar to one of his artistic creations, even greater than that perpetuated by Jay Gatsby. There is a certain duality, he concludes, between the study of Gatsby in high schools all over the nation and the author’s life becoming “a legend like that of Poe or even that of Davy Crockett.”{{sfn|Batchelor|2013|p=78}} }}</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>It is also true that Fitzgerald is dealing with a profound sense of loss in “The Crack-Up” essays—whether we describe it as the loss of youth, innocence, naiveté or whatever. Moreover, that element of loss is characteristic of his best fiction: it is ''not'' restricted to the personal revelations of “The Crack-Up.” In a foreword to an anthology of Fitzgerald’s early short stories, Roxana Robinson writes:</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>It is also true that Fitzgerald is dealing with a profound sense of loss in “The Crack-Up” essays—whether we describe it as the loss of youth, innocence, naiveté or whatever. Moreover, that element of loss is characteristic of his best fiction: it is ''not'' restricted to the personal revelations of “The Crack-Up.” In a foreword to an anthology of Fitzgerald’s early short stories, Roxana Robinson writes:</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>{{quote|What is more beautiful than the landscape of loss? What is more heartbreaking, more haunting, more romantic? F. Scott Fitzgerald saw the world as a place of unbearable beauty and unlimited glamour. He saw it as illuminated by the glory of the natural landscape, by the glitter of the people, and by the perilous, irresistible pull of love. He was a romantic, and the greatest of his writing is charged with feeling and haunted by a longing for something irretrievable.{{sfn|Robinson|2005|p=xi}}}}</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>{{quote|What is more beautiful than the landscape of loss? What is more heartbreaking, more haunting, more romantic? F. Scott Fitzgerald saw the world as a place of unbearable beauty and unlimited glamour. He saw it as illuminated by the glory of the natural landscape, by the glitter of the people, and by the perilous, irresistible pull of love. He was a romantic, and the greatest of his writing is charged with feeling and haunted by a longing for something irretrievable.{{sfn|Robinson|2005|p=xi}} }}</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Fitzgerald could write convincingly of such loss because he was such a perceptive ''chronicler'' of his age—in this respect, superior to Hemingway and certainly comparable to Mailer. His clear-sighted perspective is illuminated by his 1931 essay, “Echoes of the Jazz Age,” where—looking back from the sobering vantage point of the Great Depression—he writes what could be the definitive ''post-mortem'' of the 1920s.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Fitzgerald could write convincingly of such loss because he was such a perceptive ''chronicler'' of his age—in this respect, superior to Hemingway and certainly comparable to Mailer. His clear-sighted perspective is illuminated by his 1931 essay, “Echoes of the Jazz Age,” where—looking back from the sobering vantage point of the Great Depression—he writes what could be the definitive ''post-mortem'' of the 1920s.</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>===The Cultural Context of the 1930s===</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>===The Cultural Context of the 1930s===</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>What is the cultural context for Hemingway and Fitzgerald in the 1930s? Do</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>What is the cultural context for Hemingway and Fitzgerald in the 1930s? Do authors reflect the struggles of their age or simply their own struggles? We would answer both, surely. The economic and social <ins style="font-weight: bold; text-decoration: none;">''</ins>angst<ins style="font-weight: bold; text-decoration: none;">'' </ins>of the <ins style="font-weight: bold; text-decoration: none;">1930s—considerable </ins>on any metric—cannot easily be divorced from one person’s psychological angst. We remember that this was the middle of the Great Depression, and although the Great War was two decades previous, another greater War seemed increasingly inevitable.</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>authors reflect the struggles of their age or simply their own struggles? We</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"><!--Checked through here.--></ins></div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>would answer both, surely. The economic and social angst of the <del style="font-weight: bold; text-decoration: none;">1930s—</del></div></td><td colspan="2" class="diff-side-added"></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">considerable </del>on any metric—cannot easily be divorced from one person’s</div></td><td colspan="2" class="diff-side-added"></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>psychological angst. We remember that this was the middle of the Great Depression, and although the Great War was two decades previous, another</div></td><td colspan="2" class="diff-side-added"></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>greater War seemed increasingly inevitable.</div></td><td colspan="2" class="diff-side-added"></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div> </div></td><td colspan="2" class="diff-side-added"></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>On a different level, the 18th Amendment had been repealed in December 1933, so alcohol was once more legal in America. Ironically, Hampl points out that, just as Fitzgerald’s “Crack-Up” articles were appearing, the first Alcoholics Anonymous groups were beginning to meet. There was no causal relationship, but as Hampl suggests, “no cultural change happens in a vacuum”, at the very least, there was “a shared landscape.” {{sfn|Hampl|2012|pp=108}} Through these AA groups, America was introduced to a new kind of secular confessional, a different kind of personal storytelling—one that nearly a century later is still very much with us.<sup>19</sup></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>On a different level, the 18th Amendment had been repealed in December 1933, so alcohol was once more legal in America. Ironically, Hampl points out that, just as Fitzgerald’s “Crack-Up” articles were appearing, the first Alcoholics Anonymous groups were beginning to meet. There was no causal relationship, but as Hampl suggests, “no cultural change happens in a vacuum”, at the very least, there was “a shared landscape.” {{sfn|Hampl|2012|pp=108}} Through these AA groups, America was introduced to a new kind of secular confessional, a different kind of personal storytelling—one that nearly a century later is still very much with us.<sup>19</sup></div></td></tr>
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</table>Jules Carryhttps://projectmailer.net/index.php?title=The_Mailer_Review/Volume_13,_2019/Angst,_Authorship,_Critics:_%E2%80%9CThe_Snows_of_Kilimanjaro,%E2%80%9D_%E2%80%9CThe_Crack-Up,%E2%80%9D_Advertisements_for_Myself&diff=13026&oldid=prevKlcrawford: Fixed minor spelling, spacing, and punctuation errors.2021-03-01T16:58:39Z<p>Fixed minor spelling, spacing, and punctuation errors.</p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 12:58, 1 March 2021</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>about the complex relationship between inner and outer landscapes, remembering Mailer’s poignant description of Hemingway, that his “inner landscape was a nightmare.”{{sfn|Mailer|2013|p=170}}{{efn|Mailer, in his 1963 essay, “Punching Papa,” said that the truth of Hemingway’s “long odyssey” was that his “inner landscape was a nightmare.”{{sfn|Mailer|2013|p=170}} Maybe it was, but the relationship between inner and outer landscapes—for any of us—is a complex one. We might assume that “inner landscape” is merely metaphorical, representing our psyche as some kind of physical space—a plain, a mountain, a house. However, the word landscape is itself metaphorical—whether inner or outer. The ''OED'' calls landscape “a picture representing natural inland scenery,” contrasting it with seascape. In other words, landscape is a “picture” that is always being created and shaped by the human subject.}} Maybe it was. It needs to be said, however, that whenever we encounter landscape, it is always as pictured through our senses, as ''refracted'' through our own perspective, as recreated from our own memories.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>about the complex relationship between inner and outer landscapes, remembering Mailer’s poignant description of Hemingway, that his “inner landscape was a nightmare.”{{sfn|Mailer|2013|p=170}}{{efn|Mailer, in his 1963 essay, “Punching Papa,” said that the truth of Hemingway’s “long odyssey” was that his “inner landscape was a nightmare.”{{sfn|Mailer|2013|p=170}} Maybe it was, but the relationship between inner and outer landscapes—for any of us—is a complex one. We might assume that “inner landscape” is merely metaphorical, representing our psyche as some kind of physical space—a plain, a mountain, a house. However, the word landscape is itself metaphorical—whether inner or outer. The ''OED'' calls landscape “a picture representing natural inland scenery,” contrasting it with seascape. In other words, landscape is a “picture” that is always being created and shaped by the human subject.}} Maybe it was. It needs to be said, however, that whenever we encounter landscape, it is always as pictured through our senses, as ''refracted'' through our own perspective, as recreated from our own memories.</div></td></tr>
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<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>So Kennedy writes of Harry’s “topographical visions” in “Snows.” These are a series of five vignettes, printed in italic type, describing places, people, events, sensory impressions, hints and allusions that represent “what might have been.<del style="font-weight: bold; text-decoration: none;">”They </del>do not yet exist as stories, as developed plots and narratives. They are merely the ''possibility'' of a story. They exist only in Harry’s fevered imagination—they are the thoughts of a dying man. Containing the raw material for a dozen stories, all remain unwritten.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>So Kennedy writes of Harry’s “topographical visions” in “Snows.” These are a series of five vignettes, printed in italic type, describing places, people, events, sensory impressions, hints and allusions that represent “what might have been.<ins style="font-weight: bold; text-decoration: none;">” They </ins>do not yet exist as stories, as developed plots and narratives. They are merely the ''possibility'' of a story. They exist only in Harry’s fevered imagination—they are the thoughts of a dying man. Containing the raw material for a dozen stories, all remain unwritten.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In other words, returning to Harding’s term, these five vignettes printed in italics are ''counterfactuals'', one of three different sets in this story. But even the non-italic sections—the bitter arguments between Harry and Helen—also, deal with “what might have been.” Harry wonders—if I had taken better care of the initial wound, this would not have happened. But it ''did'' happen. Helen reasons—if we had never come to Africa, this death-wound would not have happened. But it ''did'' happen. Hemingway’s story is full of such counterfactuals. Indeed, it is as if Hemingway has written the whole story in the ''subjunctive mood'', written with an excess of content, with dozens of potential stories yet to be told. As told by the normally minimalist Hemingway, this “excess of content” seems unusual—at the very least.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In other words, returning to Harding’s term, these five vignettes printed in italics are ''counterfactuals'', one of three different sets in this story. But even the non-italic sections—the bitter arguments between Harry and Helen—also, deal with “what might have been.” Harry wonders—if I had taken better care of the initial wound, this would not have happened. But it ''did'' happen. Helen reasons—if we had never come to Africa, this death-wound would not have happened. But it ''did'' happen. Hemingway’s story is full of such counterfactuals. Indeed, it is as if Hemingway has written the whole story in the ''subjunctive mood'', written with an excess of content, with dozens of potential stories yet to be told. As told by the normally minimalist Hemingway, this “excess of content” seems unusual—at the very least.</div></td></tr>
<tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l44">Line 44:</td>
<td colspan="2" class="diff-lineno">Line 44:</td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Then, with a jolt, we realize the truth. The triumphant flight past the pure white snows of Kilimanjaro is yet another “might have been” for poor Harry. The first ending, the “happy” ending, is abruptly followed by a second—where Helen discovers her husband’s lifeless body. After Harry’s fantasy ride to Kilimanjaro, the story ends in stone-cold naturalism, with the hyena’s uncanny cry and Helen’s beating heart.{{sfn|Hemingway|2003|p=28}}</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Then, with a jolt, we realize the truth. The triumphant flight past the pure white snows of Kilimanjaro is yet another “might have been” for poor Harry. The first ending, the “happy” ending, is abruptly followed by a second—where Helen discovers her husband’s lifeless body. After Harry’s fantasy ride to Kilimanjaro, the story ends in stone-cold naturalism, with the hyena’s uncanny cry and Helen’s beating heart.{{sfn|Hemingway|2003|p=28}}</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>What is the significance of another animal, the leopard, mentioned at the beginning of the epigraph? Surely that—even at the point of death—this skilled hunter was still climbing, still searching for its prey. Ben Stoltzfus draws a contrast between Harry and the leopard: <del style="font-weight: bold; text-decoration: none;">”The </del>leopard near the summit is one of the objects in the chain of animal events, death, and sensory impressions that contributes to the particular emotion of the story. The epigraph states that no one has explained the presence of the leopard at that altitude, but Hemingway’s story is the answer to the riddle and it explains the cat’s presence.”{{sfn|Stoltzfus|2005|p=224}} Harry, by contrast, as a writer was neither climbing nor hunting. “Leopards hunt and they do what leopards do, whereas Harry, the would-be writer, does everything except write.”{{sfn|Stoltzfus|2005|p=224}} Both man and leopard die—as eventually do all living things—but they die for different reasons.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>What is the significance of another animal, the leopard, mentioned at the beginning of the epigraph? Surely that—even at the point of death—this skilled hunter was still climbing, still searching for its prey. Ben Stoltzfus draws a contrast between Harry and the leopard:<ins style="font-weight: bold; text-decoration: none;">“The </ins>leopard near the summit is one of the objects in the chain of animal events, death, and sensory impressions that contributes to the particular emotion of the story. The epigraph states that no one has explained the presence of the leopard at that altitude, but Hemingway’s story is the answer to the riddle and it explains the cat’s presence.”{{sfn|Stoltzfus|2005|p=224}} Harry, by contrast, as a writer was neither climbing nor hunting. “Leopards hunt and they do what leopards do, whereas Harry, the would-be writer, does everything except write.”{{sfn|Stoltzfus|2005|p=224}} Both man and leopard die—as eventually do all living things—but they die for different reasons.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>How do we reconcile the two endings, the first of which, although printed in normal font, not italics, is, in reality, counterfactual in nature? Here again Harding is helpful.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>How do we reconcile the two endings, the first of which, although printed in normal font, not italics, is, in reality, counterfactual in nature? Here again Harding is helpful.</div></td></tr>
<tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l109">Line 109:</td>
<td colspan="2" class="diff-lineno">Line 109:</td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>authors reflect the struggles of their age or simply their own struggles? We</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>authors reflect the struggles of their age or simply their own struggles? We</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>would answer both, surely. The economic and social angst of the 1930s—</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>would answer both, surely. The economic and social angst of the 1930s—</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>considerable on any <del style="font-weight: bold; text-decoration: none;">metric—can not </del>easily be divorced from one person’s</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>considerable on any <ins style="font-weight: bold; text-decoration: none;">metric—cannot </ins>easily be divorced from one person’s</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>psychological angst. We remember that this was the middle of the Great Depression, and although the Great War was two decades previous, another</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>psychological angst. We remember that this was the middle of the Great Depression, and although the Great War was two decades previous, another</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>greater War seemed increasingly inevitable.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>greater War seemed increasingly inevitable.</div></td></tr>
<tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l124">Line 124:</td>
<td colspan="2" class="diff-lineno">Line 124:</td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>blocked from the 1980s onward.<sup>20</sup> As we have said, there was plenty of angst</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>blocked from the 1980s onward.<sup>20</sup> As we have said, there was plenty of angst</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>going around. The term nervous breakdown “began to cover a wide range of definitions,” embracing “a multiplicity of symptoms." {{sfn|Barke|2002|pp=569}} The very vagueness of the term no doubt increased its usefulness. While there were attempts to distinguish between mild and severe cases, such rational evaluations were not always successful: “Yet many descriptions of nervous breakdown belied this rational progression, insisting that the phenomenon always involved terrible pain: as F. Scott Fitzgerald wrote in ‘The</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>going around. The term nervous breakdown “began to cover a wide range of definitions,” embracing “a multiplicity of symptoms." {{sfn|Barke|2002|pp=569}} The very vagueness of the term no doubt increased its usefulness. While there were attempts to distinguish between mild and severe cases, such rational evaluations were not always successful: “Yet many descriptions of nervous breakdown belied this rational progression, insisting that the phenomenon always involved terrible pain: as F. Scott Fitzgerald wrote in ‘The</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Crack-Up,’ ‘Every act of life from the morning <del style="font-weight: bold; text-decoration: none;">tooth-brush </del>to the friend at</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Crack-Up,’ ‘Every act of life from the morning <ins style="font-weight: bold; text-decoration: none;">toothbrush </ins>to the friend at</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>dinner had become an effort’.” {{sfn|Barke|2002|pp=570}} </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>dinner had become an effort’.” {{sfn|Barke|2002|pp=570}} </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l138">Line 138:</td>
<td colspan="2" class="diff-lineno">Line 138:</td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== MAILER AND ADVERTISEMENTS FOR MYSELF (1959) ===</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== MAILER AND ADVERTISEMENTS FOR MYSELF (1959) ===</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Two decades on, in 1959, in a genre-bending fusion of retrospective,self-creation, and future strategy, Mailer’s Advertisements appeared. Norman Mailer believed his task was “nothing less than making a revolution in the consciousness of our time” Advertisements.{{sfn|Mailer|1959|pp=17}} This bold work would mark a new, controversial era in Mailer’s life and work. ''Advertisements'' has been described by David Castronovo as “an act of defiance—filled with tantrums and inflated rhetoric—but nevertheless a landmark in our literature of protest.'{{sfn|Castronovo|2003|PP=179}} From this moment onward, Mailer would never be “the modernist ''<del style="font-weight: bold; text-decoration: none;">deus </del>absconditus'' . . . vanishing into silence” {{sfn|Braudy|1981|pp=630}} as Leo Braudy has described Thomas Pynchon. Mailer must be both observer of and participant in his times, both author and actor. Mailer would embrace that dual role with enthusiasm.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Two decades on, in 1959, in a genre-bending fusion of retrospective, self-creation, and future strategy, Mailer’s Advertisements appeared. Norman Mailer believed his task was “nothing less than making a revolution in the consciousness of our time” Advertisements.{{sfn|Mailer|1959|pp=17}} This bold work would mark a new, controversial era in Mailer’s life and work. ''Advertisements'' has been described by David Castronovo as “an act of defiance—filled with tantrums and inflated rhetoric—but nevertheless a landmark in our literature of protest.'{{sfn|Castronovo|2003|PP=179}} From this moment onward, Mailer would never be “the modernist ''<ins style="font-weight: bold; text-decoration: none;">dues </ins>absconditus'' . . . vanishing into silence” {{sfn|Braudy|1981|pp=630}} as Leo Braudy has described Thomas Pynchon. Mailer must be both observer of and participant in his times, both author and actor. Mailer would embrace that dual role with enthusiasm.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>We have seen that Hilary Justice compared Hemingway and Mailer on the issue of “writer/author alienation.” Hemingway, she says, tried to overcome that alienation “through force of will,” whereas Mailer, writing as a Postmodernist, “embraced the paradox and gave it center stage." {{sfn|Justice|2010|pp=260}} Indeed he did. We realize, naturally, that Mailer’s postwar world of 1959 was very different from the world of the 1930s. This is evident in the brutal opening words of Mailer’s 1957 article, “The White Negro,” reprinted in ''Advertisements for Myself'' <sup>23</sup>: “Probably, we will never be able to determine the psychic havoc of the concentration camp and the atom bomb upon the unconscious mind of almost everyone alive in these years. . . . The Second World War presented a mirror to the human condition which blinded anyone who looked into it.” {{sfn|Mailer|1959|pp=338}} Both Fitzgerald and Mailer sought to understand and record their times, more so perhaps than Hemingway.<sup>24</sup> Richard Foster describes the many similarities between “The Crack-Up” and Advertisements.<sup>25</sup> Mailer seems to agree, confessing toward the end of ''Advertisements for Myself'' that, “Fitzgerald was an indifferent caretaker of his talent, and I have been a cheap gambler with mine.” {{sfn|Mailer|1959|pp=477}} Michael K. Glenday also sees the relationship between Fitzgerald and Mailer as close, claiming in his Mailer Review article that “Mailer saw Fitzgerald as seminal and exemplary.” {{sfn|Glenday|2012|pp=121}}<sup>26</sup></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>We have seen that Hilary Justice compared Hemingway and Mailer on the issue of “writer/author alienation.” Hemingway, she says, tried to overcome that alienation “through force of will,” whereas Mailer, writing as a Postmodernist, “embraced the paradox and gave it center stage." {{sfn|Justice|2010|pp=260}} Indeed he did. We realize, naturally, that Mailer’s postwar world of 1959 was very different from the world of the 1930s. This is evident in the brutal opening words of Mailer’s 1957 article, “The White Negro,” reprinted in ''Advertisements for Myself'' <sup>23</sup>: “Probably, we will never be able to determine the psychic havoc of the concentration camp and the atom bomb upon the unconscious mind of almost everyone alive in these years. . . . The Second World War presented a mirror to the human condition which blinded anyone who looked into it.” {{sfn|Mailer|1959|pp=338}} Both Fitzgerald and Mailer sought to understand and record their times, more so perhaps than Hemingway.<sup>24</sup> Richard Foster describes the many similarities between “The Crack-Up” and Advertisements.<sup>25</sup> Mailer seems to agree, confessing toward the end of ''Advertisements for Myself'' that, “Fitzgerald was an indifferent caretaker of his talent, and I have been a cheap gambler with mine.” {{sfn|Mailer|1959|pp=477}} Michael K. Glenday also sees the relationship between Fitzgerald and Mailer as close, claiming in his Mailer Review article that “Mailer saw Fitzgerald as seminal and exemplary.” {{sfn|Glenday|2012|pp=121}}<sup>26</sup></div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>It is important to realize that the “I” of the poem—the apparent hero—is not</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>It is important to realize that the “I” of the poem—the apparent hero—is not</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>the same as Walt Whitman (1819–1892), even though a frontispiece in the 1855 First Edition of ''Leaves of Grass'' suggested the identification.<sup>29</sup> As Malcolm Cowley has written in his Introduction, “The hero as pictured in the frontispiece—this hero named ‘I’ or ‘Walt Whitman’ in the text—should not be confused with the Whitman of daily life. He is, as I said, a dramatized or idealized figure, and he is put forward as a representative American workingman, but one who prefers to loaf and invite his soul” (xv). Cowley argues that “Song of <del style="font-weight: bold; text-decoration: none;">Myself ” </del>is “Whitman’s greatest work, perhaps his one completely realized work, and one of the great poems of modern times” (x).</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>the same as Walt Whitman (1819–1892), even though a frontispiece in the 1855 First Edition of ''Leaves of Grass'' suggested the identification.<sup>29</sup> As Malcolm Cowley has written in his Introduction, “The hero as pictured in the frontispiece—this hero named ‘I’ or ‘Walt Whitman’ in the text—should not be confused with the Whitman of daily life. He is, as I said, a dramatized or idealized figure, and he is put forward as a representative American workingman, but one who prefers to loaf and invite his soul” (xv). Cowley argues that “Song of <ins style="font-weight: bold; text-decoration: none;">Myself” </ins>is “Whitman’s greatest work, perhaps his one completely realized work, and one of the great poems of modern times” (x).</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>It is also, as many have seen, a significant forerunner to Mailer’s ''Advertisements for Myself''. Mailer would create other incarnations of such a “dramatized or idealized figure.”</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>It is also, as many have seen, a significant forerunner to Mailer’s ''Advertisements for Myself''. Mailer would create other incarnations of such a “dramatized or idealized figure.”</div></td></tr>
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</table>Klcrawfordhttps://projectmailer.net/index.php?title=The_Mailer_Review/Volume_13,_2019/Angst,_Authorship,_Critics:_%E2%80%9CThe_Snows_of_Kilimanjaro,%E2%80%9D_%E2%80%9CThe_Crack-Up,%E2%80%9D_Advertisements_for_Myself&diff=12990&oldid=prevHCooper: correcting mistakes2021-03-01T14:54:19Z<p>correcting mistakes</p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 10:54, 1 March 2021</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>into art.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>into art.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>How then should we interpret the tragic end of Hemingway? The angst that Hemingway fought against would eventually catch up with him. Yet the demons that Hemingway fought were both part of his humanity and an <del style="font-weight: bold; text-decoration: none;">in- tegral </del>part of his genius. Jackson Benson, referring to the wound that <del style="font-weight: bold; text-decoration: none;">Hem- ingway </del>received on the Italian Front, makes this important point,</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>How then should we interpret the tragic end of Hemingway? The angst that Hemingway fought against would eventually catch up with him. Yet the demons that Hemingway fought were both part of his humanity and an <ins style="font-weight: bold; text-decoration: none;">integral </ins>part of his genius. Jackson Benson, referring to the wound that <ins style="font-weight: bold; text-decoration: none;">Hemingway </ins>received on the Italian Front, makes this important point,</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>{{quote|It may be that the wounding itself led to the dark thoughts that characterize Hemingway’s best fictions (a canon in which the centerpieces would be “Big Two-Hearted River” and “A Clean, Well-Lighted Place”). But the shock of <del style="font-weight: bold; text-decoration: none;">a </del>lost immortality seems to have been magnified by an inherited depressive, paranoid <del style="font-weight: bold; text-decoration: none;">per- sonality</del>. The latter was part of his genius, although it was an <del style="font-weight: bold; text-decoration: none;">in- heritance </del>that at last he could not bear.{{sfn|Benson|1989|p=352}}. }}</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>{{quote|It may be that the wounding itself led to the dark thoughts that characterize Hemingway’s best fictions (a canon in which the centerpieces would be “Big Two-Hearted River” and “A Clean, Well-Lighted Place”). But the shock of lost immortality seems to have been magnified by an inherited depressive, paranoid <ins style="font-weight: bold; text-decoration: none;">personality</ins>. The latter was part of his genius, although it was an <ins style="font-weight: bold; text-decoration: none;">inheritance </ins>that at last<ins style="font-weight: bold; text-decoration: none;">, </ins>he could not bear. {{sfn|Benson|1989|p=352}}. }}</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>I return to my opening thought: it is not easy being a great writer. Nor is it easy, living with a great writer. There is a profound cost to be paid—by the authors themselves but also by their wives, children, lovers, and friends. That appears undeniable. In these three works, Hemingway, Fitzgerald, and Mailer all sought to overcome their angst and translate it into art. The source of that angst was not only an alienation between writer and author {{sfn|Justice|2010|p=260}}, but also—and more profoundly, I suggest—an alienation between us as human beings. Their art, like that of all great artists, was a long search to “bridge the gulf,” to overcome the estrangement, to communicate truthfully with other human beings. As was said of another great author, Vladimir Nabokov: “[I]t is a representative search, a heightened emblem of all our at- tempts to communicate . . . the distance between people, the distance <del style="font-weight: bold; text-decoration: none;">sepa- rating </del>love from love-making, mirage from reality—the desperate extent of all human need and desire” {{sfn|Appel|1972|P=456}}.{{efn|Nabokov’s search for the language adequate to Lolita is HH’s search for the language that will reach Lolita; and it is a representative search, a heightened emblem of all our attempts to <del style="font-weight: bold; text-decoration: none;">com- municate</del>. “‘A penny for your thoughts,’ I said, and she stretched out her palm at once (p.). It is the almost insuperable distance between those thoughts and that palm which Nabokov has measured so accurately and so movingly in Lolita: the distance between people, the distance separating love from love-making, mirage from reality—the desperate extent of all human need and desire. “I have only words to play with,” says H.H., and only words can bridge the gulf <del style="font-weight: bold; text-decoration: none;">sug- gested </del>by Lolita’s palm” {{sfn|Appel|1972|456}} }}</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>I return to my opening thought: it is not easy being a great writer. Nor is it easy, living with a great writer. There is a profound cost to be paid—by the authors themselves but also by their wives, children, lovers, and friends. That appears undeniable. In these three works, Hemingway, Fitzgerald, and Mailer all sought to overcome their angst and translate it into art. The source of that angst was not only an alienation between writer and author {{sfn|Justice|2010|p=260}}, but also—and more profoundly, I suggest—an alienation between us as human beings. Their art, like that of all great artists, was a long search to “bridge the gulf,” to overcome the estrangement, to communicate truthfully with other human beings. As was said of another great author, Vladimir Nabokov: “[I]t is a representative search, a heightened emblem of all our at- tempts to communicate . . . the distance between people, the distance <ins style="font-weight: bold; text-decoration: none;">separating </ins>love from love-making, mirage from reality—the desperate extent of all human need and desire” {{sfn|Appel|1972|P=456}}.{{efn|Nabokov’s search for the language adequate to Lolita is HH’s search for the language that will reach Lolita; and it is a representative search, a heightened emblem of all our attempts to <ins style="font-weight: bold; text-decoration: none;">communicate</ins>. “‘A penny for your thoughts,’ I said, and she stretched out her palm at once (p.). It is the almost insuperable distance between those thoughts and that palm which Nabokov has measured so accurately and so movingly in Lolita: the distance between people, the distance separating love from love-making, mirage from reality—the desperate extent of all human need and desire. “I have only words to play with,” says H.H., and only words can bridge the gulf <ins style="font-weight: bold; text-decoration: none;">suggested </ins>by Lolita’s palm” {{sfn|Appel|1972|456}} }}</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Vladimir Nabokov’s infamous character, Humbert Humbert, suggests that we possess “only words to play with”{{sfn|Appel|1972|p=456}}.Indeed we do—mere words. Yet, using such frail and fallible words, employing flawed humanity and literary genius, these authors transformed personal angst into great art—creating works that shall abide, like Mount Kilimanjaro. In so doing, each has revealed to us genuine truth—a truth that may speak to our flawed but mutual humanity.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Vladimir Nabokov’s infamous character, Humbert Humbert, suggests that we possess “only words to play with”{{sfn|Appel|1972|p=456}}. Indeed we do—mere words. Yet, using such frail and fallible words, employing flawed humanity and literary genius, these authors transformed personal angst into great art—creating works that shall abide, like Mount Kilimanjaro. In so doing, each has revealed to us genuine truth—a truth that may speak to our flawed but mutual humanity.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>===Notes===</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>===Notes===</div></td></tr>
</table>HCooperhttps://projectmailer.net/index.php?title=The_Mailer_Review/Volume_13,_2019/Angst,_Authorship,_Critics:_%E2%80%9CThe_Snows_of_Kilimanjaro,%E2%80%9D_%E2%80%9CThe_Crack-Up,%E2%80%9D_Advertisements_for_Myself&diff=12971&oldid=prevJFordyce: /* GREAT AUTHORS TRANSFORM ANGST INTO ART */ Added body2021-03-01T02:38:14Z<p><span dir="auto"><span class="autocomment">GREAT AUTHORS TRANSFORM ANGST INTO ART: </span> Added body</span></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 22:38, 28 February 2021</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>I return to my opening thought: it is not easy being a great writer. Nor is it easy, living with a great writer. There is a profound cost to be paid—by the authors themselves but also by their wives, children, lovers, and friends. That appears undeniable. In these three works, Hemingway, Fitzgerald, and Mailer all sought to overcome their angst and translate it into art. The source of that angst was not only an alienation between writer and author {{sfn|Justice|2010|p=260}}, but also—and more profoundly, I suggest—an alienation between us as human beings. Their art, like that of all great artists, was a long search to “bridge the gulf,” to overcome the estrangement, to communicate truthfully with other human beings. As was said of another great author, Vladimir Nabokov: “[I]t is a representative search, a heightened emblem of all our at- tempts to communicate . . . the distance between people, the distance sepa- rating love from love-making, mirage from reality—the desperate extent of all human need and desire” {{sfn|Appel|1972|P=456}}.{{efn|Nabokov’s search for the language adequate to Lolita is HH’s search for the language that will reach Lolita; and it is a representative search, a heightened emblem of all our attempts to com- municate. “‘A penny for your thoughts,’ I said, and she stretched out her palm at once (p.). It is the almost insuperable distance between those thoughts and that palm which Nabokov has measured so accurately and so movingly in Lolita: the distance between people, the distance separating love from love-making, mirage from reality—the desperate extent of all human need and desire. “I have only words to play with,” says H.H., and only words can bridge the gulf sug- gested by Lolita’s palm” {{sfn|Appel|1972|456}} }}</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>I return to my opening thought: it is not easy being a great writer. Nor is it easy, living with a great writer. There is a profound cost to be paid—by the authors themselves but also by their wives, children, lovers, and friends. That appears undeniable. In these three works, Hemingway, Fitzgerald, and Mailer all sought to overcome their angst and translate it into art. The source of that angst was not only an alienation between writer and author {{sfn|Justice|2010|p=260}}, but also—and more profoundly, I suggest—an alienation between us as human beings. Their art, like that of all great artists, was a long search to “bridge the gulf,” to overcome the estrangement, to communicate truthfully with other human beings. As was said of another great author, Vladimir Nabokov: “[I]t is a representative search, a heightened emblem of all our at- tempts to communicate . . . the distance between people, the distance sepa- rating love from love-making, mirage from reality—the desperate extent of all human need and desire” {{sfn|Appel|1972|P=456}}.{{efn|Nabokov’s search for the language adequate to Lolita is HH’s search for the language that will reach Lolita; and it is a representative search, a heightened emblem of all our attempts to com- municate. “‘A penny for your thoughts,’ I said, and she stretched out her palm at once (p.). It is the almost insuperable distance between those thoughts and that palm which Nabokov has measured so accurately and so movingly in Lolita: the distance between people, the distance separating love from love-making, mirage from reality—the desperate extent of all human need and desire. “I have only words to play with,” says H.H., and only words can bridge the gulf sug- gested by Lolita’s palm” {{sfn|Appel|1972|456}} }}</div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Vladimir Nabokov’s infamous character, Humbert Humbert, suggests that we possess “only words to play with”{{sfn|Appel|1972|p=456}}.Indeed we do—mere words. Yet, using such frail and fallible words, employing flawed humanity and literary genius, these authors transformed personal angst into great art—creating works that shall abide, like Mount Kilimanjaro. In so doing, each has revealed to us genuine truth—a truth that may speak to our flawed but mutual humanity.</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>===Notes===</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>===Notes===</div></td></tr>
</table>JFordyce