The Mailer Review/Volume 3, 2009/Norman’s Crystals: Difference between revisions
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commitment to this project. Johnson once said to Boswell, “Why do you | commitment to this project. Johnson once said to Boswell, “Why do you | ||
write down my sayings?” | write down my sayings?” | ||
There is history in every crevice of the East End neighborhood; the fellows live nearby in a large house divided into condominiums with glimpses | There is history in every crevice of the East End neighborhood; the fellows live nearby in a large house divided into condominiums with glimpses | ||
of the sun-spanked bay. In the backyard of their house, a used car, bought for | of the sun-spanked bay. In the backyard of their house, a used car, bought for | ||
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| « | The Mailer Review • Volume 3 Number 1 • 2009 • Beyond Fiction | » |
Christopher Busa
Abstract: A long-time Provincetown resident, writer, and magazine editor describes the recently founded Norman Mailer Writers Colony and recounts the importance of Norman Mailer’s life and work to the mission of the Colony.
URL: https://prmlr.us/mr03bus
NORMAN’S CRYSTALS
CHRISTOPHER BUSA
Larry Schiller, the executive director and co-founder with Norris Mailer of the fledgling Norman Mailer Writers Colony in Provincetown, told me that a year ago he knew little about how to run a writer’s colony. He is still trying to figure out how much he knows, now that the workshops have begun in the large house that Norman lived in up to the time of his death. The idea of gathering writers in this brick mini-mansion-by-the-sea is to perpetuate the kind of life and activity that fueled Norman’s own writing. Schiller, the photographer, filmmaker, longtime collaborator with Norman, and a founding member of The Norman Mailer Society, envisions the Colony as something of a performance piece, an enactment that takes place in the very house where Norman wrote the bulk of his books. Indeed, Schiller is actively filming long segments of interactions and conversations. His concept of creating the Colony must have its model in documentary filmmaking, and may embody Boswellian lessons in Schiller’s unstoppable commitment to this project. Johnson once said to Boswell, “Why do you write down my sayings?”
There is history in every crevice of the East End neighborhood; the fellows live nearby in a large house divided into condominiums with glimpses of the sun-spanked bay. In the backyard of their house, a used car, bought for summer use, died before a Labor Day in the late sixties, and people gathered around a hole dug in the ground by a bulldozer. The lapsed automobile was interred vertically with its windshield skyward. Norman was writing Of a Fire on the Moon, and wandered out from his studio on this sunny afternoon to witness the strange religious ceremony that he wrote about in the chapter titled “Burial by the Sea.”