https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_3,_2009/The_Mailerian_Dynasty:_Narrative_in_a_Structural_Poetics_of_Mailer%E2%80%99s_Fiction&feed=atom&action=historyThe Mailer Review/Volume 3, 2009/The Mailerian Dynasty: Narrative in a Structural Poetics of Mailer’s Fiction - Revision history2024-03-28T16:13:34ZRevision history for this page on the wikiMediaWiki 1.39.0https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_3,_2009/The_Mailerian_Dynasty:_Narrative_in_a_Structural_Poetics_of_Mailer%E2%80%99s_Fiction&diff=15262&oldid=prevJules Carry: Completed. Removed banner.2021-07-07T19:42:45Z<p>Completed. Removed banner.</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>{{Byline |last=Hicks |first=Alexander |url=https://prmlr.us/mr03hic |abstract=In Norman Mailer’s fiction, the underlying poetics, although simplifying, is complex in its basic elements, which are five: the physiological, psychic, social, cultural and transcendental. The poetics is also plural in its underlying statics and in the narrative ''dynamics'' that these statics help constitute. }}</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=Hicks |first=Alexander |url=https://prmlr.us/mr03hic |abstract=In Norman Mailer’s fiction, the underlying poetics, although simplifying, is complex in its basic elements, which are five: the physiological, psychic, social, cultural and transcendental. The poetics is also plural in its underlying statics and in the narrative ''dynamics'' that these statics help constitute. }}</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>In short, increasing physical stress and correlate psychic anxiety—both made palpable by Mailer’s art—ground Gilmore’s murders. Further, the murders emerge as acts of release from that anxiety and as means to an odd re-possession of self-respect accomplished through the embrace of public execution as a righteous, courageously sought, spiritually transcendent end. Gilmore’s stress and anxiety are rooted in the social oppression of probable parental abuse and definite prison assaults—inmate and guard, life threatening and rapacious. They lead forward, via the execution that Gilmore bravely ensures, to a resolution of some transcendence.{{efn|Gilmore writes in his letters of a romantic rapture nourished by separation and elaborated by fantasies of an afterlife with Nicole that is augmented by poetic and ritual models out of Ovid and the Egyptian Book of the Dead. This introduces elements of the magic into Gilmore’s quest for transcendence.}}</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 short, increasing physical stress and correlate psychic anxiety—both made palpable by Mailer’s art—ground Gilmore’s murders. Further, the murders emerge as acts of release from that anxiety and as means to an odd re-possession of self-respect accomplished through the embrace of public execution as a righteous, courageously sought, spiritually transcendent end. Gilmore’s stress and anxiety are rooted in the social oppression of probable parental abuse and definite prison assaults—inmate and guard, life threatening and rapacious. They lead forward, via the execution that Gilmore bravely ensures, to a resolution of some transcendence.{{efn|Gilmore writes in his letters of a romantic rapture nourished by separation and elaborated by fantasies of an afterlife with Nicole that is augmented by poetic and ritual models out of Ovid and the Egyptian Book of the Dead. This introduces elements of the magic into Gilmore’s quest for transcendence.}}</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;">I leave to your imagination the several incidentally disparate but structurally similar Mailerian narratives to be identified—for example, Tim Madden’s self-assertion ''vis-à-vis'' the domineering Captain Regency, Harry Hubbard’s progressive rites of passage into a fuller manhood from the precipices to Berlin to Miami to Playa Girón, and the eventually transcendent personal integration of Sergius O’Shaugnessy’s—at least if we see ''The Deer Park'' as fully concluding with the events of “The Time of Her Time.”</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;"></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;">Earlier I cited Lee Siegel on the breadth of Mailer’s work. I’ll now allude to the science of biology, in particular to the theory of animal behavior,{{efn|The considerable scientific (especially biological) sophistication, or simply insight, of the biological facet of Mailer’s writing is as unappreciated when it comes to gender or illness as to anxiety (“dread”) and animal behavior. See {{harvtxt|Eysenck|1988}} and Adessa.}} as it relates to the arc of the Mailerian narrative. In this the primary dimension that differentiates animals is “anxiety-equanimity.” The range of this dimension suggests to me the long arc of the Mailerian narrative from anxiety to transcendence. Furthermore, in the theory of animal behavior, the second major dimension is “timidity-boldness.” This dimension seems to me to loosely parallel a key span of the Mailerian narrative, the one linking protagonist’s transformation from anxious to transcendent states that reaches from the cowardly to the courageous.{{efn|The role of the magus seems missing from the biological formulation, undermining this biological analogy. However, if one recalls those ritual combat and courtship displays in which muscles or plumage expand to the consternation or enthrallment of the Other and the emboldening of the Actor, some aspects of the magus might even be encompassed by an analogy that joins some rudiments of Mailer’s narrative and the behavior of the living in close parallel. On the somatics of emotion, religious included, see note 6.}}</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;"></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;">===The Poetics and Fictional Powers===</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;">Consideration of Mailer’s poetics advances understanding of the aesthetic merit as well as the construction of Mailer’s work. What can be said at once to telegraph some rudiments of such a contribution to aesthetic assessment is this. The range of the poetic’s basic elements, extending as it does across the physiological, psychic, social, cultural and transcendental can make for a work that is consistently rich in the breadth of its apprehension of the human experience and condition.{{efn|Just how Mailer’s own metaphysics of a God and Devil locked in unresolved conflict might ground an alternative poetics, if any at all, is a topic I do not address here. {{Harvtxt|Mailer|Lennon|2007}} probably provides the best entre to relevant writing on such a metaphysics.}} Indeed, the work is rich not simply for the varieties of human experience and circumstance that it covers as captured by my five basic elements but for the breadth and depth of its writing within each category, perhaps the social and cultural above all.{{sfn|Lennon|2006|pp=91–103}}{{efn|Not for nothing did Mailer publish an anthology of his work entitled ''The Time of Our Time'', organized as a social chronicle.}} Not only is the reach of the Mailerian story long, characteristic tensions between individual and society, domination and subordination, the cowardly and courageous, everyman and magus, and the mundane and the transcendent help drive the Mailerian narrative across its rich landscape in a long arc of great propulsive force.</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;"></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;">Less affirmative is a Mailerian narrative that, although it tends toward a transcendental resolution, seldom offers more than passing, partial and palliative moments of transcendence, even for the brave. The issue raised here resembles what Richard Poirier suggested in his review of ''Ancient Evenings'' when he wrote that Mailer does not offer the illusion “that there is something we want to know and that we will eventually know it, that a center will be located in a wilderness of possibility, that the true shape of a person’s life will emerge out of the mysteries that have shrouded it.”{{sfn|Poirier|1999|p=233}} The recurrence in Mailer’s work of a merely transient transcendence as the principal resolution to narrative tension gives new meaning to Poirier’s earlier, but no less general, claim that Mailer shows a “willingness not to foreclose on his materials in the interest of merely formal resolution.”{{sfn|Poirier|1972|p=120}}{{efn|This absence of formal resolution takes on, among other forms, an absence of that sustained transcendence we call salvation. To draw on Moretti’s discussion of the ''Bildungsroman'', a genre with parallels to the frequently strong strands of protagonist development in Mailer’s fiction, this fiction tends to eschew the happy ending in which “story’s ending and hero’s aim fully coincide,”{{sfn|Moretti|1987|p=118}} and in which the protagonist’s transition is one from “youthful illusions to realism,”{{sfn|Moretti|1987|p=93}}, to “maturity,” as in the classical ''Bildungsromanen'' of the Fielding of ''Tom Jones'' and the Goethe of ''Wilhelm Meister'', of Austen and early Dickens.{{sfn|Moretti|1987|pp=15–73}} Instead, Mailer’s fiction is marked, like Stendhal and Balzac’s, by a world in which “there is a divergence of story and meaning, of factual reality and value judgment,”{{sfn|Moretti|1987|p=124}} in which youth “is not a teleological course ending in a superior maturity”{{sfn|Moretti|1987|p=118}} and in which maturity is not perceived as an “acquisition but as a lose,”{{sfn|Moretti|1987|p=90}} in which one is always pressed forward by a “persisting tension” between the “difference between the . . . achieved,”{{sfn|Moretti|1987|p=113}} in which “the combination of individual strife and historical change”{{sfn|Moretti|1987|p=110}} point forward to a Faustian ''streben'', an incessant striving, and backwards to a “political history” in light of which the “course” of the “individual’s formation” is twisted and contradictory.”{{sfn|Moretti|1987|p=80}} We have here not only psychological and narrative affinities between the post-Revolution and post-Waterloo fictions of Stendhal and Balzac and the post-Depression and cold War ones of Mailer, but similarities in relations of individual to history and society that are not foregrounded by my Mailerian poetics and that point to the ultimate importance of the analysis of Mailerian and history in unison (see note 1 and 15).}}</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;"></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;">Indeed, there is a modesty to Mailer’s poetics when it comes to the realization of human potential and, thus, to the finality of narrative resolution. This is perhaps well expressed by the final sentence of ''The Deer Park'' where Mailer writes, “Then for a moment in that cold Irish soul of mine, a glimmer of the joy of the flesh came toward me . . . and we laughed together after all, because to have heard that sex was time and time the connection of new circuits was a part of the poor odd dialogues which give hope to us noble humans for more than one night.”{{sfn|Mailer|1955|p=375}} I refer especially to Mailer’s choices of “moment” and “glimmer,” “rare” and “hope.” These fall short of salvation, in so far as I address the matter of narrative resolution. However, much could be said for the honesty of a vision that offers recurrent, hard earned “joy,” and “hope . . . for more than one night.”{{efn|I think that O’Shaugnessy’s self assertion in “The Time of Her Time” would provide a more dramatically satisfying conclusion to ''The Deer Park'' than the ending just quoted. However, O’Shaugnessy sexually grasped transcendence in “The Time of her Time” is also transient. Intriguingly, Rojack’s final, ostensibly triumphant walk around the parapet at Barney Kelly’s penthouse ends short of completion. As Rojack “approached the wall, ten feet away, eight feet away, six feet away, Kelly came near.” Kelly “lifted the tip of the umbrella” to Rojack’s ribs and “gave a push to poke” him “off”; and off Rojack jumps.{{sfn|Mailer|1965|p=260}} I thank Mike Melloy for bringing the truncated character of Rojack’s final walk on Kelly’s parapet to my attention.}}</ins></div></td></tr>
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</table>Jules Carryhttps://projectmailer.net/index.php?title=The_Mailer_Review/Volume_3,_2009/The_Mailerian_Dynasty:_Narrative_in_a_Structural_Poetics_of_Mailer%E2%80%99s_Fiction&diff=15261&oldid=prevJules Carry: Added and corrected more.2021-07-07T14:57:04Z<p>Added and corrected more.</p>
<a href="https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_3,_2009/The_Mailerian_Dynasty:_Narrative_in_a_Structural_Poetics_of_Mailer%E2%80%99s_Fiction&diff=15261&oldid=15260">Show changes</a>Jules Carryhttps://projectmailer.net/index.php?title=The_Mailer_Review/Volume_3,_2009/The_Mailerian_Dynasty:_Narrative_in_a_Structural_Poetics_of_Mailer%E2%80%99s_Fiction&diff=15260&oldid=prevJules Carry: Added two more §s.2021-07-07T14:00:52Z<p>Added two more §s.</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>Here I look at basic elements, statics, and dynamics, in turn, for most of Mailer’s novels. I also do so for the first of his fictions, which is ''The Armies of the Night'', and longest of them, ''The Executioner’s Song''. In so doing I range over nearly a dozen works—both early and late, relatively realistic and relatively fanciful—in some detail. However, I especially stress ''The Naked and the Dead'', ''The Executioner’s Song'' and ''Ancient Evenings''.{{efn|I stress ''The Naked and the Dead'' and ''The Executioner’s Song'' as, alongside ''The Armies of the Night'', the most broadly acclaimed of Mailer’s fictions. Because of its frequent distance from fiction that is, in part, due to its excursions into the essay and analytical historical forms, I do not stress ''Armies''. I stress Evenings, however, both as the most developed and as the least realistically inhibited expression of Mailer’s poetics (a point that I hope my discussion of it here will substantiate) and as because the bimodal reception to this work makes it at once a zenith and nadir of Mailer’s critical reception; see {{harvtxt|Bloom|2005}}, {{harvtxt|Burgess|1985|pp=132–133}} and {{harvtxt|Poirier|1999|pp=226–337}}. I somewhat limit my attention, largely ignoring ''Why Are We in Vietnam?'' and ''The Gospel According to the Son'', which are the shortest of Mailer’s fictions, and ''Harlot’s Ghost'' and ''The Castle in the Forest'', which are the least complete with regard to closure of the stories of their respective central protagonists, namely Harry Hubbard and Adolf Hitler.}}</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>Here I look at basic elements, statics, and dynamics, in turn, for most of Mailer’s novels. I also do so for the first of his fictions, which is ''The Armies of the Night'', and longest of them, ''The Executioner’s Song''. In so doing I range over nearly a dozen works—both early and late, relatively realistic and relatively fanciful—in some detail. However, I especially stress ''The Naked and the Dead'', ''The Executioner’s Song'' and ''Ancient Evenings''.{{efn|I stress ''The Naked and the Dead'' and ''The Executioner’s Song'' as, alongside ''The Armies of the Night'', the most broadly acclaimed of Mailer’s fictions. Because of its frequent distance from fiction that is, in part, due to its excursions into the essay and analytical historical forms, I do not stress ''Armies''. I stress Evenings, however, both as the most developed and as the least realistically inhibited expression of Mailer’s poetics (a point that I hope my discussion of it here will substantiate) and as because the bimodal reception to this work makes it at once a zenith and nadir of Mailer’s critical reception; see {{harvtxt|Bloom|2005}}, {{harvtxt|Burgess|1985|pp=132–133}} and {{harvtxt|Poirier|1999|pp=226–337}}. I somewhat limit my attention, largely ignoring ''Why Are We in Vietnam?'' and ''The Gospel According to the Son'', which are the shortest of Mailer’s fictions, and ''Harlot’s Ghost'' and ''The Castle in the Forest'', which are the least complete with regard to closure of the stories of their respective central protagonists, namely Harry Hubbard and Adolf Hitler.}}</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;">===The Basic Elements===</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;">The basic elements of Mailer’s novels match up pretty closely with Talcott Parson’s sociological articulation of the analytical aspects of human phenomena and the human sciences, which are physiological, personality centered, social relational and symbolic.{{efn|See {{harvtxt|Parsons|Smelser|1956}}.}} To these I add the transcendental. These elements—physiological, psychic, social, cultural and transcendental—underlie Mailer’s structural statics and all his work.</ins></div></td></tr>
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<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;">The basic elements are present in all Mailer’s fictions right from ''The Naked and the Dead''. Take the vivid ''physicality'' of the transport of the 77mm antitank guns; and the vivid ''personalities'' of Cumming strategizing, Croft and Martinez conniving, Roth and Brown reminiscing about “back home.” Take the ''social relations'' involved in the dialogues of Goldstein and Ridges, in the conversations of Cummings and Hearn and the troops at the “Chow Lines,” as well as up and down the Anapopei chain of command. For ''cultural'' elements, take the shared language on the Chow Lines and the battling ideologies of Cummings and Hearn, Velsen and Roth. ''Transcendental'' elements tend to strongly intersect other elements. For example, we can perceive a degree of emotional exhilaration in Croft’s transient, intensely physical yet also transcendental sense of challenge and triumph in his ascent of Mt. Anaka.</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;"></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;">Moving beyond ''The Naked and the Dead'', examples of the basic elements are numerous. For physicality, we may recall the felt electrical charge of anxiety as Rojack heads toward the assembly about Deborah’s corpse amidst the stopped traffic on “the Drive” and—a favorite of mine—when Provincetown Police Captain Alvin Luther Regency is so “on” at one point in ''Tough Guys Don’t Dance that'', to quote Mailer, “if he had had a tail, it would have been whipping the rungs.”{{sfn|Mailer|1984|p=211}} For the ''personality'', we have Mailer’s agitated state approaching the stage to speak at Ambassador Theater in ''The Armies of the Night''; Meni’s nuanced mental reflections on his relations to Mother, Father and Pharaoh; Gilmore and Nicole (Harry and Kittredge) in revealing epistolary communion with each other in ''The Executioner’s Song'' (and ''Harlot’s Ghost''). We also have an array of unforgettably vivid characters—Tim Madden’s father, Dougie, and Harry Hubbard’s father, Cal; Pharaoh Ptah-nem-hotep, Queen Nefitiri and “little queen” Honey Ball; and Alois Shicklgruber (aka Alois Hitler). For ''social relations''—the core stuff of the novel according to Northrop Frye—the list is endless: a favorite of mine is the rich social interplay among the vivid Ptah-nem-hotep, little Meni, Meni’s mother Hathfertiti, and his Father Nef-khep-aukhem and the other guests at ''Evenings''’ banquet, “The Night of the Pig.” For ''culture'', we have the densely rendered U.S. Army, Hollywood and CIA worlds. We have stuff of Mickey Lovett’s conversation with revolutionary MacLeod, Hugh “Harlot” Montague’s conversations with Harry, Mailer’s own conversation with Robert Lowell on the Pentagon march or with a Hell’s Angel just afterwards while in Federal custody, the rituals of the Pharaoh’s court and temples, the tavern banter of Alois Shicklgruber and his drinking companions. For ''transcendence'', we have Rojack’s communing with Cherry across a club room in the Village, Menenhetet at the side of Ramses II as he communes with Amon during a blood sacrifice, and Gary Gilmore’s self-designed striving after public moral rehabilitation through self-promoted execution. What I would stress about these basic elements is the broad range of modes of humanity at the foundations of Mailer’s work, a breadth that affirms Lee Siegel’s claim that “Mailer is one of the last Western writers to create a self-contained intellectual universe out of strong, idiosyncratic convictions about the relationship between spiritual, psychic and social existence.”{{sfn|Siegel|2007|p=2}}</ins></div></td></tr>
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<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;">===Statics===</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;">The emergent, ''molecular'' Mailerian statics help specify the characters and dramatic tensions that generate narrative. They consist of pairs of contrasting categories. One pair is individual-society (Hearn versus platoon; O’Shaugnessy versus Hollywood; Rojack versus police and business establishments; Mailer versus the Pentagon; Harry Hubbard vis-à-vis the CIA). A second couplet is dominant-subordinate (for example, Cummings over Hearn; studio head Herman over director Charles Eitel; Barney Kelly and Lieut. Roberts over Rojack; Pharaoh over Menenhetet; Captain Regency over Tim Madden; Bill Harvey over Harry Hubbard). A third and fourth are the cowardly-courageous and the everyman-magus. Here, Hearn retrieving his cigarette butt off the General’s floor illustrates the cowardly, while Hearn previously stamping out that that cigarette butt illustrates courage. Rojack on his first, failed walk on the parapet at Barney Kelly’s penthouse illustrates</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;">both the cowardly and a bit of everyman; Rojack on his last triumphant walk illustrates both the courageous and the magus. Menenhetet casting spells with Honey Ball against the bugger Pharaoh Ramses II does so as well.</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;"></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;">A fifth is the mundane versus the transcendent. O’Shaugnessy’s fractured consciousness may pass as mundane in the alienated Hollywood of ''The Deer Park'', but his sexual gymnastic in “The Time of Her Time” again attain an at least ephemeral transcendence. The funk of most of Rojack’s marriage is mundane; but Rojack’s regenerative sodomy with Ruta and exhilarating combat with Shaggo Martin again touch the transcendent. Menenhetet idling with his childhood friends in the Nile delta or training as charioteer taps little more than the mundane. However, the temporally restorative power of Menenhetet’s intercourse with the Secret Whore of the King of Kadesh touches the transcendent, and Menenhetet’s selfreincarnating embrace with Nefitiri transcends the finality of at least one death. Little Meni regularly transcends normal social and psychological limitation through his mind reading, especially in “The Book of the Child,” a veritable symphony of empathetic leaps of a sort prefigured by the leaps that Rojack makes into the mind of Cherry in ''An American Dream''. It merits stressing that transcendence in Mailer’s work tends toward not only to be frequent and salient but to be ephemeral as well. Menenhetet’s trysts with the Secret Whore of Tyre and with Honey Ball are interludes. Rojack’s ecstatic first witness of Cherry singing in a Village joint is a “rare moment of balm.”{{sfn|Mailer|1965|p=99}} Sergius O’Shaugnessy’s long fuck with Denise Gondelman at the end of “The Time of Her Time,” although perhaps fullest and fittest conclusion to ''The Deer Park'' O’Shaugnessy’s saga, seems an end to O’Shaugnessy’s relationship to Gondelman.</ins></div></td></tr>
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<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;">Terms are now in place for a discussion of the Mailerian dynamic.</ins></div></td></tr>
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</table>Jules Carryhttps://projectmailer.net/index.php?title=The_Mailer_Review/Volume_3,_2009/The_Mailerian_Dynasty:_Narrative_in_a_Structural_Poetics_of_Mailer%E2%80%99s_Fiction&diff=15259&oldid=prevJules Carry: Fixed through intro.2021-07-07T13:34:13Z<p>Fixed through intro.</p>
<a href="https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_3,_2009/The_Mailerian_Dynasty:_Narrative_in_a_Structural_Poetics_of_Mailer%E2%80%99s_Fiction&diff=15259&oldid=15258">Show changes</a>Jules Carryhttps://projectmailer.net/index.php?title=The_Mailer_Review/Volume_3,_2009/The_Mailerian_Dynasty:_Narrative_in_a_Structural_Poetics_of_Mailer%E2%80%99s_Fiction&diff=15258&oldid=prevJules Carry: /* Works Cited */ Completed WC.2021-07-07T13:12:06Z<p><span dir="auto"><span class="autocomment">Works Cited: </span> Completed WC.</span></p>
<a href="https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_3,_2009/The_Mailerian_Dynasty:_Narrative_in_a_Structural_Poetics_of_Mailer%E2%80%99s_Fiction&diff=15258&oldid=15159">Show changes</a>Jules Carryhttps://projectmailer.net/index.php?title=The_Mailer_Review/Volume_3,_2009/The_Mailerian_Dynasty:_Narrative_in_a_Structural_Poetics_of_Mailer%E2%80%99s_Fiction&diff=15159&oldid=prevGrlucas: Fixes; added abstract. Began fixing WC §. Much more work needed.2021-06-28T14:04:29Z<p>Fixes; added abstract. Began fixing WC §. Much more work needed.</p>
<a href="https://projectmailer.net/index.php?title=The_Mailer_Review/Volume_3,_2009/The_Mailerian_Dynasty:_Narrative_in_a_Structural_Poetics_of_Mailer%E2%80%99s_Fiction&diff=15159&oldid=15152">Show changes</a>Grlucashttps://projectmailer.net/index.php?title=The_Mailer_Review/Volume_3,_2009/The_Mailerian_Dynasty:_Narrative_in_a_Structural_Poetics_of_Mailer%E2%80%99s_Fiction&diff=15152&oldid=prevTReid at 06:24, 28 June 20212021-06-28T06:24:17Z<p></p>
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</table>TReidhttps://projectmailer.net/index.php?title=The_Mailer_Review/Volume_3,_2009/The_Mailerian_Dynasty:_Narrative_in_a_Structural_Poetics_of_Mailer%E2%80%99s_Fiction&diff=15151&oldid=prevTReid at 06:20, 28 June 20212021-06-28T06:20:20Z<p></p>
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</table>TReidhttps://projectmailer.net/index.php?title=The_Mailer_Review/Volume_3,_2009/The_Mailerian_Dynasty:_Narrative_in_a_Structural_Poetics_of_Mailer%E2%80%99s_Fiction&diff=15150&oldid=prevTReid at 06:19, 28 June 20212021-06-28T06:19:07Z<p></p>
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</table>TReidhttps://projectmailer.net/index.php?title=The_Mailer_Review/Volume_3,_2009/The_Mailerian_Dynasty:_Narrative_in_a_Structural_Poetics_of_Mailer%E2%80%99s_Fiction&diff=15149&oldid=prevTReid: Created page with "{{DISPLAYTITLE: <span style="font-size:22px;">{{BASEPAGENAME}}/</span>"Narrative in a Structural Poetics of Mailer's Fiction}} {{Working}} {{MR03}} {{Byline|last=Hicks|first=A..."2021-06-28T06:18:07Z<p>Created page with "{{DISPLAYTITLE: <span style="font-size:22px;">{{BASEPAGENAME}}/</span>"Narrative in a Structural Poetics of Mailer's Fiction}} {{Working}} {{MR03}} {{Byline|last=Hicks|first=A..."</p>
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