User:Amylhester/sandbox: Difference between revisions

Norman Mailer was one of the most ambitious writers of our time. He had enormous faith in the power of writing to influence and change society and to alter the quality of human life. Despite the controversies that swirled around his public figure, he should be more recognized for the scope of his efforts to use his writing to transform America. With bravado, courage, and a bit of recklessness, he has repeatedly proclaimed his ''personal'' ambition to place himself, as a writer, in the company of literary giants and thereby remedy what he believes are America’s literary deficiencies, while also promising that he is about to write a novel that will create the “revolution in consciousness” {{sfn|Mailer|1959|p=17}} which he believes is necessary to rejuvenate a stagnant America,{{efn|See again ''Advertisements'' as well as essays in ''Cannibals and Christians'' and Norman Mailer, ''Pieces and Pontifications'' (Boston: Little Brown, 1982). This point recurs throughout his writing.}} through writing the “great American novel” which will “tell the truth of our times.” Undoubtedly, however, this effort has been fraught with difficulties; as Carl Rollyson explains in his biography of Mailer: “In the forty years since The Naked and the Dead Mailer has been searching for a way to write the great panoramic American novel.... America had seemed too complex for any single novelist—no matter how mature—to take on {{sfn|Rollyson|1991|p=359}}.” His last, sustained effort to reveal America through a work of fiction is the long historical novel about the CIA, ''Harlot’s Ghost''. However, this novel has been overlooked as the culmination of Mailer’s project of a fictional representation of America and therefore largely ignored as the important work of politically engaged fiction that I believe it is.{{efn|2. One of the many critics who argue this way is Heather Nielson (pp. 23–41), who sums up her conclusion about Mailer’s politics based on ''Harlot’s Ghost'' and ''Oswald’s Tale'' by stating, “What an examination of the persistent presence of Kennedy in their writings tends to suggest is that, for all Mailer’s non-conformism, his oeuvre serves to ultimately uphold the defining myths of the society which he describes, while that of Vidal works to undermine them” (23). While her analysis of the episodes featuring Kennedy in Mailer’s work and Vidal’s is persuasive in showing that Mailer’s writings on Kennedy are more positive than Vidal’s, this doesn’t justify, in my opinion, the broad conclusions she draws. On the other hand, the major critic who has treated ''Harlot’s Ghost'' as a whole, John Whalen-Bridge argues persuasively in “The Myth of American Adam in Late Mailer” that Mailer’s novel debunks the “myth of the American Adam.” This “myth” described by R.W.B. Lewis (and others) concerns alleged American “innocence” which Whalen-Bridge convincingly demonstrates is undermined by the novel. Whalen-Bridge is the major scholar that has written in detail on ''Harlot’s Ghost'' and draws the conclusion that “His [Mailer’s DA] fictional interpretation of American intelligence work does more than any other work of literature to help readers gain access to ‘the imagination of the state.’ ” Unfortunately, few others have recognized the critical features of the novel. See also Whalen-Bridge, ''Political Fiction and the American Self''. Others who don’t believe the novel is critical of the CIA include Glenday who, in his biography states categorically that the novel “doesn’t set out be, then, a critique of the CIA” (p. 131) and Dearborn.}} This is undoubtedly because the novel presents a strange puzzle; both its content and form need careful consideration before its significance can be understand.

[n]ext, we were asked to visualize a wall, a table, a lamp. If the first three digits of the telephone number were 586, we were to picture a red wall behind a gray table on which was sitting an orange lamp. For the succeeding four numbers, we might visualize a woman in a purple jacket, green skirt, and yellow shoes sitting on an orange chair. That was our mental notation for 4216. By such means,586-4216 had been converted into a picture with seven colored objects.... I became so proficient at these equivalents that I saw hues so soon as I heard numbers.{{sfn|Mailer|1991|p=197-198}}</blockquote>

different times in the novel, is a career psychologist and theorist for the CIA, and she also articulates a theory of personality that shares much in common with Mailer’s views. (Mailer’s worldview is frequently given voice in almost all of his novels since ''An American Dream''.) Her explanations of human behavior are direct articulations of Mailer’s theories of the human personality, to the degree that her theories seems straight out of Mailer’s essays on Henry Miller, collected in the anthology ''Genius and Lust'', or even Mailer’s last collection of reflections, ''On God: An Uncommon Conversation''.{{efn| See Mailer, ''Genius and Lust''.}} She articulates, in great detail, Mailer’s oft-stated theory of the dual nature of the human personality and the concept of the “Alpha and Omega” of the psyche; the two-sided, male-female, divided nature of the human personality. She explains that when one acts in a destructive or ineffective manner, this should be understood as the inability to reconcile two sides of an individual’s personality. Although she has had a successful career as the CIA’s

Harry, life has always treated me as a darling, and for much too long. If my mother merely adored me my father more than made up for it.... My brain was so fertile that I could have gone off to a desert island and been deliriously happy with myself. The only pains I knew were the ferocious congestions attendant on new ideas.{{sfn|Mailer|1991|p=556-557}}</blockquote>

Despite her articulation of Mailer’s theories, she, like all the characters, is unable ultimately to account for her sense of failure, and the theory fails. What makes this reading important about ''Harlot’s Ghost'' is that the novel functions as a testing ground for Mailer’s ideology, yet reveals the possibility of deconstructing that ideology. Mailer has stressed, in his essays and fiction, his conviction that courage and will determine success and that we must be “existentially” responsible for the conditions of our life. Bravery and honesty must be summoned and maintained and then we will be successful, Mailer claims. Mailer’s conviction is represented in ''An American Dream'' when Stephen Rojack walks around an apartment building balcony ledge, staving off the attempt of a devil-like character to push him off. After this act, Rojack, achieves inner peace and the novel resolves (unpersuasively, in my view).

prevalent dread of failure. He has repeatedly supplemented his dualist explanation with “ghosts” and references to the battle between God and the Devil. What are these strange powers that move and slip in all realms of Mailer’s literary life? The unknowable and the supernatural in ''Harlot’s Ghost'' is manifest in the character of Harlot himself. Harlot is the God-like figure of the novel as Hubbard explains, “Harlot [is] a manifest of the Lord”{{sfn|Mailer|1991|p=75}}, or when he believes Harlot is dead Hubbard poses the question, “What would you do if you received incontrovertible news that the Lord had died?”{{sfn|Mailer|1991|p=45}}. However literally we take this, it is clear by the end of the novel that Harlot’s status as a character who will reveal the mysteries of the novel is made problematic by his uncertain status as either dead, alive, or a ghost. History as an

power of creation”{{sfn|Mailer|1991|p=54}}. Harlot, is amongst all else, the rival for Kittredge’s affections, whom she seems to be talking with toward the end of the novel’s chronology. Mailer himself states in ''On God'', “my own experience tells me that the degree one is brave, one finds more love than when one is cowardly”{{sfn|Mailer|1991|p=29}}. The mysterious and ghostly is precisely the failure of ambition, of courage and the American dream (if you work hard and persevere, you succeed—if you fail it is your own fault). Mailer, like his characters, is caught in this duality: he subscribes to the American dream, yet realizes his own experience doesn’t correspond to it. This requires mysticism to sustain the dream. If you are worthy, the “powers of creation” will be stirred, but if you fail the same powers will block you.