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* {{cite journal|last=Whitman|first=Walt|date=1976|title=Leaves of Grass|journal=Penguin|editor=Malcolm Cowley}} | * {{cite journal|last=Whitman|first=Walt|date=1976|title=Leaves of Grass|journal=Penguin|editor=Malcolm Cowley}} | ||
* {{cite book|last=Wilson|first=Edmund|date=1933|chapter=Autobiographical Pieces|title=The Crack-Up|editor=Edmund Wilson|publisher=New Directions}} | * {{cite book|last=Wilson|first=Edmund|date=1933|chapter=Autobiographical Pieces|title=The Crack-Up|editor=Edmund Wilson|publisher=New Directions}} | ||
{{DISPLAYTITLE:A N G S T, A U T H O R S H I P, C R I T I C S}} | {{DISPLAYTITLE:<SPAN>A N G S T, A U T H O R S H I P, C R I T I C S</SPAN}} | ||
<small>It is not easy being a great writer.</small>Nor is it easy—as various members of Norman Mailer’s family have testified—living with a great writer. The vocation of the serious author involves, along with a multitude of passions and perspectives, a good deal of angst. In using the term angst, I mean a deep sense of existential dread, but more particularly a peculiar experience of alienation that may be inseparable—it has been argued—from twentieth-century authorship. Hilary Justice has described a kind of “writer/author alienation” () experienced both by Mailer and Hemingway, and their differing responses to that alienation.1 | <small>It is not easy being a great writer.</small>Nor is it easy—as various members of Norman Mailer’s family have testified—living with a great writer. The vocation of the serious author involves, along with a multitude of passions and perspectives, a good deal of angst. In using the term angst, I mean a deep sense of existential dread, but more particularly a peculiar experience of alienation that may be inseparable—it has been argued—from twentieth-century authorship. Hilary Justice has described a kind of “writer/author alienation” () experienced both by Mailer and Hemingway, and their differing responses to that alienation.1 | ||