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| * {{cite journal |last=Nabokov |first=Vladimir |editor=Alfred Appel |date=1970|title=The Annotated Lolita|journal=Vintage}}
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| * {{cite book |last=Baker |first=Carlos |date=1972|title=Hemingway:The Writer as Artist|publisher=Princeton UP}}
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| * {{cite journal |last=Barke |first=Megan et al |date=2000|title=Breakdown in 20th Century American Culture |journal=Journal of Social History|volume=33|issue=3|pages=565-584|}}
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| * {{cite journal |last=Batchelor |first=Bob |date=2013|title=Visions of the American Dream: F. Scott Fitzgerald, Bob Dylan, and Norman Mailer Probe at the Heart of the National Idea|journal=The Mailer Review|volume=7|issue=1|pages=74-89}}
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| * {{cite journal |last=Benson |first=Jackson |date=1989|title=Ernest Hemingway:The Life as Fiction and the Fiction as Life|journal=American Literature|volume=61|issue=3|pages=345-358|}}
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| * {{cite journal |last=Braudey |first=Leo |date=1981|title=Providence, Paranoia, and the Novel|journal=ELH|volume=43|issue=3|pages=619-637|}}
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| * {{cite book |last=Burwell |first=Rose Marie |date=1996|title=Hemingway:The Postwar Years and the Posthumous Novels|publisher=Cambridge UP|}}
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| * {{cite journal |last=Castronovo |first=David |date=Fall 2003|title=Norman Mailer as Midcentury Advertisement|journal=New England Review|issue=24|volume=4|pages=179-186}}
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| * {{cite book |last=Conrad |first=Joseph |editor=Cedric Watts|date=2002|title=Heart of Darkness and other Tales|publisher=Oxford UP}}
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| * {{cite journal|last=Cowley |first=Malcolm |editor=Malcom Cowley |journal=Penguin|date=1976|title=Introduction:Leaves of Grass|volume=1|issue=1|pages=7-37}}
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| * {{cite journal|last=Donaldson |first=Scott|date=Summer 1980|title=The Crisis of Fitzgerald's 'Crack-up'|journal=Twentieth Century Literature|volume=26|issue=2|pages=171-188}}
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| * {{cite book|editor=Ruth Prigozy|date=2002|chapter=Fitzgerald's Nonfiction|title=The Cambridge Companion to F. Scott Fitzgerald|publisher=Cambridge UP|pages=164-188|}}
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| * {{cite book|last=Eliot |first=T.S.|date=1933|title=The Use of Poetry and the Use of Criticism|publisher=Faber and Faber|}}
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| * {{cite book|last=Fitzgerald|first=F. Scott |date=2005|title=The Best Early Stories of Scotts Fitzgerald|editor=An Introduction to Bryant Mangum|publisher=Modern Library|}}
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| * {{cite book|editor=Edmund Wilson |date=1993|chapter=The Crack Up|title=New Directions}}
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| * {{cite book|last=Bruccoli |first=Matthew J. |date=1955|title=The Great Gatsby|publisher=Scribner}}
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| * {{cite book|last= Scriber III |first= Charles|date=2003|title=Tender is the Night|publisher=Scribner}}
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| * {{cite journal|last=Foster |first= Richard |date=Spring 1968|title=Mailer and Fitzgerald Tradition|journal=Novel: A Forum on Fiction|issue=1|volume=3|pages=219-230}}
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| * {{cite journal|last=Glenday |first=Michael K. |date=2012|title=The Blade and the Gambler:F. Scott Fitzgerald and Norman Mailer|journal=The Mailer Review|volume=6|issue=1|pages=117-128}}
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| * {{cite journal|last=Hampl |first=Patricia |date=2012|title=F. Scott Fitzgerald:Essays from the Edge|journal=American Scholar|volume=81|issue=2|pages=104-111}}
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| * {{cite journal|last=Harding|first=Jennifer Riddle|date=2011|title='He had Never Written a Word of That':Regret and Counterfactuals in Hemingway's 'The Snow of Kilimanjaro'|journal=The Hemingway Review|volume=30|issue=2|pages=21-35}}
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| * {{cite journal|last=Hemingway|first=Ernest|date=2003|title=The Short Happy Life of Francis Macomber|journal=The Snows of Kilimanjaro and Other Stories|publisher=New Scribner|pages=121-154}}
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| * {{cite journal|title=The Snows of Kilimanjaro|journal=The Snows of Kilimanjaro and Other Stories|date=2003|publisher=Scribner|pages=3-28}}
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| * {{cite journal|last=Hicks|first=Alexander|title=Advertisements for Myself:Mailer's Künstlerroman|publisher=Unpublished Manuscript}}
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| * {{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}}
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| * {{cite journal|last=Justice|first=Hilary K.|date=2010|title=Authorship and Alienation in ''Death in the Afternon'' and ''Advertisements for myself''|journal=The Mailer Review|volume=3|issue=1|pages=259-272}}
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| * {{cite journal|last=Kennedy|first=Gerald J.|date=1999|title=Doing Country:Hemingay's Geographical Imagination|journal=Southern Review|volume=35|issue=2|pages=325-329}}
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| * {{cite book|last=Lethem|first=Jonathon|date=2013|chapter=Introduction|title=Mind of an Outlaw|editor=Phillip Sipiora|publisher=Random House|pages=xi-xvi}}
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| * {{cite book|last=Mangum|first=Bryant|date=2005|chapter=Introduction|title=The Best Early Stories of F. Scott Fitzgerald|editor=Bryant Mangum|publisher=Modern Library|pages=xvii=xxvii}}
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| * {{cite journal|last=McKena|first=John J.|last=Peterson|first=Marvin V.|date=1981|title=More Muddy Water: Wilson's Shakespeare in 'The Short Happy Life of Francis Macomber|journal=Studies in Short Fiction|volume=18|issue=1|pages=82-85}}
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| * {{cite journal|last=Mailer|first=Norman|date=1959|title=Advertisements for Myself|journal=Putnam's}}
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| * {{cite book|date=2013|chapter=Punching Papa|title=Mind of an Outlaw|editor=Phillip Sipiora|publisher=Scribner|pages=168-170}}
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| * {{cite journal|last=Reynolds|first=Michael|date=1997|title=Hemingway:The 1930s|journal=Norton}}
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| * {{cite journal|last=Robinson|first=Roxana|date=2005|title=Foreword|journal=The Best Early Stories of F. Scott Fitzgerald|editor=Bryant Mangum|publisher=Modern Library|pages=xi-xvi}}
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| * {{cite journal|last=Stoltzfus|first=Ben|date=2005|title=Satre, Nada, and Hemingway's African Stories|journal=Comparative Literature|volume=42|issue=3|pages=205-228}}
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| * {{cite journal|last=Whitman|first=Walt|date=1976|title=Leaves of Grass|journal=Penguin|editor=Malcolm Cowley}}
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| * {{cite book|last=Wilson|first=Edmund|date=1933|chapter=Autobiographical Pieces|title=The Crack-Up|editor=Edmund Wilson|publisher=New Directions}}
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| {{DISPLAYTITLE:<span style="font-size:22px;">{{A N G S T, A U T H O R S H I P, C R I T I C S}}/</span>}}
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| <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 |
| <blockquote>Hemingway saw this alienation as a paradox and sought to eliminate it through force of will and pedantry. Mailer, having learned from Hemingway (and writing not as a Modernist but Postmodernist), embraced the paradox and gave it center stage. . . . Their future success as novelists (which would in both cases be uneven) would depend for the remainder of their careers on how successfully each negotiated the inescapable alienation of writer from author that was intrinsic to mid-twentieth-century American authorship. ()</blockquote> | | <blockquote>Hemingway saw this alienation as a paradox and sought to eliminate it through force of will and pedantry. Mailer, having learned from Hemingway (and writing not as a Modernist but Postmodernist), embraced the paradox and gave it center stage. . . . Their future success as novelists (which would in both cases be uneven) would depend for the remainder of their careers on how successfully each negotiated the inescapable alienation of writer from author that was intrinsic to mid-twentieth-century American authorship. ()</blockquote> |
