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It seems inevitable that Norman Mailer would do a book about Oswald and the Kennedy assassination. The combination of a violent soul lost in the void of possibility and the assassination with its vast lore of conspiracy in a promiscuous mélange of high and low places is a natural subject for him. He has written and speculated on them before. And as Kerouac was drawn to the basically benign Neal Cassady, so has Mailer been drawn to other, darker, figures of a similar sort, like Gilmore, Abbott, and Oswald. ''[[The Executioner’s Song]]'', his 1979 book about Gilmore, the Utah multiple murderer, is an American classic. It is a book so beautiful and wise that its light somehow illuminates the rest of his work and legitimates his vision.
It seems inevitable that Norman Mailer would do a book about Oswald and the Kennedy assassination. The combination of a violent soul lost in the void of possibility and the assassination with its vast lore of conspiracy in a promiscuous mélange of high and low places is a natural subject for him. He has written and speculated on them before. And as Kerouac was drawn to the basically benign Neal Cassady, so has Mailer been drawn to other, darker, figures of a similar sort, like Gilmore, Abbott, and Oswald. ''[[The Executioner’s Song]]'', his 1979 book about Gilmore, the Utah multiple murderer, is an American classic. It is a book so beautiful and wise that its light somehow illuminates the rest of his work and legitimates his vision.


Mailer is fierce, courageous, and reckless and nearly everything he writes has sections of headlong brilliance, although the quality of his work has been uneven. Some of it has seemed paranoid or obsessive and obscure, partaking of a logic that was always writerly but simply did not play in daylight.
Mailer is fierce, courageous, and reckless and nearly everything he writes has sections of headlong brilliance, although the quality of his work has been uneven. Some of it has seemed paranoid or obsessive and obscure, partaking of a logic that was always writerly but simply did not play in daylight. Often it went over the top. But after ''The Executioner’s Song'' it became impossible to deny his stature. In this book, he made all of us, regardless of class or origin, see tragedy in the life and death of a murderous jack-Mormon thug from the gulches of the West. In Gary Gilmore, another road child, a product of brutal possibility and an utterly superfluous man, Mailer led us to recognize a son and brother.


Often it went over the top. But after The Executioner’s Song it became impossible to deny his stature. In this book, he made all of us, regardless of class or origin, see tragedy in the life and death of a murderous jack-Mormon thug from the gulches of the West. In Gary Gilmore, another road child, a product of brutal possibility and an utterly superfluous man, Mailer led us to recognize a son and brother.
We ought not to fault ''Oswald’s Tale'' for not being the second coming of ''The Executioner’s Song''. All writers are hostage to the expectations their best work creates. This book is far less ambitious and relies in far greater measure on verbatim interviews and matters of record. It also serves a lesser subject. Gary Gilmore did seem to burn with a terrible flame. There was an intelligence and dark excellence about the man that made him even more frightening while it lifted his condition to the level of tragedy. If anyone ever represented the thing itself, unaccommodated man gone wild and turned killer, it was Gilmore, which is what attracted Mailer in the first place, and inspired him. Lee Harvey Oswald was no Gary Gilmore. He lacked the majesty and the uncompromising malice. Above all he lacked the style. This is an unfair and amoral assessment of two murderers, but it’s inescapably relevant when we consider a book. Intrigues and mysteries notwithstanding, Oswald was a lesser figure in dramatic terms.


We ought not to fault Oswald’s Tale for not being the second coming of The Executioner’s Song. All writers are hostage to the expectations their best work creates. This book is far less ambitious and relies in far greater measure on verbatim interviews and matters of record. It also serves a lesser subject. Gary Gilmore did seem to burn with a terrible flame. There was an intelligence and dark excellence about the man that made him even more frightening while it lifted his condition to the level of tragedy. If anyone ever represented the thing itself, unaccommodated man gone wild and turned killer, it was Gilmore, which is what attracted Mailer in the first place, and inspired him. Lee Harvey Oswald was no Gary Gilmore. He lacked the majesty and the uncompromising malice. Above all he lacked the style. This is an unfair and amoral assessment of two murderers, but it’s inescapably relevant when we consider a book. Intrigues and mysteries notwithstanding, Oswald was a lesser figure in dramatic terms.
Lee Harvey Oswald, as he appears in ''Oswald’s Tale'', was a loser’s loser whose chance of fame would always be proportional to his willingness to self-destruct. He would never prove a lover or a hero; his options were only shades of villainy, something which he naturally failed to understand. In the Marine Corps, he was just another one of those mouthy sea lawyers full of pseudo-intellectual yammer about their far-out politics, one of the revolutionaries who would go to Russia when they got out. The difference between Oswald and the rest was that he actually went. And then, instead of skulking home when his money ran out, he insisted on staying, even to the point of making a superficial suicidal gesture when he was asked to leave. He was determined to achieve the status of “defector.” This was a man whose only gift was the wit to compound his mistakes exponentially. A man to turn a personal fuck-up into a national disaster and make his problems everybody’s.


Lee Harvey Oswald, as he appears in Oswald’s Tale, was a loser’s loser whose chance of fame would always be proportional to his willingness to self-destruct. He would never prove a lover or a hero; his options were only shades of villainy, something which he naturally failed to understand. In the Marine Corps, he was just another one of those mouthy sea lawyers full of pseudointellectual yammer about their far-out politics, one of the revolutionaries who would go to Russia when they got out. The difference between Oswald and the rest was that he actually went. And then, instead of skulking home when his money ran out, he insisted on staying, even to the point of making a superficial suicidal gesture when he was asked to leave. He was determined to achieve the status of “defector.” This was a man whose only gift was the wit to compound his mistakes exponentially. A man to turn a personal fuck-up into a national disaster and make his problems everybody’s.
''Oswald’s Tale'' often shows Mailer at his best, which means that reading it has many rewards. Mailer and his associate Larry Schiller were able to obtain a large amount of KGB material, including tapes from the bugged apartment in Minsk where Oswald lived and where he began his life with Marina.
 
Oswald’s Tale often shows Mailer at his best, which means that reading it has many rewards. Mailer and his associate Larry Schiller were able to obtain a large amount of KGB material, including tapes from the bugged apartment in Minsk where Oswald lived and where he began his life with Marina.


This was probably facilitated by the fact that Minsk, Oswald’s Soviet residence, fell to the independent state of Belarus after the breakup of the Soviet Union and the local authorities acquired the KGB’s records. Using them and interviews he recorded with various people who knew Oswald during his period in Moscow and Minsk, Mailer provides a vivid sense of life in the former Soviet Union circa 1960. If it was not nasty, brutish, and short, it was certainly cheerless and dull.
This was probably facilitated by the fact that Minsk, Oswald’s Soviet residence, fell to the independent state of Belarus after the breakup of the Soviet Union and the local authorities acquired the KGB’s records. Using them and interviews he recorded with various people who knew Oswald during his period in Moscow and Minsk, Mailer provides a vivid sense of life in the former Soviet Union circa 1960. If it was not nasty, brutish, and short, it was certainly cheerless and dull.
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Meanwhile, Oswald did his best to look at the bright side, kept up his journal, and took an assigned job at the Minsk radio factory, where his performance was lackadaisical enough to cause negative comment. A lonely,
Meanwhile, Oswald did his best to look at the bright side, kept up his journal, and took an assigned job at the Minsk radio factory, where his performance was lackadaisical enough to cause negative comment. A lonely,
fatherless mama’s boy, he searched for a nurturing woman and came up with Marina, who, according to interviews quoted by Mailer, may or may not have been a one-time Leningrad hooker but who was definitely a canny soul and tough cookie in search of security and respectability. For that, Lee was hardly her man but her survival skills would be drawn upon severely. In being sympathetic to Lee, Oswald’s Tale is also sympathetic to Marina and presents her side of the story. For Marina’s version of events, Mailer uses interviews with Marina taped during the 1970s by Larry Schiller and also Priscilla McMillan’s book Marina and Lee.
fatherless mama’s boy, he searched for a nurturing woman and came up with Marina, who, according to interviews quoted by Mailer, may or may not have been a one-time Leningrad hooker but who was definitely a canny soul and tough cookie in search of security and respectability. For that, Lee was hardly her man but her survival skills would be drawn upon severely. In being sympathetic to Lee, ''Oswald’s Tale'' is also sympathetic to Marina and presents her side of the story. For Marina’s version of events, Mailer uses interviews with Marina taped during the 1970s by Larry Schiller and also Priscilla McMillan’s book ''Marina and Lee''.
 
The ex-Soviet dimension provides almost all the new information in the book, giving us a sense of how young Oswald looked to Russians, official and unofficial. It’s also the most entertaining. Mailer has found a way to make the dry bones of KGB tapes and his own interviews stand up and perform. His Englishing of the Russian originals is extremely lucid; the picture of Soviet life provided by the recorded material and his observations is particularly lively and convincing. Characters come across with extraordinary vividness and some are memorable.
 
The old Soviet Union was very much a land of euphemism, circumlocution, and terrified discretion, and in the wake of the assassination just about anyone who set eyes on Oswald was questioned. In the course of its own investigation, the KGB still had time to straighten out such hooliganism as incorrect reading habits on the part of Oswald’s acquaintances when it came to their attention. One Golovachev, a fellow factory worker of Oswald’s, apparently already in trouble over his friendly correspondence with Marina Oswald in Dallas, is discovered in passing to have read Pasternak’s ''Doctor Zhivago'', then on the index of forbidden books. The KGB record of his interrogation states:
 
{{quote|In answer to a question about how ''Doctor Zhivago'' had attracted his attention, GOLOVACHEV explained that he had wanted to familiarize himself with this book purely out of curiosity, in order to have some idea about that work. It was explained to GOLOVACHEV that it was a conclusion of prominent Soviet literary critics, writers, and other persons who had familiarized themselves with Pasternak’s ''Doctor Zhivago'' that it contained slanders of Soviet reality and was not of artistic value. Therefore, GOLOVACHEV’s acquaintance with the book ''Doctor Zhivago'' would not enrich his knowledge but, to the contrary, would lead him to have false notions about particular issues.}}
 
Is there deliberate irony in such declarations? Probably not, except to the extent that all communication between the secret police and the Soviet citizenry was part of an ongoing ironic dialogue.
 
Fortunately, perhaps, for Golovachev, his mother was present with maternal strictures to appease “the Organs.”
 
“MRS. GOLOVACHEV,” the record goes on to state, “sharply criticized GOLOVACHEV’s desire to read ''Doctor Zhivago'', noting that no decent person would waste his time on such a book.”
 
The same hapless Golovachev then has the disastrous notion of writing Marina a letter of condolence after the assassination and Oswald’s own killing by Jack Ruby. His letter gets no further than the Minsk post office and it’s no more Mister Nice Guy down at the KGB.
 
{{quote|They let him sit in a chair. They were very polite; they didn’t beat him.... He was sitting in a room with a big table, and there were a lot of officers and bodyguards around, maybe seven people.
 
They started by telling him: “In our country, only representatives of the people can send sympathies. You are not a representative of our people. You have no right to express sympathy. . . . If you don’t want somebody to write the laws of our country on your back, if you want to see some sky again, then stop doing stupid things.”}}
 
They inquire at length into Golovachev’s relationship with Marina.
 
“Why did you write this kind of letter if you didn’t sleep with her? Are you crazy?”
 
Has the KGB man quoted read Kafka? The Penal Colony perhaps, in which malefactors have their transgressions engraved on their bodies? But Golovachev, as a character, is more Gogol than Kafka.
 
Describing a pseudonymous Minsk KGB official the author writes:
 
{{quote|How Igor Ivanovich Guzmin looked when young would be hard to decide in 1993, because his presence spoke of what he was now—a retired general from KGB Counterintelligence, a big man and old, with a red complexion and a large face that could have belonged to an Irish police chief in New York, impressive from his sharp nose up, with pale blue eyes ready to blaze with rectitude, but he looked corrupt from the mouth down—he kept a spare tire around his chin, a bloated police chief’s neck.}}
 
That description is vintage Mailer, but it’s not until the book shifts its focus to the Texas killing ground that Oswald’s Tale becomes a work peculiar to Mailer’s concerns. Mailer is one of the few ideologues left in American letters. The development of his ideological system seems very roughly to have progressed from a fairly conventional Marxism in the Forties through a variety of Trotskyism and then, via Wilhelm Reich, into a system that somehow transposed sexual energy into the traditional role of the laboring masses as an engine of liberation. Sex, rather than class, is key.
 
. . .
 
{{Review}}
{{DEFAULTSORT:Loser’s Loser, The}}
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