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Again, both Mailer and Fitzgerald have the kind of imagination that makes legend of experience. In ''An American Dream'' we meet an old woman who "had the reputation of being the most evil woman ever to live on the Riviera." ''In The Deer Park'' there was Don Beda, "married at different times to an actress, a colored singer, a Texas oil heiress with a European title-that had been a particular scandal-and to the madam of what was reported to be the most expensive brothel in South America." The most expensive brothel in South America, the most evil woman ever to live on the Riviera. What is the echo, the rhythm there? “The man who fixed the World's Series back in 1919." | Again, both Mailer and Fitzgerald have the kind of imagination that makes legend of experience. In ''An American Dream'' we meet an old woman who "had the reputation of being the most evil woman ever to live on the Riviera." ''In The Deer Park'' there was Don Beda, "married at different times to an actress, a colored singer, a Texas oil heiress with a European title-that had been a particular scandal-and to the madam of what was reported to be the most expensive brothel in South America." The most expensive brothel in South America, the most evil woman ever to live on the Riviera. What is the echo, the rhythm there? “The man who fixed the World's Series back in 1919." | ||
They share a couple of other things, Mailer and Fitzgerald. The notoriety, the devastating celebrity which is probably in the end at least as nourishing as it is destructive. The immense technical skill, the passion for realizing the gift. The deep romanticism. And perhaps above all the unfashionableness, the final refusal to sail with the prevailing winds. Fitzgerald was "frivolous," and Mailer is "superstitious." Philip Rahv has spoken for the rationalist establishment: ''An American Dream'' lacks "verisimilitude." Rojack "hears voices." His suicidal thoughts seem induced by the moon, and "appear to have nothing to do with guilt-feelings or remorse.” Mailer is entangled with "the hocus-pocus of power." Had Mailer not been so "entangled" he might have sent Stephen Rojack not to that telephone booth on the desert (not a "credible experience," Rahv chides) but to a good Morningside Heights analyst. Had Fitzgerald not been so "frivolous " he might have gone not to Hollywood but to Spain, and written ''For Whom the Bell Tolls''. If only. Mailer thought to preface ''The Deer Park'' with this line from Gide: ''Please do not understand me too quickly''. There seems little danger of that, and the loss is entirely ours. | They share a couple of other things, Mailer and Fitzgerald. The notoriety, the devastating celebrity which is probably in the end at least as nourishing as it is destructive. The immense technical skill, the passion for realizing the gift. The deep romanticism. And perhaps above all the unfashionableness, the final refusal to sail with the prevailing winds. Fitzgerald was "frivolous," and Mailer is "superstitious." [[w:Philip Rahv|Philip Rahv]] has spoken for the rationalist establishment: ''An American Dream'' lacks "verisimilitude." Rojack "hears voices." His suicidal thoughts seem induced by the moon, and "appear to have nothing to do with guilt-feelings or remorse.” Mailer is entangled with "the hocus-pocus of power." Had Mailer not been so "entangled" he might have sent Stephen Rojack not to that telephone booth on the desert (not a "credible experience," Rahv chides) but to a good Morningside Heights analyst. Had Fitzgerald not been so "frivolous " he might have gone not to Hollywood but to Spain, and written [[w:For Whom the Bell Tolls|''For Whom the Bell Tolls'']]. If only. Mailer thought to preface ''The Deer Park'' with this line from Gide: ''Please do not understand me too quickly''. There seems little danger of that, and the loss is entirely ours. | ||
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