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The Mailer Review/Volume 3, 2009/Tales of the “Great Bitch”: Murder and the Release of Virile Desire in An American Dream: Difference between revisions
The Mailer Review/Volume 3, 2009/Tales of the “Great Bitch”: Murder and the Release of Virile Desire in An American Dream (view source)
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{{DISPLAYTITLE:Tales of the “Great Bitch”: Murder and the Release of Virile Desire in ''An American Dream''}} | {{DISPLAYTITLE:Tales of the “Great Bitch”: Murder and the Release of Virile Desire in ''An American Dream''}}__NOTOC__ | ||
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{{Byline|last=Meloy|first=Michael | {{Byline|last=Meloy|first=Michael|abstract=As early as the mid-1950s, [[Norman Mailer]] was already linking creative expression and sexual performance, using both to construct a vision of masculinity centered in virility and sexual release. ''[[An American Dream]]'' serves as a reflection of these beliefs—the culmination of a paradigm whose inception can be traced to World War II. Mailer’s perception of his relationship to women parallels his relationship to the novel.|url=https://prmlr.us/mr09melo}} | ||
{{quote|The Doors seemed unconvinced that love was brotherhood and the Kama Sutra. The Doors’ music insisted that love was sex and sex was death and therein lay salvation. The Doors were the Norman Mailers of the Top Forty, missionaries of apocalyptic sex.|author=Joan Didion|source=''The White Album''{{sfn|Didion|1979|p=21}} }} | {{quote|The Doors seemed unconvinced that love was brotherhood and the Kama Sutra. The Doors’ music insisted that love was sex and sex was death and therein lay salvation. The Doors were the Norman Mailers of the Top Forty, missionaries of apocalyptic sex.|author=Joan Didion|source=''The White Album''{{sfn|Didion|1979|p=21}} }} | ||
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{{Review|state=expanded}} | {{Review|state=expanded}} | ||
[[Category:Articles (MR)]] | [[Category:Articles (MR)]] | ||