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• W803932029 abstract "[The] warrior, presumptive general, ex-political candidate, embattled aging enfant terrible of literary world, wise father of six children, radical intellectual, existential philosopher, hardworking author, champion of obscenity, husband of four battling sweet wives [ultimatelyhe married sixtimes and had eight children], amiable bar drinker, and much exaggerated street fighter, party giver, hostess insulter ... had ... a fatal taint, a last remaining speck of one personality he found absolutely insupportable--the nice Jewish boy from Brooklyn. Norman Mailer, The Armies of Night (153) In this excerpt from armies of night, Mailer's 1968 novel, author indicates significance of his Brooklyn background, as well as its seeming dead weight. To residents and writers, borough has long been an evocative setting both in a real and fictional sense. It is a place of beauty with a majestic view from Heights of nearby Manhattan Island. It is America's first suburb--a place to live, build a family, and participate in a meaningful community. Up until 1950s, it a place to find solid middle-class work in a factory, a department store, at wheel of a trolley car, or along Brooklyn's extensive waterfront on docks or in industrial warehouses. In a symbolic sense, it is a place of both dreams and nightmares. It is safe harbor described in Henry Ward Beecher's sermons that comforted flocks of pilgrims each Sunday at end of nineteenth century. It represents ground that nourished ailanthus tree feeding Francie Nolan's aspirations of middle-class respectability in A Tree Grows in as well as Williamsburg of Henry Miller's boyhood, described as the only tooth left in a rotten jaw (25). At same time, borough has also constituted dark harbor of Hubert Selby's Last Exit to Jonathan Lethem's Motherless and Jennifer Egan's Welcome to Goon Squad. As is evident from these and other texts, some authors have celebrated borough, while others have repudiated it. The tension between these two perspectives manifests itself particularly vividly, as this essay will attempt to show, in repression and return of Brooklyn accents in lives and early work of Arthur Miller and Norman Mailer. In Miami and Siege of Chicago, Mailer, looking back on his Brooklyn origins, writes how he was sentimental about town. In Chicago to report on 1968 Democratic National Convention for Harper's Magazine, he writes how urbanites here were like good people of Brooklyn--they were simple, strong, warm-spirited, sly, rough, compassionate, jostling, tricky and extraordinarily good-natured because they had sex in their pockets, muscles on their back, hot eats around corner, neighborhoods which dripped with sauce of local legend, and real city architecture, brownstones with different windows on every floor, vistas for miles of red-brick and two-family wood frame houses with balconies and porches, runty stunted trees rich as farmland in their promise of tenderness first city evenings of spring, streets where kids played stick-ball and roller-hockey, lots of nineteenth century, very hope of greed, in these streets. (72-73) He then finishes this wistful homage with a revealing claim: Brooklyn, however, beautiful grew beneath skyscrapers of Manhattan, so it never became a great city, merely an asphalt herbarium for talent destined to cross river (72-73). According to Mailer, greatness may be honed in but to achieve one's true potential, one must leave borough behind. Both Mailer and Miller seemed to share this view and, in their quest for fame, consciously fought to shake off their origins. In end, however, Brooklyn always remained central to their work and senses of themselves as well as place from which they wrote many of their finest plays and novels. …" @default.
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• W803932029 date "2013-09-22" @default.
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• W803932029 title "Brooklyn Accents and the Paradox of Ambition in Norman Mailer and Arthur Miller" @default.
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