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- W834502589 abstract "NORMAN MAILER WAS THE ICONIC WRITER-PERFORMER WHO SOUGHT TO deliver, at least notionally, directions in alternate reality. He remained unabashed in his role as a game changer, consumed by reality curves he believed he was scripting; in his words, bend reality like a curve in a field of space(Presidential Papers 74). In 1959 he declared he would settle for nothing less than a total revolution in consciousness. In 1963 he asserted that his literary work was only answer to war in Vietnam. In 1982 he submitted that he would be happy to have created a dialectic. The younger Mailer rode wave donning mantles; Bruce Cook was to call him the Beats' celebrity-in-residence (93). The older Mailer was a lot more dispassionate. He had probably come to recognize that rhetoric of enfant terrible was more performance than revolution. In a way he was conceding: By time you reach your sixties, you feel as if you're in twelfth round and you're battered (Twelfth 40). He had come to accept with passing years that world was not as sinister as he had once imagined (Twelfth 47). Notwithstanding, revolution wasn't quite over, and war games were very much on. In a sense this battle-preparedness, as were, continued to inform much of his writing. The Mailer trademark shades of hipster, existential anguish, walpurgisnacht, kinetic energy was relentlessly fashioning protagonists and fabulating experiences. The uncanny mix of heroic and ridiculous had come to stay. Mailer's compositions were moving centre stage. Today, sixty four years after The Naked and Dead, politics of being continues to turn with day. Traces from a lifetime of writing have carried over. Indeed, Mailer seems to have nudged reader into passageways that open up imaginings of reality. To borrow Jean Luc Nancy's term, reader confronts alterity, the most classic of God's aporias (11). Mailer had observed in Advertisements for Myselfthat most terrifying confrontation for his contemporary was before romantic; he speculated that weakening presence and diminishing accord of life posed serious threat to romantic spirit, and this indeed was a matter of shame (382). Intimidated by shame and terror Mailer protagonist contemplates walls closing in. He decides to run. In that moment of seemingly pure dread he supposedly apprehends probability of unmapped spaces. He searches for gaps seeking passageways he must have once traveled in memory. Stephen Rojack (The American Dream) climbs parapet wall and walks length, for as Tony Tanner points out, Rojack must negotiate edge where worlds meet (363). Ridiculous, no doubt, but romantic, if this is to be Rojack's leap of faith: from war hero and politician to knowing self. D.J. (Why Are We in Vietnam?) heads for Brooks Mountain Range for a naked confrontation with nature. He talks to Arctic Lights and comes to grasp essence of violence. D.J. seeks to acknowledge power that is dormant within him; with this comes release of energies and coalescing of subjective, impulsive, and anarchic. As Mailer claims in The Armies of Night, the good Christian Americans needed war or they would lose their Christ (212). It was important for Mailer, supposedly within parameters of romantic-existential traditions, that individual becomes aware of his own presences. Mailer's assertion in Advertisements: must be able to feel oneself one must know one's desires, one's rages, one's anguish, one must be aware of character of one's frustration and know what would satisfy it (341), comes full circle in Armies where Mailer admits that in Vietnam America sought to rectify its imbalances, providing in use of napalm bombs index of collective instability of nation (211). For Mailer metaphor was gaining importance. He remarks in case of Vietnam, I trusted metaphor in that novel to a degree I've never trusted before. …" @default.
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- W834502589 date "2012-09-22" @default.
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- W834502589 title "To Deliver the Metaphor: Intent and Rhetoric in Norman Mailer" @default.
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