Showing results by author "Norman Mailer" in All Categories

Amid the cactus wilds some two hundred miles from Hollywood lies a privileged oasis called Desert D'Or. It is a place for starlets and would-be starlets, directors, studio execs, and the well-groomed lowlifes who cater to them. And, as imagined by Norman Mailer in this blistering classic of 1950s Hollywood, Desert D'Or is a moral proving ground, where men and women discover what they really want - and how far they are willing to go to get it.

There was entertainment at the Republican Gala on Sunday night. The climax was a full marching band of bagpipers. They must have been hired for the week since one kept hearing them on the following days, and at all odd times, heard them even in my hotel room at four am for a few were marching in the streets of San Francisco, sounding through the night, giving off the barbaric evocation of the Scots, all valor, wrath, firmitude, and treachery - the wild complete treachery of the Scots finding its way into the sound of the pipes.

He prepared therefore for the meditative journey that proves most excruciating in Limbo, a rounding through the past, a trip back! It is a venture full of perils. To meditate on TV might prove equal to writing a recollection of an enemy one has never met and cannot quite believe in. Indeed, how to conceive of an enemy who is without personal animosity? It was like writing a memoir of an oxymoron. Limbo set its tasks.

Paret lay on the ground, quivering gently, a small froth on his mouth. The house doctor jumped into the ring. He knelt. He pried Paret's eyelid open. He looked at the eyeball staring out. He let the lid snap shut. He reached into his satchel, took out a needle, jabbed Paret with a stimulant. Paret's back rose in a high arch. He writhed in real agony. They were calling him back from death. One wanted to cry out, "Leave the man alone. Let him die."

The final work of fiction from Norman Mailer, a defining voice of the postwar era, is also one of his most ambitious, taking as its subject the evil of Adolf Hitler. The narrator, a mysterious SS man in possession of extraordinary secrets, follows Adolf from birth through adolescence and offers revealing portraits of Hitler's parents and siblings. A crucial reflection on the shadows that eclipsed the 20th century, Mailer's novel delivers myriad twists and surprises along with characteristically astonishing insights into the struggle between good and evil that exists in us all.

Originally published in 1959, Advertisements for Myself is an inventive collection of stories, essays, polemic, meditations, and interviews. It is Mailer at his brilliant, provocative, outrageous best. Emerging at the height of "hip", Advertisements is at once a chronicle of a crucial era in the formation of modern American culture and an important contribution to the great autobiographical tradition in American letters.

First published in the early days of the Iraq War, Why Are We at War? is an explosive argument about the American quest for empire that still carries weight today. Scrutinizing the Bush administration's words and actions, Mailer unleashes his trademark moral rigor: "Because democracy is noble, it is always endangered.... To assume blithely that we can export democracy into any country we choose can serve paradoxically to encourage more fascism at home and abroad."