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NORMAN MAILER-A DOUBLE LIFE-BY J. MICHAEL LENNON-HIS BIO READING “OH MY AMERICA” FROM THE BBC

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NORMAN MAILER-A DOUBLE LIFE-BY J. MICHAEL LENNON-HIS BIO READING “OH MY AMERICA” FROM THE BBC

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Every moment of one’s existence one is growing into more or retreating into less. One is always living a little more or dying a little bit.
— Norman Mailer

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November 22, 2013 6:04 pm

Norman Mailer: A Double Life, by J Michael Lennon

By Randy Boyagoda

Norman Mailer campaigns for mayor of New York in the garment district with Jimmy Breslin (right), June 1969

Norman Mailer: A Double Life, by J Michael Lennon, Simon & Schuster, RRP£30/$40, 960 pages

Obviously, Norman Mailer should be reviewing the authorised biography of Norman Mailer. Were he not six years in the grave, he would certainly accept the assignment. And based on the evidence in J Michael Lennon’s impressive effort to recount Mailer’s multitudinous and combustible life story, here’s how that scenario would likely play out: asked for 1,500 words, Mailer submits 150,000. Upon learning that this newspaper is unwilling to devote its entire Saturday edition to his writing about himself, he is shocked and outraged and demands (successfully) that his agent secure a six-figure book deal so his work could be published in its rightful fullness. He uses most of that money to pay down his latest overdue tax bill; the rest goes in alimony instalments for his ex-wives.

He then flies from New York to London with a documentary film crew in tow. Cameras rolling, he pushes his way into the editorial offices, roaring for an explanation as to why his piece was rejected. The meeting leads to some combination of the following: a fist-fight, a drunken reconciliation, a drunken fist-fight, a one-night stand, a press conference. Then Mailer returns to the US to work on the documentary of his trip to London, and on the manu­script of his 150,000-word autobiographical impressions of his authorised biography. When these matters and a few dozen others are dealt with, he at last returns to the latest million-word novel he’s writing. This one concerns a barrel-chested, curly-haired Paleolithic warrior-fertility god’s endless battles against the legions of cowards and prudes arrayed against him.

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That may seem like a fanciful scenario, but it’s nevertheless in keeping with Mailer’s entire career as nothing less than himself: writer, lover, fighter, family man, man of letters, man of action. He pursued all of this from the earliest possible age. Born in Brooklyn in 1923 to Jewish immigrants, at 11 he wrote a 35,000-word novel. At 16, he entered Harvard intent upon achieving the greatest possible outcomes in the fields of literature and sex. He then enlisted, primarily so he could experience firsthand the events and soldiers of the second world war that would enable him to write “THE war novel”, as he declared to his first wife, detailing in advance his plan, ambition and expectation (these were always synonyms for Mailer). And he did it: The Naked and the Dead, published in 1948, when Mailer was 25 years old, was hailed as one of the greatest novels about the war. It was also an immediate bestseller, the first of many that Mailer would enjoy in every one of seven decades from the 1940s to the 2000s, alongside near-constant public attention, which was, constantly enough, public notoriety.

In telling this life story, Lennon competes with Mailer to assess Mailer, a dynamic in keeping with Mailer’s sense of self and approach to all else. As his one-time friend, the writer and intellectual Norman Podhoretz, observes: Mailer “must always work everything out for himself and by himself, as though it were up to him to create the world anew over and over again in his own experience.” Lennon quotes Podhoretz approvingly and then more than proves Podhoretz right by closely and thoughtfully attending to Mailer’s steroidal self-reliance, which, turned outward, took the form of some 44 books of fiction and non-fiction, thousands of magazine pieces for publications such as Esquire and Playboy, and also some 45,000 letters, in addition to screenplays and assorted public speeches. On multiple occasions, motivated by financial need and literary fecundity and intellectual jingoism and political imperatives, Mailer would publish several books in the same year, and the quality of the work did not suffer much from this prodigiousness: in 1969, he received double nominations for the National Book Award, for The Armies of the Night and Miami and the Siege of Chicago, and he did the same three years later, with Of a Fire on the Moon and The Prisoner of Sex.

He was similarly productive in personal terms: married six times, he fathered nine children, and along the way pursued innumerable affairs, some of them passing assignations, others spanning decades. Unsurprisingly, his personal life was frequently turbulent. And because he saw little distinction between his personal life and his public life, this turbulence often made news, most dramatically in 1960, when a drunk and high Mailer stabbed his second wife Adele with a penknife in the middle of a house party where he had planned to announce he was running for mayor of New York City (on the “existentialist ticket”). As he does with Mailer’s many well-publicised feuds with fellow writers, which also involved violence on occasion – Mailer famously headbutted his nemesis Gore Vidal at a swish cocktail party while Jackie Kennedy watched – Lennon recreates the terrible domestic scene in extensive detail, drawing on multiple viewpoints, including that of Adele and also Mailer, who only years later was finally fully contrite.

Perhaps the most telling take comes from Mailer’s friend, the actor and screenwriter Mickey Knox, who recalls that the morning after the stabbing, once Mailer had ambivalently visited his stitched-up wife in the hospital and was then facing arrest, jail-time or commitment to a psychiatric institution, he really had just one pressing concern: “Mailer asked him to go into the 94th Street apartment and retrieve the open letter to Castro he had been working on.” Knox was only momentarily taken aback, as he explains to Lennon: “ ‘Christ, I thought, he stabbed his wife the night before and what was uppermost in his mind? Getting the letter published. It did not surprise me. The foundation of Norman’s being is the sum of his writing.’ ”

This foundation was ordered to and by Mailer’s sense of the writer as a sacred figure of mystical capacities and grave responsibilities for an otherwise godless, dulled and plastic age: among the many subjects Mailer pursued, as a writer and whenever possible as an intimate witness and boisterous participant, were the ways of presidents from John F Kennedy to George W Bush, national politics, sexual politics, boxing, celebrity, murder, war and espionage, and that’s only in American terms. He also went after the stories of outsized historical figures, from Egyptian pharaohs and Jesus to Pablo Picasso and Adolf Hitler, and whether implicitly or explicitly, measured their ambitions and accomplishments against his own. Lennon does not defend this implacable, voracious egotism so much as establish its meaningful centrality to Mailer’s vocation.

The subtitle “A Double Life” serves as Lennon’s governing premise for exploring how Mailer’s personal life mattered to his writing life and vice versa, but he does far more than merely affirm this abundantly obvious, abundantly volatile relationship. He makes strong cases throughout the biography for the inherent strengths of Mailer’s writing, particularly his achievements in reconceptualising the possibilities of journalism. For instance, “Superman Comes to the Supermarket”, Mailer’s 1960 Esquire article about JFK’s campaign for president, fundamentally altered the terms of political writing: it brilliantly broke down artificial boundaries between the inner lives and outward actions of politicians and voters alike by exploring in vivid and numinous-toned prose the private-cum-collective psychological drama and ecstatic desires that Kennedy catalysed and embodied. Mailer did likewise for sports writing in 1974, when he went to Kinshasa to report on Muhammad Ali’s famed “Rumble in the Jungle” heavyweight bout against George Foreman and then published The Fight. He did it again, this time for celebrity biography, with his speculative take on Marilyn Monroe’s desires and demons.

To great effect, he erased the boundaries between true crime, the non-fiction novel and literary fiction with The Executioner’s Song (1979), his Pulitzer Prize-winning account of the life and death of a Utah murderer that many regard as his supreme work. As for Mailer himself, set from youth on producing works that would “out-Joyce James”, as he once put it, he was always intent on writing the Great American Novel, if usually distracted from this quest by much else. The Naked and the Dead often comes up as his closest approximation, but Lennon makes a strong case for Harlot’s Ghost (1991), about the CIA’s deep and far-reaching presence in modern American life. Maddening many critics and readers, this 1,300 page novel ends “TO BE CONTINUED” but Lennon argues persuasively that the book “could be likened to a magnificent, half-finished cathedral”, and that there was in fact aesthetic and intellectual purpose to this anti-conclusion, in keeping with Mailer’s incomparable, indefatigable ambitions and with his similarly capacious ideas about America.

Lennon is well-positioned to offer such judgments: following decades of collaboration on various projects, Mailer invited Lennon to write his biography after the subject outlasted his first authorised biographer, Robert Lucid. Instead of merely continuing Lucid’s work, Lennon began anew and very much made it his own. At times, he’s too willing to give his pages over to Mailer admirers (Mailer included) to embroider testimonials to his greatness. But in the main Lennon has done a very fine job of chronicling most every possible dimension of a sprawling, brawling, daredevil-cum-car wreck of a singularly great American writer’s life – and I can say that without fear of a 150,000-word letter to the editor disputing everything I’ve just written, save that Norman Mailer was great.

NORMAN MAILER BIOGRAPHY

Quick Facts
NAME: Norman Mailer
OCCUPATION: Journalist, Author
BIRTH DATE: January 31, 1923
DEATH DATE: November 10, 2007
EDUCATION: Harvard University, The Sorbonne
PLACE OF BIRTH: Long Branch, New Jersey
PLACE OF DEATH: New York, New York
AKA: Nachum Malech Mailer
Full Name: Norman Kingsley Mailer
AKA: Nachum Mailer
AKA: Norman Mailer
AKA: Andreas Wilson
AKA: Nachem Malek
Originally: Nachem Malek Mailer

Best Known For
Author Norman Mailer used a style combining fiction and journalism to write the Pulitzer Prize-winning book The Executioner’s SonAuthor Norman Mailer was born on January 31, 1923, in Long Branch, New Jersey. He studied at Harvard and served in the U.S. Army from 1944 to 1946. Mailer’s first book, The Naked and the Dead, won immediate acclaim. His writing style, New Journalism, combined the imagination of fiction with qualities of reporting. His works included the Pulitzer Prize-winning book The Executioner’s Song. He died in 2007, at the age of 84.

Quotes
“Writing books is the closest men ever come to childbearing.”

– Norman Mailer

Early Years

Often described as controversial, combative and egotistical, Pulitzer Prize-winning author Norman Mailer—his Jewish name is Nachem Malek—was born on January 31, 1923, in Long Branch, New Jersey. His father, Isaac Barnett Mailer, known as Barney, was a South-African Jewish émigré, and his mother, Fanny, was a Long Branch native whose family ran a local grocery store. His sister, Barbara, was born in 1927.

When Mailer was 9 years old, he moved with his family to Crown Heights, Brooklyn. An excellent student, he was just 16 when he enrolled at Harvard University, intending to major in aeronautical engineering. By his sophomore year, however, Mailer had found his niche in literature. After graduating from Harvard in 1943, he was drafted into the U.S. Army. Shortly after marrying Bea Silverman, in 1944, he was sent to the Philippines, where he saw very little combat. He finished his military career as a cook in occupied Japan. His experiences in the military gave him the inspiration he needed to write his first book, the semi-autobiographical The Naked and the Dead, while he was enrolled at the Sorbonne in Paris, France. The book instantly propelled him to fame at the tender age of 25.

Personal Life

In addition to his writing, Mailer was known for his alcohol-fueled fistfights, problems with alcohol and drugs, fascination with boxers and sometimes very public issues with the opposite sex. In 1960, after a night of drinking and partying, he stabbed his second wife, Adele Morales, with a penknife, seriously wounding her. Mailer was arrested, but his wife declined to press charges, and he was eventually released after being sent to Bellevue Hospital for observation. The marriage did not last the incident.

Mailer’s attitude toward women did not sit well with the up-and-coming feminist writers of the day or the emerging crop of women’s liberation movement supporters. Furthering these sentiments, in a famous 1971 debate with Germaine Greer in Manhattan, Mailer stated that he was an “enemy of birth control.”

Mailer had six wives, including Carol Stevens, to whom he was married for just a few days in 1980 to give legitimacy to their daughter, Maggie. His other wives, in addition to Silverman and Morales, were Lady Jeanne Campbell, Beverly Rentz Bentley and Norris Church. At the time of his death, he had nine children; an adopted son, Matthew, by an earlier marriage of Norris’s; and 10 grandchildren.

Literary Career

After writing The Naked and the Dead, Mailer was never far from the limelight for the next six decades.

OH MY AMERICA-NORMAN MAILER PART1

OH MY AMERICA-NORMAN MAILER PART2

Published on Apr 8, 2013

BRION GYSIN

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images (44)Brion Gysin

From Wikipedia:

Brion Gysin (January 19, 1916 – July 13, 1986) was a painter, writer, sound poet, and performance artist born in Taplow, Buckinghamshire. He is best known for his discovery of the cut-up technique used by William S. Burroughs. With Ian Somerville he invented the Dreamachine, a flicker device designed as an art object to be viewed with the eyes closed. It was in painting, however, that Gysin devoted his greatest efforts, creating calligraphic works inspired by Japanese and Arabic scripts. Burroughs later stated that “Brion Gysin was the only man I ever respected.”

John Clifford Brian Gysin was born at Taplow House, England, a Canadian military hospital. His mother, Stella Margaret Martin, was a Canadian from Deseronto, Ontario. His father, Leonard Gysin, a captain with the Canadian Expeditionary Force, was killed in action eight months after his son’s birth. Stella returned to Canada and settled in Edmonton, Alberta where her son became “the only Catholic day-boy at an Anglican boarding school.” Graduating at fifteen, Gysin was sent to Downside in Bristol, England, a prestigious college known as “the Eton of Catholic public schools” run by the Benedictines.

In 1934, he moved to Paris to study La Civilisation Française, an open course given at the Sorbonne where he made literary and artistic contacts through Marie Berthe Aurauche, Max Ernst’s first wife. He joined the Surrealist Group and began frequenting Valentine Hugo, Leonor Fini, Salvador Dalí, Picasso and Dora Maar. A year later, he had his first exhibition at the Galerie Quatre Chemins in Paris with Ernst, Picasso, Hans Arp, Hans Bellmer, Victor Brauner, Giorgio de Chirico, Dalí, Marcel Duchamp, René Magritte, Man Ray and Yves Tanguy. On the day of the preview, however, he was expelled from the Surrealist Group by André Breton who ordered the poet Paul Éluard to take down his pictures. Gysin was 19 years old. His biographer, John Geiger, suggests the arbitrary expulsion “had the effect of a curse. Years later, he blamed other failures on the Breton incident. It gave rise to conspiracy theories about the powerful interests who seek control of the art world. He gave various explanations for the expulsion, the more elaborate involving ‘insubordination’ or lèse majesté towards Breton.”

After serving in the U.S. army during World War II, Gysin published a biography of Josiah “Uncle Tom” Henson titled, To Master a Long Goodnight: The History of Slavery in Canada (1946). A gifted draughtsman, he took an 18-month course in Japanese language studies and calligraphy that would greatly influence his artwork. In 1949, he was among the first Fulbright Fellows. His goal: to research the history of slavery at the University of Bordeaux and in the Archivos de India in Seville, Spain, a project that he later abandoned. He moved to Tangier, Morocco after visiting the city with novelist and composer Paul Bowles in 1950.

In Tangier, Gysin co-founded with Mohamed Hamri a restaurant called “The 1001 Nights” with the Master Musicians of Joujouka from the village of Jajouka. The musicians performed there for an international clientèle that included William S. Burroughs. Losing the business in 1958, he returned to live in Paris, taking lodgings in a flophouse located at 9 rue Gît-le-Coeur that would become famous as the Beat Hotel. Working on a drawing, he discovered a Dada technique by accident:
William Burroughs and I first went into techniques of writing, together, back in room No. 15 of the Beat Hotel during the cold Paris spring of 1958… Burroughs was more intent on Scotch-taping his photos together into one great continuum on the wall, where scenes faded and slipped into one another, than occupied with editing the monster manuscript… Naked Lunch appeared and Burroughs disappeare. He kicked his habit with apomorphine and flew off to London to see Dr Dent, who had first turned him on to the cure. While cutting a mount for a drawing in room No. 15, I sliced through a pile of newspapers with my Stanley blade and thought of what I had said to Burroughs some six months earlier about the necessity for turning painters’ techniques directly into writing. I picked up the raw words and began to piece together texts that later appeared as “First Cut-Ups” in Minutes to Go.
When Burroughs returned from London in September 1959, Gysin not only shared his discovery with his friend but the new techniques he had developed for it. Burroughs then put the techniques to use while completing Naked Lunch and the experiment dramatically changed the landscape of American literature. Gysin helped Burroughs with the editing of several of his novels including Interzone, and wrote a script for a film version of Naked Lunch which was never produced. The pair collaborated on a large manuscript for Grove Press titled The Third Mind but it was determined that it would be impractical to publish it as originally envisioned. The book later published under that title incorporates little of this material. Interviewed for The Guardian in 1997, Burroughs explained that Gysin was “the only man that I’ve ever respected in my life. I’ve admired people, I’ve liked them, but he’s the only man I’ve ever respected.” In 1969, Gysin completed his finest novel, The Process, a work judged by critic Robert Palmer as “a classic of 20th century modernism.”

A consummate innovator, Gysin altered the cut-up technique to produce what he called permutation poems in which a single phrase was repeated several times with the words rearranged in a different order with each reiteration. An example of this is “I don’t dig work, man/Man, work I don’t dig.” Many of these permutations were derived using a random sequence generator in an early computer program written by Ian Sommerville. Commissioned by the BBC in 1960 to produce material for broadcast, Gysin’s results included “Pistol Poem”, which was created by recording a gun firing at different distances and then splicing the sounds. That year, the piece was subsequently used as a theme for the Paris performance of Le Domaine Poetique, a showcase for experimental works by people like Gysin, François Dufrêne, Bernard Heidsieck, and Henri Chopin.
With Sommerville, he built the Dreamachine in 1961. Described as “the first art object to be seen with the eyes closed”, the flicker device uses alpha waves in the 8-16 Hz range to produce a change of consciousness in receptive viewers.

He also worked extensively with noted jazz soprano saxophonist Steve Lacy.
As a joke, Gysin contributed a recipe for marijuana fudge to a cookbook by Alice B. Toklas; it was unintentionally included for publication, becoming famous under the name Alice B. Toklas brownies.
A heavily edited version of his novel, The Last Museum, was published posthumously in 1986 by Faber & Faber (London) and by Grove Press (New York).

Made an American Commander of the French Order of Arts and Letters in 1985, Gysin died a year later of lung cancer on July 13, 1986. An obituary by Robert Palmer published in The New York Times fittingly described him as a man who “threw off the sort of ideas that ordinary artists would parlay into a lifetime career, great clumps of ideas, as casually as a locomotive throws off sparks.”

In a 1966 interview by Conrad Knickerbocker for The Paris Review, William S. Burroughs explained that Brion Gysin was, to his knowledge, “the first to create cut-ups.”
INTERVIEWER: How did you become interested in the cut-up technique? BURROUGHS: A friend, Brion Gysin, an American poet and painter, who has lived in Europe for thirty years, was, as far as I know, the first to create cut-ups. His cut-up poem, Minutes to Go, was broadcast by the BBC and later published in a pamphlet. I was in Paris in the summer of 1960; this was after the publication there of Naked Lunch. I became interested in the possibilities of this technique, and I began experimenting myself. Of course, when you think of it, The Waste Land was the first great cut-up collage, and Tristan Tzara had done a bit along the same lines. Dos Passos used the same idea in ‘The Camera Eye’ sequences in USA. I felt I had been working toward the same goal; thus it was a major revelation to me when I actually saw it being done.
Influence

Gysin’s wide range of radical ideas became a source of inspiration for Beat Generation artists and their successors such as David Bowie, Keith Haring, Brian Jones, Mick Jagger, Genesis P-Orridge, Iggy Pop, Laurie Anderson, Malay Roy Choudhury, and Into A Circle.

A DOCUMENTARY-BRION GYSIN

http://www.ubu.com/film/gysin_flicker. 2007

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tumblr_m5drjujnqq1qgldfgo1_1280 COLLAGE GYSINE AND,BURROUGHS

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tumblr_m554vaPhLj1r05phwo1_250CUT UP OF BURROUGHS AND GYSIN

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