Norman Mailer

It is very easy to make fun of Norman Mailer, and I think he was aware of that, and that’s what made him great. His death this weekend is sad enough – he never got that Nobel prize – and as mundane as it sounds, an era passes and I’m sad about what’s left.

I always took Mailer with a grain of salt, but he was such a figure that I realized I’d been thinking about him on two discreet occasions in just the past few days. First, I was wondering about what he thought about how rubbish the Village Voice has become. He was one of the founders in 1955, and I’ve always wondered if he ever bothered to check in with it in recent years. I’ve taken the paper’s collapse personally – in high school I would pay $2 for the thing at Lizotte’s newsstand in Northampton, and in college I had a subscription outright (this was before the Internet, and it feels like ages ago). I would read the things cover to cover, feeling my world open up as I read about the huge horizons of the big city, about bands and musicians and artists I hadn’t heard about yet. Within a few years though, it had collapsed into a dogmatic chaotic mush so predictable and bland that it wasn’t even worth its new cover price (free). Then a few years ago, those New Times twits bought it out, and brought their manner of sun-belt “alternative” writing to the grandfather of it all. Out went the stable of legendary – if somewhat lazy – writers, and in came a handful of underpaid kids. It is a shame, because I have always loved the idea of the alternative press, and I guess the future will be on the Internet somehow, sometime. And maybe it would take people like Mailer to ever get it working.

On a more broad level, I was thinking, as I often do, about how contemporary fiction and why I don’t give a damn about it. My latest round of thinking about it started when Nathan Englander’s much awaited second novel came out earlier this year, and as I read about it and heard the interviews, I became aware of an overwhelming feeling that there is nothing less I’d like to do than actually read the thing. I realized I read a lot of book reviews, and usually feel exactly the same way. There is nothing to get excited about, and Mailer was nothing if not exciting.

There is so much to like about his work. I remember reading The Naked and the Dead in college in giant hundred page chunks at a time. It was paced so well, and even though it was written just after the war ended and lay in plain sight for decades, it still shook and challenged everything I thought I knew about the war. I also greatly admire the manner in which he later turned to nonfiction. He was candid about how when he was young being a novelist was the most heroic thing you could do, but that in the 1960s nonfiction more and more took its place, and he brought something to that revolution. And later went back to fiction because it was important enough. He always had a way, even at his most obnoxious, to make you think. I saw him speak at Penn, and unfortunately all I can remember is that he spent a lot of time comprehensively attacking fluorescent lighting -- I agree with him, and to this day I think about that talk every time I’m in a quiet public room and hear that damn buzzing. I remember staying at a bed and breakfast in Maine with a ton of books on the shelves, including a host of Mailer’s works. I started flipping through a first edition of The Prisoner of Sex. I thought that I could detect in it the physical effect of writing on a typewriter. Something I can’t put my finger on about the fast pace of the writing, as fast as thought, mixed with a jangly and illusory confidence that comes from not thinking enough as the words hit the paper, and not thinking you have to rewrite as carefully as they should. There are a lot of things not to like about the man and his work. The egomania, the self-indulgent prose, the idea of the arts as a competitive sport, the attitudes toward women, the glorification of violence... But he was a man who was always looking for a fight or an argument, and always seemed willing to go out for a drink afterward. This honesty, friendliness, openness and risk-taking, are the best attributes of America. And it is something we are losing very fast.