266:"Yoga" takes as its chief concern how the individual's autonomy is undermined by contemporary life. It illustrates the disparity between individual desires and the homogenizing powers of, as Morris Dickstein puts it, a "soft totalitarianism of conformity, McCarthyism, middle-aged timidity, and intellectual compromise". In the period just after the war that supposedly defeated fascism, a new tyranny of peace threatened the ambitions of Americans and led to unsatisfying jobs, a lack of ambition, and sexual frustration. Dickstein continues: The enlightened liberal individual "with its faith in rationality, progress, and bureaucratic forms of organization, had blinded itself to the irrational forces now exposed in the psyche and set loose in the world". Kevin Schultz outlines one of the bulwarks of the Liberal Establishment that Mailer had such an antipathy for: the perfection of American life brought about by a faith in reason, progress, and technology. The mid-century liberals had put their confidence in the "cool workings of the bureaucrats" and eschewed the irrational making life more comfortable, but less pleasurable — what Gordon reads as a "regressive solution, a yearning to retreat into the deathlike security of the womb". This was the birth of what Adamowski calls "the new class": "an intelligentsia that seeks always to explain and control, out of a sensibility flattened by its commitment to technology". Mailer would later write "the shits are killing us"; the "shits" were expressions of totalitarianism that Mailer began to see within liberalism "marked by an instrumentalist rationalism that used the methods of modem technical and managerial success". Here is the beginning of Mailer's lifelong distrust in liberal rationality's faith in science and technology; see, in particular,
321:. The tone is sombre and resigned, like a heavy, immovable weight is on each of the character's chests. While he remains unnamed, the narrator seems to be a close acquaintance of Sam's and has access to his and the other characters' minds — a sort of overarching intelligence that is privy to and comments on all of their innermost thoughts. Oddly, the narrator seems simultaneously a detached observer and an intimate participant, most of the time assessing the characters' inner life, but sometimes inserting himself into the narrative — calling attention to himself by using the first-person "I". Yet, while the narrator does have access to the other characters' minds, his attention is centered on Sam Slovoda. Frederick Busch asserts that Mailer has created a voice that speaks about Sam, and it might also represent Mailer in some ways. The problem, states Busch, is Mailer wants to speak about his own difficulties writing, but needs to objectify his voice in order to create fiction and not autobiography. Thus, he not only analyzes the characters' feelings, but also his own. The narrator, then, becomes Sam's alter ego and "someone who can be present and yet not be present, a new voice for saying fiction, a new way of being intimately involved as writer while being objectively aloof-like a third-person omniscient voice". Philip Bufithis suggests that Mailer employs this strategy to focus on this singular sensibility: "a self-conscious, second-rate man who knows and admires what distinction is but cannot attain it".
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product and practitioner of the
Liberal Establishment that Mailer saw as numbing American life — what Gordon calls "the anguished response of an artist to the oppressive historical realities of the 1950s in America". Sam is the epitome of the "spiritual failure" of the 1950s. Sam is the protagonist, suggests Carl Rollyson, because he understands more than those around him how he is flawed and inauthentic. Mailer must show the portrait of failure in order to motivate his readers to action. Indeed, states Bufithis, "Yoga" seems to be a call to action to those who are like Sam to take action and change, or be forever relegated to a life of quiet desperation. Gordon argues that "Yoga" is replete with images of constipation, thwarted powers, helpless rage, and "an overwhelming sense of being stifled, suffocated, and strangled". Sam, Gordon explains, is like an overprotected child who is "smothered in mother-love" and caught between his wife Eleanor and his analyst Dr. Sergius. The narrator criticizes Sam throughout, showing him talking a good game, but always opting to remain passive: "without the courage to live, to defy—especially to defy his smug psychoanalyst—Sam will never quite be a man". He sees himself as a rebel and wants desperately to be a man, but he is incapable of manly aggression or courage; this, for Mailer, is a cardinal sin: courage and risk-taking are key to psychic growth. "Yoga" is a portrait of American ambivalence and bad faith.
378:": he has unrealized literary ambitions; he is petty, spiteful, and envious; he wants to be closer to his wife, but is haunted by a ghost from the past; he takes a frank assessment of himself and realizes he is a middle-aged man, unheroic and unremarkable, and "spiritually impotent". Continuing along these lines, Castronovo argues that "Yoga" serves as a stage in the development of the writer in the 50s—"the artist as tough guy"—particularly apropos to Mailer as one "who has to move out of his accustomed mode" and try something new: "Mailer was probably the first major figure in our national letters to realize that writers could no longer be writers in that old, rocked-ribbed, self-confident sense". The new phase of a Sam Slovoda is, for Mailer, a Hipster—one prepared for risk, violence, opportunity, and pleasure.
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decides to work on his novel, but gets a call from a friend, Marvin
Rossman, who has acquired a pornographic film and wants to use Sam's projector. Sam invites Marvin, his wife Louise, and another couple—Alan and Roslyn Sperber—over to watch the film. After some anxious talk and an anticlimactic story about Alan's college friend Cassius O'Shaugnessy, they watch the film, and too embarrassed to talk about it right away, they watch it again before discussing it: "As intelligent people they must dominate it". After a bit of socializing, the other two couples leave, and Sam keeps the film a while longer. Sam and Elenor have sex while watching the film again, then go to bed. Elenor falls right to sleep, but Sam has difficulty at first, thinking about the wasted day and his failed potential as a writer and a man.
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never to be satisfied, and with the frustration of their dreams of themselves". In short, Mailer shows that in order to conform to society without violating its established norms "is purposeless death". Adamowski states that Mailer regarded the Cold-War liberal
American as sexually unhealthy—who had sex too much with their heads filtered through psychoanalysis, pornography, and rational theories from therapy and the academy. They disagree about the most trivial things, and when they have sex, it's seems like a gross parody of the pornographic film: "false artist imitating false art in a story about artistic failure". The comparison is overt, as the victim's name in the film is also Elenor. Later, Sam recalls Elenor's friend in a mental institution, alluding to the crazy Pip in
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man. He is better than most" and "has one serious virtue: he is not fond of himself—he wants to be better". Sam, who "just turned forty", is in therapy with Dr. Sergius whose presence is heard throughout the story as a judgmental voice in Sam's head. Sam speaks in the language of psychoanalysis to his wife and friends, usually saying the direct opposite of what he is feeling. His wife and friends are equally pretentious and miserable, and the impression throughout the novella is that they do and say what they think they should rather than what they want to do, making them full of regrets, bitterness, and self-loathing. Finally, Sam is a radical "out of habit, but without enthusiasm and without a cause" for the
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middle-class
America in the 1950s, created and maintained by the language of psychoanalysis and the privileging of the rational mind over lived experience. Mailer saw a new type of totalitarianism threatening America: that of middle-class comfort and conformity. "Yoga" examines the cost of a structured and secure middle-class life on a character who is aware of his mediocrity, but can do nothing to rise above it. "Yoga" is also a story about the creation of art and finding one's voice, perhaps part of Mailer's attempt to exorcise his own literary demons after the success of
206:, Mailer felt depleted and was not sure what to write about next. He struggled to find his place after the difficulties he had with his subsequent novels, and it seemed that his career was in crisis. By 1956, Mailer wondered whether he really was a writer and was ready to quit. After missing a publishing opportunity with a "lady's magazine", Mailer conceived of an eight-novel series based on the dreams of "a small frustrated man". This series would "emanate from the mind" of Sam Slovoda and include Sergius O'Shaugnessy, the roguish protagonist of
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Likewise, Frederick Busch reads the narrator as a figure that expresses Mailer's own anxieties about writing and creating — Sam is a way that Mailer can address these issues and perhaps exorcise them at the same time. Indeed, as
Solotaroff notes, "Yoga" represents the type of story that might have secured Mailer's critical reputation had he chosen to focus on more conventional, sympathetic characters in the fifties "instead of trying to create a fictional world of real possibility".
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them and the current state of their respective times: he continues that the works and narrators reflect these divisions, relaying autobiographical anxieties at the same time they are creating art. Both try to bridge their own inner conflicts with the fictive worlds while also keeping them separate. Both narrators reflect the "doubts and needs" of their respective authors, while inventing their own characters to dramatize their anxieties. Similar to Mailer's
Sergius O'Shaugnessy in
386:, both narrators "invent darker characters to speak for" them right "before our eyes". Gordon suggests that the narrator acts as a "curative, as therapist for both the tale and its hero" — a commentator on what Sam cannot come to terms with. Likewise, Poirier adds that Mailer's voice "took its form from a species of debate or dialogue or 'war' among the possible and competing voices that were alive within him" and is also reflected throughout
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commentary on the
Slovodas and their friends who prejudge and try to rationally control experience—contrasting thought with action. O'Shaugnessy is the romantic that seized the day and took control of his own life and destiny, and he, like a hero, has become a topic of conversation for the meek souls on Sunday afternoon. Marvin calls Cassius a "psychopath", presaging Mailer's Hipster in "
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358:: "reflection upon experience is antipodal to its enjoyment". Sam allows his cognitive life—symbolized by his relationship to Dr. Sergius—to take dominance over his ability or even willingness to act, unlike Cassius, whom Miller calls the "moral center" of the novella. Cassius O'Shaugnessy, Alan's college friend and the actual man who studied yoga, is a sort of
478:, Robert Merrill calls "Yoga" an excellent piece in a collection otherwise written for Mailer fans. Adamowski labels Mailer's critique of liberalism "nasty", but explains its significant impact on the counter-cultures of the sixties. Morris Dickstein credits Mailer, along with other New York novelists and intellectuals, of defining the zeitgeist after
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In his advertisement for "The Man Who
Studied Yoga", Mailer states that it had originally been conceived as a novel that is "a descendent of Moby Dick", and taking that cue, Frederick Busch argues that it has a direct connection. Busch suggests that both writers were divided about truths as they saw
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While the story is straightforward, the inner life of the characters—especially Sam—is conflicted. Sam, the narrator states, is like most of us: "he is full of envy, full of spite, a gossip, a man who is pleased to find others are as unhappy as he, and yet—this is the worst to be said—he is a decent
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Mailer, states
Adamowski, becomes critical of the inner life of liberalism, prominently in "Yoga". Richard Poirier suggests that Mailer might have even projected his own anxiety into Sam: "In tone, feeling, and even phrasing, Sam is a portrait of what Mailer, in 1952, might have feared for himself".
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and "The Time of Her Time" through
Sergius, who, Gordon suggests, could be the narrator of "Yoga". He is the protagonist of the latter two works, and his name echoes through "Yoga": Sam's therapist is Dr. Sergius, Alan tells the story of Cassius O'Shaugnessy, and a Jerry O'Shaugnessy is a friend of
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The story's events take place on a Sunday in winter and center around Sam Slovoda, a sort of bourgeois everyman, who senses that his life is dull and even why it's dull, but cannot take the risks necessary to make it better. Sam and his situation seem to reflect what Mailer viewed as the malaise of
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Sam Slovoda and his wife Elenor are a middle-class couple who live in Queens with their two daughters. Sam makes a decent living writing continuity for comic strips, but aspires to write a novel. The story takes place one Sunday in winter, from just before Sam gets up to when he falls asleep. Sam
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If the republic was now managing to convert the citizenry to a plastic mass, ready to be attached to any manipulative gung ho, the author was ready to cast much of the blame for such success into the undernourished lap, the overpsychologized loins, of the liberal academic intelligentsia. Liberal
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Diana Trilling calls "Yoga" "one of the best stories of our time and aesthetically Mailer's best-integrated piece of fiction"; Bufithis and Miller label it "masterful", and Solotaroff calls it a "superb work of fiction". Macdonald places "Yoga" alongside "The Time of Her Time", the first half of
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Enid Stubin calls Sam and Elenor Slovoda "figures in a cautionary tale of contemporary courtship". Their relationship is characterized by inertia: they seem to be together only because it would require more effort to part. In Diana Trilling's reading, they "ache with the sexual longings that are
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type that seems to be the quintessence of individuality in the novella. A world traveller, Cassius samples all that life has to offer and provides a contrast to Sam, who does not take risks and lives a comfortable life of middle-class security. Bufithis explains that Cassius' life is a critical
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In her biography of Mailer, Hilary Mills sums up the central conflict of "Yoga": it's a "poignant depiction of the Slavodas and their civic-minded friends, locked in conformity and resorting to Freudian psychology for their answers when they truly ache for sexual satisfaction". Sam Slovoda is a
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Mailer writes that "Yoga" was originally to be the prologue of a larger, eight-part work featuring "the adventures of a mythical hero, Sergius O'Shaugnessy, who would travel through many worlds" and have "many of the characters reappear in different books, but with their ages altered". While he
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Sam states one of the reasons that he cannot write his novel is because he cannot find a form: "He does not want to write a realistic novel, because reality is no longer realistic". He adds: "Modern life is schizoid". Not only is this observation a thematic concern in the novella, but it also
216:", and other characters with shifting names travelling through time and "through many worlds, through pleasure, business, communism, church, working class, crime, homosexuality and mysticism". While Mailer deserted the overly-ambitious eight-novel idea, he wrote the first draft of
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and back to Cassius the "psychopath": perhaps these are characters who have penetrated that veneer of conformity and can speak the truth. In 1957, Mailer will go on to develop his "philosophical psychopath" in his figuration of the Hipster in "The White Negro".
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You can see then that this collection of pieces and parts, of advertisements, short stories, articles, short novels, fragments of novels, poems and part of a play comes to be written, after all, and for the most part, on just such a sweet theme — the
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killing us, even as they kill themselves — each day a few more lies eat into the seed with which we are born, little institutional lies from the print of newspapers, the shock waves of television, and the sentimental cheats of the movie
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abandoned this project, "Yoga" appears as he originally wrote it: "not entirely functional (certain excursions and diversions remaining as part of the abandoned architecture of the large work)". This point connects the novella with
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academics had no root of a real war with technology land itself, no, in all likelihood, they were the natural managers of that future air-conditioned vault where the last of human life would still exist.
367:", and explicitly illustrating how Sam and his friends are polar opposites: law-abiding and rational, but lifeless. Cassius' story, then, only validates Sam's notion that his world-view is correct.
312:— which may be his only realistic novel. "Yoga" is Mailer's attempt to find a subjective voice that was a better reflection of the time and anticipates Mailer's narrative voice in future writing.
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had invited Mailer to write something for the magazine, to which Mailer replied: "I'm still too young and too arrogant to care to write the kind of high-grade horseshit you print in
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Sam and Marvin's — all are "multivalent versions" of Sergius O'Shaugnessy. Frankie Idell, the man in the pornographic film, also echoes Charles Francis Eitel the protagonist of
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The narratorial voice is first-person, omniscient—a point-of-view that Mailer used only two other times in his fiction, in "Advertisements for Myself on the Way Out" and
180:). It is a tale of a "writer manqué", or a writer who fails to write, reflecting some of Mailer's own anxiety in the 1950s as he tries to reinvent himself.
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Miller, Gabriel (1989). "A Small Trumpet of Defiance: Politics and the Buried Life in Norman Mailer's Early Fiction". In Sorkin, Adam J. (ed.).
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and the 29-page abandoned prologue to it became "The Man Who Studied Yoga". Mailer credits his sister Barbara, his soon-to-be second wife
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Adamowski, T.H. (2006). "Demoralizing Liberalism: Lionel Trilling, Leslie Fiedler, and Norman Mailer".
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and the liberal support of "technology land" that Mailer calls a psychic drain on the soul of America:
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Similarly, Philip H. Bufithis argues that the main conflict in "Yoga" lies in the distinction between
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Busch, Frederick (1973). "The Whale as Shaggy Dog: Melville and 'The Man Who Studied Yoga'".
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2122:"'Don't Go Away Feeling Unequal': 'The Time of Her Time' and Mailer's Conciliatory Impulse"
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Trilling, Diana (1972). "The Radical Moralism of Norman Mailer". In Braudy, Leo (ed.).
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1593:— (Summer 2013). "The Moment of the Novel and the Rise of Film Culture".
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comments on the story's style and became an on-going concern for Mailer after
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Politics and the Muse: Studies in the Politics of Recent American Literature
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390:. These alter egos, argues Busch, appear again in Mailer's later work, like
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An American Dreamer: A Psychoanalytic Study of the Fiction of Norman Mailer
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and casting "a long shadow over the second half of the twentieth century".
1962:"The Reviewer's Song: 'Norman Mailer: A Double Life' by J. Michael Lennon"
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1564:"How Mailer Became 'Mailer': The Writer as Private and Public Character"
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Buckley and Mailer: The Difficult Friendship That Shaped the Sixties
334:. In addition, Lennon notes that "Yoga" appears in the epigraph of
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The 1950s was Mailer's toughest decade as a writer. His biographer
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The Armies of the Night: History as a Novel, the Novel as History
1700:"Norman Mailer by the Decade: By the Decade: An Epistolary Slant"
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Of a Small and Modest Malignancy, Wicked and Bristling with Dots
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written in 1952, was first published in the 1956 collection
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2068:. Comprehensive Guide to Short Stories, Critical Edition
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Mosser, Jason (2012). "Norman Mailer: Genre Bender".
1725:(Revised, Expanded ed.). Norman Mailer Society.
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Mailer did not italicize "Moby Dick" in the original.
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2107:. Urbana; London: University of Illinois Press.
554:Lennon explains that Pearl Kazin, an editor at
427:in 1959 (with a revised and expanded preface),
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2147:Norman Mailer: A Collection of Critical Essays
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2658:Deaths for the Ladies (and Other Disasters)
1540:"Norman Mailer As Midcentury Advertisement"
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2816:Stabbing of Adele Morales by Norman Mailer
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1995:. Modern Masters. New York: Viking Press.
1825:"Norman Mailer, The Art of Fiction No. 32"
1719:"56.25 [The Man Who Studied Yoga]"
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1755:Discriminations: Essays and Afterthoughts
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2018:Pritchard, William (November 24, 2016).
1757:. New York: Grossman. pp. 210–216.
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2088:. New York: W.W. Norton & Company.
2060:— (2004). May, Charles E. (ed.).
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446:Norton Anthology of American Literature
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1639:The Structured Vision of Norman Mailer
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2550:The Selected Letters of Norman Mailer
1717:—; Lennon, Donna Pedro (2018).
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2627:Master Spy: The Robert Hanssen Story
1960:O'Hagan, Andrew (November 7, 2013).
443:in 1998. "Yoga" has appeared in the
419:This novella was first published in
1919:Moore, Clayton (October 13, 2013).
2500:Portrait of Picasso as a Young Man
2265:The Short Fiction of Norman Mailer
1620:. London: Fairleigh Dickinson UP.
430:The Short Fiction of Norman Mailer
423:, 1956. It was later reprinted in
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2358:Superman Comes to the Supermarket
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1675:. New York: Simon and Schuster.
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2319:The Gospel According to the Son
2186:Norman Mailer: Works & Days
1562:Dickstein, Morris (Fall 2007).
1461:University of Toronto Quarterly
2401:Miami and the Siege of Chicago
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2830:New York City: the 51st State
2696:Lipton’s: A Marijuana Journal
1854:. Boston: Twayne Publishers.
1723:Norman Mailer: Works and Days
1721:. In Lucas, Gerald R. (ed.).
2431:St. George and The Godfather
1672:Norman Mailer: A Double Life
1488:Bufithis, Philip H. (1978).
16:Short story by Norman Mailer
2541:Norman Mailer's Letters on
2291:Of Women and Their Elegance
2103:Solotaroff, Robert (1973).
2045:. New York: Paragon House.
1698:— (October 5, 2014).
370:Castronovo compares Sam to
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2855:Norman Mailer bibliography
2120:Stubin, Enid (Fall 2016).
2062:"The Man Who Studied Yoga"
2041:The Lives of Norman Mailer
1753:, or Bad Man Makes Good".
1538:Castronovo, David (2014).
24:"The Man Who Studied Yoga"
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2850:The Norman Mailer Society
2836:In the Belly of the Beast
2730:Marilyn: The Untold Story
2460:Pieces and Pontifications
2351:Advertisements for Myself
1896:. New York: McGraw-Hill.
1779:. Cambridge: Harvard UP.
1776:Advertisements for Myself
516:Advertisements for Myself
472:Advertisements for Myself
425:Advertisements for Myself
173:Advertisements for Myself
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2524:The Man Who Studied Yoga
2395:The Idol and the Octopus
2378:Cannibals and Christians
2326:The Castle in the Forest
2182:The Man Who Studied Yoga
1846:Merrill, Robert (1978).
1635:Leeds, Barry H. (1969).
1009:Lennon & Lennon 2018
318:The Castle in the Forest
156:The Man Who Studied Yoga
2389:The Armies of the Night
2372:The Presidential Papers
2080:Schultz, Kevin (2015).
2037:Rollyson, Carl (1991).
1823:Marcus, Steven (1964).
1643:. New York: NYU Press.
1614:Gordon, Andrew (1980).
474:. In his commentary on
269:The Armies of the Night
2914:Works by Norman Mailer
2716:The Naked and the Dead
2613:The Executioner's Song
2595:Tough Guys Don't Dance
2305:Tough Guys Don't Dance
2284:The Executioner's Song
2278:A Transit to Narcissus
2272:Why Are We in Vietnam?
2237:The Naked and the Dead
1966:London Review of Books
1890:Mills, Hilary (1982).
1519:Modern Fiction Studies
901:, p. 195, passim.
393:Why Are We in Vietnam?
374:'s Gabriel Conroy in "
310:The Naked and the Dead
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204:The Naked and the Dead
187:The Naked and the Dead
132:The Thalian Adventure
2771:Norris Church Mailer
2437:The Faith of Graffiti
2408:Of a Fire on the Moon
449:as recently as 1979.
2904:1956 American novels
2803:John Buffalo Mailer
2680:(poems and drawings)
2671:The Time of Our Time
2517:The Time of Her Time
2487:Marilyn: A Biography
1808:. New York: Signet.
1473:10.3138/utq.75.3.883
979:, pp. 119, 121.
530:The Time of Her Time
440:The Time of Our Time
435:The Essential Mailer
360:most-interesting-man
214:The Time of Her Time
143:The Time of Her Time
2811:Norman Mailer Prize
2426:Existential Errands
2420:The Prisoner of Sex
2024:Washington Examiner
1921:"J. Michael Lennon"
1893:Mailer: A Biography
1751:Armies of the Night
1433:, pp. 900–901.
467:Armies of the Night
2868:River of Fundament
2664:Some Honorable Men
2470:Why Are We At War?
1667:Lennon, J. Michael
1544:New England Review
644:, pp. 142–43.
421:New Short Novels 2
168:New Short Novels 2
90:New Short Novels 2
2909:American novellas
2891:
2890:
2861:The Mailer Review
2846:
2842:J. Michael Lennon
2806:
2798:
2790:
2782:
2774:
2766:
2758:
2750:
2723:An American Dream
2543:An American Dream
2258:An American Dream
2150:. Prentice Hall.
2126:The Mailer Review
2105:Down Mailer's Way
2020:"Stormin' Norman"
1941:The Mailer Review
1875:. Popular Press.
1747:Macdonald, Dwight
1732:978-1-7326519-0-6
1568:The Mailer Review
1194:, pp. 90–91.
1047:, pp. 39–40.
1011:, pp. 24–25.
715:, pp. 28–58.
399:An American Dream
235:The Village Voice
200:J. Michael Lennon
152:
151:
148:
147:
2921:
2883:
2882:
2844:
2804:
2796:
2788:
2780:
2772:
2764:
2763:Beverly Bentley
2756:
2755:Jeanne Campbell
2748:
2620:American Tragedy
2588:Town Bloody Hall
2414:King of the Hill
2365:In the Red Light
2298:Ancient Evenings
2215:
2208:
2201:
2192:
2169:
2140:
2138:
2137:
2116:
2099:
2087:
2076:
2074:
2073:
2056:
2044:
2033:
2031:
2030:
2014:
1994:
1985:Poirier, Richard
1980:
1978:
1977:
1956:
1935:
1933:
1932:
1915:
1886:
1865:
1853:
1842:
1840:
1839:
1819:
1802:— (1968).
1798:
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262:
232:(then editor of
140:
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129:
128:
122:
121:
108:Publication date
48:Ballantine Books
44:
21:
2929:
2928:
2924:
2923:
2922:
2920:
2919:
2918:
2894:
2893:
2892:
2887:
2873:
2795:Stephen Mailer
2787:Michael Mailer
2735:
2707:
2701:
2692:(conversations)
2686:(conversations)
2632:
2600:
2554:
2529:
2504:
2474:
2450:Genius and Lust
2344:The White Negro
2331:
2224:
2219:
2180:The entry for "
2177:
2172:
2158:
2143:
2135:
2133:
2119:
2102:
2096:
2079:
2071:
2069:
2059:
2053:
2036:
2028:
2026:
2017:
2003:
1983:
1975:
1973:
1959:
1938:
1930:
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1162:
1154:
1147:
1141:Castronovo 2014
1139:
1126:
1118:
1114:
1106:
1102:
1094:
1090:
1082:
1078:
1070:
1066:
1058:
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1007:
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990:
983:
975:
971:
963:
956:
948:
944:
936:
932:
924:
920:
914:Solotaroff 1973
912:
905:
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858:
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846:
839:
831:
827:
819:
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628:
621:
613:
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589:
585:
581:
576:
575:
570:
566:
560:Harper's Bazaar
556:Harper's Bazaar
553:
549:
544:
539:
523:The White Negro
498:
491:
488:
455:
417:
365:The White Negro
344:
305:
297:Communist Party
288:
264:
260:
244:
196:
141:
137:
131:
126:
50:
17:
12:
11:
5:
2927:
2925:
2917:
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2911:
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2896:
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2889:
2888:
2878:
2875:
2874:
2872:
2871:
2864:
2857:
2852:
2847:
2839:
2832:
2827:
2826:
2825:
2822:The Last Party
2813:
2808:
2800:
2792:
2784:
2776:
2768:
2760:
2752:
2747:Adele Morales
2743:
2741:
2737:
2736:
2734:
2733:
2726:
2719:
2711:
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2702:
2700:
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2623:
2616:
2608:
2606:
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2601:
2599:
2598:
2591:
2584:
2577:
2570:
2567:Beyond the Law
2562:
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2556:
2555:
2553:
2552:
2547:
2537:
2535:
2531:
2530:
2528:
2527:
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2505:
2503:
2502:
2497:
2490:
2482:
2480:
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2472:
2467:
2465:The Spooky Art
2462:
2457:
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2440:
2433:
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2423:
2416:
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2333:
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2329:
2322:
2315:
2312:Harlot's Ghost
2308:
2301:
2294:
2287:
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2275:
2268:
2261:
2254:
2247:
2240:
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2217:
2210:
2203:
2195:
2189:
2188:
2176:
2175:External links
2173:
2171:
2170:
2156:
2141:
2117:
2100:
2095:978-0393248234
2094:
2077:
2057:
2051:
2034:
2015:
2001:
1981:
1957:
1947:(1): 267–274.
1936:
1916:
1902:
1887:
1881:
1866:
1860:
1843:
1820:
1814:
1799:
1785:
1771:Mailer, Norman
1767:
1743:
1731:
1714:
1704:Project Mailer
1695:
1682:978-1439150214
1681:
1663:
1649:
1632:
1626:
1611:
1590:
1574:(1): 118–131.
1559:
1535:
1514:
1500:
1485:
1467:(3): 883–904.
1455:
1453:
1450:
1448:
1447:
1443:Dickstein 2013
1435:
1431:Adamowski 2006
1423:
1411:
1409:, p. 213.
1407:Macdonald 1974
1399:
1397:, pp. 39.
1387:
1375:
1373:, p. 267.
1363:
1361:, p. 201.
1351:
1349:, p. 901.
1347:Adamowski 2006
1339:
1327:
1325:, p. 306.
1315:
1303:
1301:, p. 204.
1288:
1286:, p. 199.
1276:
1274:, p. 197.
1264:
1262:, p. 200.
1252:
1250:, p. 194.
1240:
1238:, p. 203.
1228:
1213:
1211:, pp. 40.
1196:
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1172:
1170:, pp. 42.
1160:
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1100:
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1088:
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1076:
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1062:, p. 156.
1049:
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1035:, p. 196.
1025:
1023:, p. 195.
1013:
996:
994:, p. 304.
981:
977:Dickstein 2007
969:
967:, p. 179.
954:
952:, p. 178.
942:
940:, p. 157.
930:
928:, p. 176.
918:
903:
891:
876:
874:, p. 900.
872:Adamowski 2006
864:
852:
850:, p. 340.
837:
835:, p. 897.
833:Adamowski 2006
825:
823:, p. 898.
821:Adamowski 2006
813:
798:
786:
774:
772:, p. 120.
770:Dickstein 2007
759:
747:
732:
730:, p. 142.
717:
705:
703:, p. 155.
690:
688:, p. 145.
675:
671:Pritchard 2016
663:
661:, p. 154.
646:
634:
619:
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582:
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487:
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416:
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343:
340:
304:
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287:
284:
261:—Norman Mailer
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2799:
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2785:
2783:
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2769:
2767:
2765:(fourth wife)
2761:
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2749:(second wife)
2745:
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2684:The Big Empty
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2652:The Deer Park
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2494:Oswald's Tale
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2383:The Bullfight
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2251:The Deer Park
2248:
2246:
2245:
2244:Barbary Shore
2241:
2239:
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2234:
2233:
2231:
2227:
2223:
2222:Norman Mailer
2216:
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2016:
2012:
2008:
2004:
1998:
1993:
1992:
1991:Norman Mailer
1986:
1982:
1971:
1967:
1963:
1958:
1954:
1950:
1946:
1942:
1937:
1926:
1925:Kirkus Review
1922:
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1850:Norman Mailer
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1623:
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1612:
1608:
1604:
1601:(1): 86–103.
1600:
1596:
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1541:
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1497:
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1492:
1491:Norman Mailer
1486:
1482:
1478:
1474:
1470:
1466:
1462:
1457:
1456:
1451:
1445:, p. 86.
1444:
1439:
1436:
1432:
1427:
1424:
1421:, p. 92.
1420:
1415:
1412:
1408:
1403:
1400:
1396:
1395:Bufithis 1978
1391:
1388:
1385:, p. 44.
1384:
1383:Trilling 1972
1379:
1376:
1372:
1367:
1364:
1360:
1355:
1352:
1348:
1343:
1340:
1337:, p. 59.
1336:
1335:Trilling 1972
1331:
1328:
1324:
1319:
1316:
1313:, p. 48.
1312:
1307:
1304:
1300:
1295:
1293:
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1285:
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1273:
1268:
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1261:
1256:
1253:
1249:
1244:
1241:
1237:
1232:
1229:
1226:, p. 89.
1225:
1220:
1218:
1214:
1210:
1209:Bufithis 1978
1205:
1203:
1201:
1197:
1193:
1188:
1185:
1182:, p. 90.
1181:
1176:
1173:
1169:
1168:Bufithis 1978
1164:
1161:
1157:
1156:Rollyson 2004
1152:
1150:
1146:
1142:
1137:
1135:
1133:
1131:
1129:
1125:
1122:, p. 91.
1121:
1116:
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1109:
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1097:
1092:
1089:
1085:
1080:
1077:
1074:, p. 13.
1073:
1068:
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1061:
1056:
1054:
1050:
1046:
1045:Bufithis 1978
1041:
1038:
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1974:. Retrieved
1969:
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1829:Paris Review
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1452:Bibliography
1438:
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1419:Merrill 1978
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1311:Poirier 1972
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794:Schultz 2015
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782:Schultz 2015
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603:O'Hagan 2013
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242:Major Themes
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226:Lillian Ross
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185:
182:
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171:
167:
155:
153:
89:
86:Published in
18:
2708:adaptations
2674:(anthology)
2666:(anthology)
2545:, 1963-1969
2336:Non-fiction
1927:(Interview)
1525:: 193–206.
1371:Mosser 2012
1323:Stubin 2016
1224:Miller 1989
1192:Gordon 1980
1180:Gordon 1980
1120:Gordon 1980
1108:Lennon 2013
1096:Stubin 2016
1072:Gordon 1980
1060:Mailer 1992
992:Stubin 2016
965:Mailer 1992
950:Mailer 1992
938:Mailer 1992
926:Mailer 1992
860:Mailer 1968
848:Lennon 2013
809:Gordon 1980
755:Miller 1989
743:Mailer 1992
713:Marcus 1964
701:Mailer 1992
686:Lennon 2013
659:Mailer 1992
642:Lennon 2013
591:Lennon 2014
415:Publication
81:Publication
30:Short story
2898:Categories
2781:(daughter)
2157:0135455332
2136:2021-11-12
2072:2017-08-15
2066:eNotes.com
2052:1557781931
2029:2019-10-01
2002:000632617X
1976:2015-09-08
1931:2017-09-10
1903:0880150025
1882:087972448X
1861:0805772545
1838:2017-08-01
1815:9994369040
1786:0674005902
1738:2018-10-13
1709:2017-08-13
1650:0814702562
1627:0838621589
1585:2017-08-13
1554:2017-08-13
1501:0804420971
1359:Busch 1973
1299:Busch 1973
1284:Busch 1973
1272:Busch 1973
1260:Busch 1973
1248:Busch 1973
1236:Busch 1973
1084:Leeds 1969
1033:Busch 1973
1021:Busch 1973
899:Busch 1973
728:Mills 1982
615:Moore 2013
537:References
194:Background
116:Chronology
96:Media type
2698:(journal)
2645:Strawhead
2605:Teleplays
2581:Maidstone
2479:Biography
2444:The Fight
2166:902005354
2113:644343516
2011:473033417
1972:(21): 3–7
1953:1936-4679
1912:966034621
1795:771096402
1773:(1992) .
1749:(1974). "
1691:873006264
1659:474531468
1607:0275-1607
1580:1936-4679
1531:551520398
1510:902507100
1481:671811735
579:Citations
453:Reception
433:in 1967,
408:Moby-Dick
101:Anthology
2885:Category
2660:(poetry)
1987:(1972).
1763:72900083
1669:(2013).
486:See also
376:The Dead
342:Analysis
286:Synopsis
230:Dan Wolf
71:Genre(s)
63:Language
2740:Related
2574:Wild 90
2534:Letters
2509:Stories
2229:Fiction
1595:Raritan
352:thought
255:screen.
160:novella
135:
99:Print (
75:Fiction
66:English
55:Country
2773:(wife)
2690:On God
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464:, and
356:action
228:, and
130:
2805:(son)
2797:(son)
2789:(son)
2637:Other
2184:" at
542:Notes
372:Joyce
303:Style
250:shits
222:Adele
212:and "
158:", a
2559:Film
2162:OCLC
2152:ISBN
2109:OCLC
2090:ISBN
2047:ISBN
2007:OCLC
1997:ISBN
1949:ISSN
1908:OCLC
1898:ISBN
1877:ISBN
1856:ISBN
1810:ISBN
1791:OCLC
1781:ISBN
1759:OCLC
1727:ISBN
1687:OCLC
1677:ISBN
1655:OCLC
1645:ISBN
1622:ISBN
1603:ISSN
1576:ISSN
1527:OCLC
1506:OCLC
1496:ISBN
1477:OCLC
396:and
354:and
252:are
111:1956
1550:(4)
1469:doi
476:AFM
388:AFM
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