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Norman Mailer's Nonfiction

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Norman Mailer's Nonfiction Series Editor: Pekka Tammi, University of Tampere In the same series The Writer´s Metamorphosis: Tropes of Literary Refl ection and Revision by Kai Mikkonen Demonic Texts and Textual Demons: The Demonic Tradition, the Self, and Popular Fiction by Ilkka Mäyrä Russian Subtexts in Nabokov´s Fiction: Four Essays by Pekka Tammi Sympathy and Joyce´s Dubliners: Ethical Probing of Reading, Narrative, and Textuality by Tanja Vesala-Varttala Markku Lehtimäki Self-Refl exivity, Literary Form, and the Rhetoric of Narrative Tampere Studies in Literature and Textuality Series Editor: Pekka Tammi, University of Tampere FIN-33014 Tampere, Finland Markku Lehtimäki: The Poetics of Norman Mailer’s Nonfi ction. Self-Refl exivity, Literary Form, and the Rhetoric of Narrative. Diss. © 2005 Tampere University Press Sales Bookshop TAJU FIN-33014 University of Tampere, Finland tel. (03) 215 6055 fax (03) 215 7685 [email protected] www.uta.fi /taju http://granum.uta.fi Cover design by Marjo Hallila Layout by Samuli Hägg Electronic dissertation Acta Electronica Universitatis Tamperensis 430 ISBN 951-44-6280-3 ISSN 1456-954X http://acta.uta.fi Printed dissertation ISBN 951-44-6236-X Printed by Vammalan Kirjapaino Oy Contents Acknowledgments Introduction 1 Probing a Poetics of Nonfi ction 2 The Literary and Novelistic Form of Nonfi ction 3 Aims, Theories, and Methods 12 Norman Mailer’s Nonfi ction: Themes and Approaches 18 The Complexities of Mailer’s Poetics 19 The Plot of the Study 26 Chapter I Toward a Poetics and Pragmatics of Literary Nonfi ction 28 A Formalist Focus on Fiction and Nonfi ction 28 History as a Text 29 Narrative Modes and Borderline Cases 36 Ways of Fictional and Factual Worldmaking 44 Referentiality, Ethics, and the Representation of Reality 45 The Construction of Fictional and Historical Worlds 54 The Factuality and Aesthetics of Nonfi ctional Narrative 60 The Figuration of Facts 60 The “Nonfi ction Novel” as a Literary Work: Capote’s In Cold Blood 65 Toward Self-Refl exive American Nonfi ction 72 From Factual Fiction to Postmodernist Nonfi ction 72 Metanarratives and Frameworks 81 Refl exive Reading of Self-Refl exive Texts 87 Chapter II Mailer’s Narrative Poetics: From Fiction to Nonfi ction 97 Mailer’s Fiction: Narrative and Thematic Questions 98 Authorial Roles and Narrative Voices 98 Mailer’s Fictional Writers 104 A Mailerian Theme: The Ontological Meaning of Writing 110 Journalistic Conventions, Political Conventions 119 Essays and Reportage: The Forming of One’s Self and Style 119 Nixon and Diction: Miami and the Siege of Chicago and St. George and the Godfather 126 Mailer’s Mythologies: Documentary as Romance 137 The Novel and the Romance 137 Creation and Liberation: The Prisoner of Sex 145 Artists and Heroes: Mailer’s Biographical Mode 153 Biography as a Novel: From Marilyn to Picasso 154 The Art of Fighting/The Art of Writing: The Fight 163 Chapter III The Filtered Vision: Author, Narrator, and Character in The Armies of the Night 177 Character and Narration 177 Norman Mailer as a Novelistic Character 177 An Autobiography in the Third Person Mode 185 History as a Novel/The Novel as History 190 Visuality and Focalization 190 The Novel as a Mirror and Telescope 199 Mailer’s Vision and Rhetoric 206 The Author and His Audience 206 Language and Metaphor: Mailer as an American Jeremiah 210 Chapter IV The ‘Failure’ of Art: Problems of Verbal and Visual Representation in Of a Fire on the Moon 221 Problems and Possibilities of Representation 221 Representation and the Refl ection on Artistic Failure 222 The Unreality of Reality 228 Writing about the Writing about the Moon Flight 233 Mailer as Aquarius 234 Moby-Dick as a Subtext 241 Poetry and Metaphor versus Science and Technology 249 Mailer’s Romantic Mythology 249 A Dream of the Universe 258 Chapter V The Whiteness of the World: Language and Meaning in The Executioner’s Song 265 Languages of the West and the East 266 Characters and the World 267 American Voices: Reading People through FID 272 “American Virtue”: Mailer’s Thematics 280 The Artist as Recorder 280 Narrativization, Motivation, Interpretation 285 Gilmore’s Life and Death: Deconstruction and Construction of Meaning 292 The Meaningful Subject 293 Gaps, Blanks, and Breaks in the Narrative 299 The Ethics of the Media Execution 307 Chapter VI History as Mystery: The Rhetoric of Nonfi ction in Oswald’s Tale 316 Rhetoric and Response: The Collaboration of Author and Reader 317 Rhetoric and Ethics 317 Authorial and Narrative Audiences 322 The Complexities of a (Post)modernist Event 327 Mailer, White, and the Absurdity of History 327 Postmodernist Fiction and Nonfi ction: DeLillo and Mailer 332 Oswald’s Character, Mailer’s Voice 338 The Implied Author in Nonfi ction 338 Mimetic, Thematic, and Synthetic Components of the Narrative 344 Conclusion 355 Bibliography 359 Index 387 Acknowledgments In his Afterword to The Executioner’s Song, Norman Mailer writes: “It is always presumptuous to say that a book could not have been written without the contributions of certain people since it assumes the book is worth writ- ing in the fi rst place.” Let me say that those contributions of certain people have made the long process of writing this book very worthwhile, and if the fi nished project is worth reading, it is very much due to them. First of all, this work would not have been possible without professor Pekka Tammi’s encouragement and guidance and his solid interest in my thesis. I am most grateful to him for his critical eye and his good company over the years. Professor James Phelan has responded to my thesis with his exceptional clarity and persuasion in the best rhetorical tradition; in addi- tion, his theoretical work has had a profound infl uence on my own work. Professor Bo Pettersson’s kind and skilful comments on my style and argu- ments have been most helpful in the writing of both my Licentiate thesis and this book, and professor Leona Toker’s perceptive suggestions polished the text of the dissertation, its content and form, in its fi nal phase. I have been able to study and write in a fascinating academic world. The Department of Literature and the Arts (University of Tampere, Finland) has provided me a second home for many years now. I wrote my M.A. thesis on Hemingway’s short stories in 1995 and fi nished my Licentiate thesis on Mailer’s fi ction in 1998. Aarre Heino, Päivi Kosonen, Mikko Lehtonen, Päivi Mehtonen, Eila Rantonen and Matti Savolainen, among others, have given valuable comments on my work in its various phases. At the very beginning of my research project dealing with Mailer’s nonfi ction, I was happy to be able to work as a doctoral student at the School of Literary Theory and Textuality, led by professor Pekka Tammi, in 1998, and after that at the Finnish Graduate School of Literary Studies, led by professor Liisa Saariluoma, during the years 2001-02. I wish to show my gratitude to my directors and fellow researchers in those schools. I have been provided the possibility to participate in numerous confer- ences, workshops, and seminars between 1997 and 2005 and to meet such eminent scholars as Richard Aczel, Aleksandr Dolinin, Antony Easthope, Monika Fludernik, Phyllis Frus, Daniel P. Gunn, Suzette Henke, David Herman, Manfred Jahn, Brian McHale, Sara Mills, Alan Palmer, James Phelan, Leona Toker, Michael Toolan, and Hayden White. An International Conference on Narrative in UC Berkeley, March 2003, has been a high point among the conferences. It gave me the opportunity to realize that narratologists are not paper people but fl esh and blood. I have also been able to participate in the research project focusing on FID (free indirect discourse), led by professor Hannu Tommola and including scientifi c trips to Germany with a most hearty group. In addition, I thank my Estonian col- leagues Marina Grishakova and Julia Shamarina for our joint seminars and publications. On my own, I have made various adventures to my textual sources and visited great libraries and bookstores in London, New York, and San Francisco. I wish to give my heartfelt thanks to my teachers, colleagues and stu- dents in the academic world, which is always full of passionate encounters, mutual interests, and scientifi c challenges. Many fellow researchers have had an infl uence on my work as they have provided new angles and ap- proaches to my topic. My friends in the academic world have also shared my interest in various cultural issues from fi lm to food. I am especially grateful to Klaus Brax, Mika Hallila, Mari Hatavara, Tommi Nieminen, Juri Nummelin, and Sanna Palomäki for the company we keep. Special thanks go to Mark Shackleton for language editing (which made my English sound like English) and for his many valuable sugges- tions concerning both stylistic and thematic issues. My thanks also go to Samuli Hägg for the layout of this book and to Marjo Hallila for the cover design. My research project has been granted support by the Emil Aaltonen Foundation (Emil Aaltosen Säätiö) and the University of Tampere. The publication of this book has been fi nancially supported by the Department of Literature and the Arts. My brother Mika and my sisters Hanna and Kaisa have shaped my per- sonality more than anyone else. I owe a great deal to them. My grandmother has always believed in my abilities, even in times when I have not. I thank her most warmly for being there. Finally, I dedicate this book to my mother. Äidilleni. 1 Introduction It’s a peculiar form of non-fi ction; a special species of non-fi ction; a form of its own somewhere between fi ction and non-fi ction.
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