Often, I hardly recognize my younger self. I did foolish things I would never contemplate today. My self-centeredness was appalling, my taste frequently shameful, even in books. I read critics uncritically and was cowed by their fame and influence. Taste doesn’t arrive congenitally. You have to work at it and learn to know yourself, capacities rare among the young. Dr. Johnson understood:
“Of many writers who
filled their age with wonder, and whose names we find celebrated in the books
of their contemporaries, the works are now no longer to be seen, or are seen
only amidst the lumber of libraries which are seldom visited, where they lie only
to show the deceitfulness of hope, and the uncertainty of honour.”
As a teenager and beyond I
read too many contemporary writers, so my larger literary education suffered. I
often mistook fashion for brilliance. Admittedly, some of our best writers were
at work back then – Nabokov, Auden, Singer – and I dutifully read them as they
published new work, but my lack of taste was best exemplified by my devotion to
Norman Mailer. His egotism was as dense and unpalatable as last year’s fruitcake.
To read him today is to confront a writer whose pretentiousness makes him almost
literally impossible to read. Usually, that description is a metaphor, a
measured dose of satirical exaggeration. Try reading him today, with a
post-adolescent’s sensibility.
Consider Mailer’s 1967
novel Why Are We in Vietnam?, written in a hipster’s pidgin English
borrowed from William Burroughs, another crime against literature. I remember
taking the novel with me on a family camping trip shortly after its publication
and convincing myself that I enjoyed it. I was a bookish poseur, dim and
dishonest enough to blatantly lie to myself with a straight face. My behavior was
not atypical. Much of the literary world – writers, readers, critics -- remains
an elaborate masquerade, people signaling their hipness and sophistication by endorsing
an approved brand. I still encounter the occasional advocacy of Mailer’s work,
including a critic who not long ago launched a defense of his Apollo 11 book, Of
a Fire on the Moon (1970). Johnson on Mailer and others:
“Of the decline of
reputation many causes may be assigned. It is commonly lost because it never
was deserved; and was conferred at first, not by the suffrage of criticism, but
by the fondness of friendship, or servility of flattery. The great and popular are
very freely applauded; but all soon grow weary of echoing to each other a name
which has no other claim to notice, but that many mouths are pronouncing it at
once.”
[The passages from Johnson are taken from The Idler essay published June 2, 1759.]
I still have a soft spot - in my head, you would say, for Mailer. The earliest novels are the best - The Naked and the Dead and The Deer Park. By the time you get to An American Dream, he had become largely unreadable. He had no gift for character, and in An American Dream, I didn't believe in his protagonist for a single instant; in such an ambitious novel, that's a big problem.
ReplyDeleteHis best book is the one in which he didn't have to make anything up - The Executioner's Song.
Popular enthusiasm as reflected in the media often causes us to overestimate writers, we assume that someone knows something we don't. So when I was in HS I was reading Kurt Vonnegut and Herman Hesse - and never since had the slightest urge to revisit them. Mailer's Executioner's Song, at least the first half, made an impression on me.
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