Norman Mailer

You are currently browsing articles tagged Norman Mailer.

Obama_Ali_Champions_

Muhammad Ali, long before anyone could imagine an African-American President, sagely suggested that a person of color will hold that office only once the job has become completely undesirable.

FromEgo,” the 1971 Norman Mailer Life article mentioned in the video:

Muhammad Ali begins with the most unsettling ego of all. Having commanded the stage, he never pretends to step back and relinquish his place to other actors–like a six-foot parrot, he keeps screaming at you that he is the center of the stage, ‘Come here, and get me, fool,’ he says. ‘You can’t, ’cause you don’t know who I am. You don’t know where I am. I’m human intelligence and you don’t even know if I’m good or evil.’ This has been his essential message to America all these years. It is intolerable to our American mentality that the figure who is probably most prominent to us after the President is simply not comprehensible, for he could be a demon or a saint. Or both!•

Tags: , ,

Mailer joined Germaine Greer and other feminist advocates for a raucous panel discussion about women’s liberation at NYC’s Town Hall in 1971. D.A. Pennebaker was on hand to capture all the madness; the footage was edited years later into movie form by his wife, Chris Hegedus.

Tags: , , , , ,

Norman Mailer’s book Of a Fire on the Moon, about American space exploration during the 1960s, was originally published as three long and personal articles for Life magazine in 1969: “A Fire on the Moon,” “The Psychology of Astronauts,” and A Dream of the Future’s Face.” Mailer used space travel to examine America’s conflicted and tattered existence–and his own as well. In one segment, he reports on a banquet in which Wernher von Braun, the former Nazi rocket engineer who became a guiding light at NASA, meets with American businessmen on the eve of the Apollo 11 launch. An excerpt:

Therefore, the audience was not to be at ease during his introduction, for the new speaker, who described himself as a “backup publisher,” went into a little too much historical detail. “During the Thirties he was employed by the Ordinance Department of the German government developing liquid fuel rockets. During World War II he made very significant developments in rocketry for his government.”

A tension spread in this audience of corporation presidents and high executives, of astronauts, a few at any rate, and their families. There was an uneasy silence, an embarrassed pall at the unmentioned word of Nazi–it was the shoe which did not drop to the floor. So no more than a pitter-patter of clapping was aroused when the speaker went quickly on to say: “In 1955 he became an American citizen himself.” It was only when Von Braun stood up at the end that the mood felt secure enough to shift. A particularly hearty and enthusiastic hand of applause swelled into a standing ovation. Nearly everybody stood up. Aquarius, who finally cast his vote by remaining seated, felt pressure not unrelated to refusing to stand up for The Star-Spangled Banner. It was as if the crowd with true American enthusiasm had finally declared, “Ah don’ care if he is some kind of ex-Nazi, he’s a good loyal patriotic American.”

Von Braun was. If patriotism is the ability to improve a nation’s morale, then Von Braun was a patriot. It was plain that some of these corporate executives loved him. In fact, they revered him. He was the high priest of their precise art–manufacture. If many too many an American product was accelerating into shoddy these years since the war, if planned obsolescence had all too often become a euphemism for sloppy workmanship, cynical cost-cutting, swollen advertising budgets, inefficiency and general indifference, then in one place at least, and for certain, America could be proud of a product. It was high as a castle and tooled more finely than the most exquisite watch.

Now the real and true tasty beef of capitalism got up to speak, the grease and guts of it, the veritable brawn, and spoke with fulsome language in his small and well-considered voice. He was with friends on this occasion, and so a savory and gravy of redolence came into his tone, his voice was not unmusical, it had overtones which hinted of angelic super-possibilities one could not otherwise lay on the line. He was when all was said like the head waiter of the largest hofbrau in heaven. “Honored guests, ladies and gentlemen,” Von Braun began, “it is with a great deal of respect tonight that I meet you, the leaders, and the captains in the mainstream of American industry and life. Without your success in building and maintaining the economic foundations of this nation, the resources for mounting tomorrow’s expedition to the moon would never have been committed…. Tomorrow’s historic launch belongs to you and to the men and women who sit behind the desks and administer your companies’ activities, to the men who sweep the floor in your office buildings and to every American who walks the street of this productive land. It is an American triumph. Many times I have thanked God for allowing me to be a part of the history that will be made here today and tomorrow and in the next few days. Tonight I want to offer my gratitude to you and all Americans who have created the most fantastically progressive nation yet conceived and developed,” He went on to talk of space as “the key to our future on earth,” and echoes of his vision drifted through the stale tropical air of a banquet room after coffee–perhaps he was hinting at the discords and nihilism traveling in bands and brigands across the earth. “The key to our future on earth. I think we should see clearly from this statement that the Apollo 11 moon trip even from its inception was not intended as a one-time trip that would rest alone on the merits of a single journey. If our intention had been merely to bring back a handful of soil and rocks from the lunar gravel pit and then forget the whole thing”–he spoke almost with contempt of the meager resources of the moon–“we would certainly be history’s biggest fools. But that is not our intention now–it never will be. What we are seeking in tomorrow’s trip is indeed that key to our future on earth. We are expanding the mind of man. We are extending this God-given brain and these God-given hands to their outermost limits and in so doing all mankind will benefit. All mankind will reap the harvest…. What we will have attained when Neil Armstrong steps down upon the moon is a completely new step in the evolution of man.”•

Tags: , , ,

Rip Torn: And then the blood streamed down Norman Mailer's face. Good times, good times.(Photo by Alan Light.)

Norman Mailer starred as a porn director running for President in Maidstone, the largely improvised 1970 clusterfuck of a film he directed over four days in the Hamptons. The movie itself is something of a time warp, but in any era the conclusion would be unsettling; Mailer and his actor Rip Torn managed to turn it into a very real bloodbath.

Rip Torn recalls for writer Harold Conrad the film’s insane ending in the December 1985 issue of Spin. An excerpt from the article entitled “RIP,” in which the writer and his volatile subject recall those magical moments:

“‘Okay, so now you’re doing Mailer’s film, Maidstone, which leads us into another one of your dilemmas when you hit Mailer on the noggin with a hammer in the final scene of the picture.

‘You make it sound like an assault. You have to know the facts.’

‘Remember me, Rip,’ I say. ‘I was there and it was an assault. That’s what it was supposed to be!’

‘That’s right! I remember now. You were there, but we never had much of a chance to talk.’

Norman Mailer: So I bit Rip Torn's ear and he bled like a stuck pig. (Image from MDCarchives.)

It seemed to me that everybody was there. There must have been a hundred people in that picture–actors, writers, society dames, politicians. The whole project, on and off the screen, was the wildest scene I’d ever been around.

‘Now if you recall,’ says Rip, ‘there was no screenplay for Maidstone. It was all improvisation. It was always agreed that at some point someone would have to kill this porny director. Norman had the role. I had gone over this with him. He knew that. And here we were, shooting the final scene of the picture, and he was still alive!

‘Didn’t you think you’d hurt him, hitting him on the head with a hammer?’

‘I knew it would just bruise him a little bit, but we were shooting for realism. That’s what the picture was all about. I had to make it look like I hit him hard enough to kill him, but I had control of the hammer. It was really just a tap.’

‘Some tap. the blood was streaming down his face. Then you two started to grapple. Norman sunk his teeth into your ear, and you started to bleed like a stuck pig. There was blood all over the place, real blood.'”

Tags: , ,

The same arrogance the made Mailer a great writer also made him sometimes do dumb things. (Image from MDC Archives.)

I think the first time in my childhood that I heard the name “Norman Mailer” was in connection with one of the worst things he ever did. Mailer agitated for the release of convict/writer Jack Henry Abbott, who had spent much of his life in prison. Mailer envisioned Abbott as an American Genet.

It was, of course, a stupendously stupid thing to do. Within six weeks of his 1981 release, Abbott murdered 22-year-old New York waiter/aspiring actor Richard Adan. Whether he was springing cons, running for mayor or seething at Gore Vidal, Mailer often acted out of incredible hubris. But he was a magnificent writer, especially when he was in full-on non-fiction mode.

Some of his best work is collected in Miami and the Siege of Chicago, his street-level examinations of the 1968 Republican and Democrat national conventions, in all their depressing and tumultuous infamy. An excerpt from The Siege of Chicago, which concerns a protest march that was halted with utter brutality:

“There, damned by police on three sides, and cut off from the wagons of the Poor People’s March, there, right beneath the windows of the Hilton that looked down on Grant Park and Michigan Avenue, the stationary march was abruptly attacked. The police attacked with tear gas, with Mace, and with clubs, they attacked like a chainsaw cutting into wood, the teeth of the saw the edge of their clubs, they attacked like a scythe through grass, lines of twenty or thirty policemen striking out in an arc, their clubs beating, demonstrators fleeing. Seen from overhead, from the nineteenth floor, it was like a wind blowing dust, or the edge of waves riding foam on the shore.”

Tags: , , ,

Newer entries »