Cover image for Mind of an outlaw : selected essays
Mind of an outlaw : selected essays
Mailer, Norman., author.
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Essays. Selections
Random House Trade Paperback edition.
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New York : Random House Trade Paperbacks, 2014.
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xxiv, 624 pages ; 21 cm
The first posthumous publication from this outsize literary icon, "Mind of an Outlaw" collects Mailer's most important and representative work in the form that many rank as his most electrifying.
1940s. A credo for the living -- 1950s. Freud ; The homosexual villain ; What I think of artistic freedom ; Raison d'être ; On lies, power, and obscenity ; Nomination of Ernest Hemingway for president, part I ; Nomination of Ernest Hemingway for president, part II ; The white Negro ; From surplus value to the mass media ; Quick evaluations on the talent in the room ; The mind of an outlaw -- 1960s. Superman comes to the supermarket ; An evening with Jackie Kennedy ; Suicides of Hemingway and Monroe ; Punching Papa ; Some children of the goddess ; Introducing our argument ; Our argument as last presented ; The crazy one ; Black Power ; Looking for the meat and potatoes--thoughts on Black Power -- 1970s. Millett and D.H. Lawrence ; Tango, last tango ; Genius ; Christ, Satan, and the Presidential candidate: a visit to Jimmy Carter in Plains ; Our man at Harvard -- 1980s. Before the literary bar ; Until dead: thoughts on capital punishment ; Discovering Jack H. Abbott ; Marilyn Monroe's sexiest tapes and discs ; All the pirates and people ; Huckleberry Finn, alive at one hundred ; The hazards and sources of writing -- 1990s. Review of American psycho ; How the wimp won the war ; By heaven inspired ; The best move lies close to the worst ; Clinton and Dole: the War of the Oxymorons ; At the point of my pen -- 2000s. Social life, literary desires, literary corruption ; Review of The corrections ; Gaining an empire, losing democracy? ; The white man unburdened ; Immodest proposals ; The election and America's future ; Comment on the passing of George Plimpton ; On Sartre's God problem ; Myth versus hypothesis.
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PS3525.A4152 A6 2014 Adult Non-Fiction Non-Fiction Area

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Norman Mailer was one of the towering figures of twentieth-century American letters and an acknowledged master of the essay. Mind of an Outlaw, the first posthumous publication from this outsize literary icon, collects Mailer's most important and representative work in the form that many rank as his most electrifying.
As America's foremost public intellectual, Norman Mailer was a ubiquitous presence in our national life--on the airwaves and in print--for more than sixty years. With his supple mind and pugnacious persona, he engaged society more than any other writer of his generation. The trademark Mailer swagger is much in evidence in these pages as he holds forth on culture, ideology, politics, sex, gender, and celebrity, among other topics. Here is Mailer on boxing, Mailer on Hemingway, Mailer on Marilyn Monroe, and, of course, Mailer on Mailer--the one subject that served as the beating heart of all of his nonfiction.
From his early essay "A Credo for the Living," published in 1948, when the author was twenty-five, to his final writings in the year before his death, Mailer wrestled with the big themes of his times. He was one of the most astute cultural commentators of the postwar era, a swashbuckling intellectual provocateur who never pulled a punch and was rarely anything less than interesting. Mind of an Outlaw spans the full arc of Mailer's evolution as a writer, including such essential pieces as his acclaimed 1957 meditation on hipsters, "The White Negro"; multiple selections from his seminal collection Advertisements for Myself; and a never-before-published essay on Sigmund Freud.
Incendiary, erudite, and unrepentantly outrageous, Norman Mailer was a dominating force on the battlefield of ideas. Featuring an incisive Introduction by Jonathan Lethem, Mind of an Outlaw forms a fascinating portrait of Mailer's intellectual development across the span of his career as well as the preoccupations of a nation in the last half of the American century.

Praise for Mind of an Outlaw
"[Mailer's] best and brightest." -- Esquire
"The fifty essays collected in this retrospective volume span sixty-four years and show [Norman] Mailer (1923-2007) at his brawny, pugnacious, and egotistical best. . . . This provocative collection brims with insights and reflections that show why Mailer is regarded as a great literary mind of his generation." -- Publishers Weekly
"The selections open a window onto the capacious mind and process of one of the most volatile intellects of the twentieth century." -- Library Journal
"Vintage Mailer: brilliant, infuriating, witty and never, ever boring." --Tampa Bay Times
"As good an introduction to Mailer's habits of mind as there's ever been." -- Kirkus Reviews
"There's no arguing about Mailer the essayist--he was outstanding. . . . These insightful essays educate, argue and persuade on everything from politics and literature to film, philosophy and the human condition." -- Shelf Awareness

From the Hardcover edition.

Author Notes

Norman Kingsley Mailer was born on January 31, 1923 in Long Branch, N. J. and then moved with his family to Brooklyn, N. Y. Mailer later attended Harvard University and graduated with a degree in aeronautical engineering.

Mailer served in the Army during World War II, and later wrote, directed, and acted in motion pictures. He was also a co-founder of the Village Voice and edited Disssent for nine years.

Mailer has written several books including: The Armies of the Night, which won the National Book Award, the Pulitzer Prize, and a Polk Award; and The Executioner's Song, which won the Pulitzer Prize. In 2005, he won the Medal for Distinguished Contribution to American Letters from the National Book Foundation. He published his last novel, The Castle in the Forest, in 2007. He died of acute renal failure on November 10, 2007.

(Bowker Author Biography)

Reviews 1

Library Journal Review

Writer, controversial cultural icon, and National Book Award and Pulitzer Prize winner Mailer (The Naked and the Dead; Armies of the Night; The Executioner's Song) died in 2007, but his reputation as a giant of American letters survives. These 50 pieces-essays, speeches, screeds, and reviews--edited by Sipiora (English & film studies, Univ. of South Florida) examine artistic freedom ("What I Think of Artistic Freedom"), politics ("Christ, Satan, and the Presidential Candidate," "Clinton and Dole: The War of the Oxymorons"), literature and writing ("The Mind of an Outlaw," "Huckleberry Finn, Alive at 100," "The Hazards and Sources of Writing"), social issues ("Until Dead: Thoughts on Capital Punishment"), and a host of other topics. Organized chronologically from 1942 to 2006, the selections open a window onto the capacious mind and process of one of the most volatile intellects of the 20th century; Mailer was admired and reviled in equal measure. -VERDICT Plenty of critics have commented throughout the decades on Mailer's sometimes uneven output, but very few of them ever questioned the passion or power of his prose. Taken individually, these pieces are snapshots of times and places integral to the cultural landscape of America over the last 70 years. Regarded as a whole, they serve as insightful social commentary and justification for continued attention to the writer's work.-Patrick A. Smith, Bainbridge Coll., GA (c) Copyright 2013. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.



1940s A Credo for the Living (1948) I must admit that I enjoy this opportunity to write a word or two about my own politics. In the thirties it was common enough for authors to send out a barrage of credos and countercredos, but today--because, perhaps, this is a period of less hope and greater concentration--the tendency has been to pool our efforts in the Progressive Party, and to leave the refinements, the definitions-of-position, to those authors who have deserted the Left to create political parties of three or four members. A long sentence, the above. My apologies. Now my own politics, naturally, have a certain relation to The Naked and the Dead. The Naked and the Dead was a parable. It was a parable about the movement of men through history, and how history operates; and specifically it was a novel about America's destiny and the historical paths America was to follow after the war. (I was a very ambitious young man at the time I wrote it.) It was not a bitter book. It tried to explore the outrageous proportions of cause and effect, of effort and recompense, in a sick society, and in that sense it is a book with a certain grim humor. Its function was not to seek for affirmations, but meanings, and for that reason perhaps it has been called a novel without hope. I think actually it is a novel with a great deal of hope. It finds man corrupted, confused to the point of helplessness, but it also finds that there are limits beyond which man cannot be pushed, and it finds that even in man's corruption and sickness there are yearnings and inarticulate strivings for a better world, a life with more dignity. I have written these words about "hope," because hope moves people politically. Although I do not think that "hope" has anything to do with the merits of a novel, I think it has a great deal to do with an author's political activity or lack of it. Thus, with a delay or two, we come to the credo. I suppose that politically I am an ignorant Marxist. I mean by that a confession that I cannot in all honesty call myself a Marxist when I have read so few of the basic works of Marxist theory. But politically in terms of specific objectives, of specific legislation and specific projects, I am in agreement with a great many tenets of the Left. To focus it more finely I might say that I feel myself to the left of the Progressive Party and to the right of the Communist Party. I have come to this station by way of certain basic assumptions. I feel, and this is most directly important, that the need today is to approach "issues and questions"--those ponderous words which are the bane of all leftist writing--with an attitude that problems are complex, and their solutions are complex. Out of the swill and the honey which has been strewn over the Soviet Union, it is rarely stated that the USSR is an immense country, and that evaluations of it must be as many-faceted and various as evaluations of the United States. A book which saw America through a Negro chain gang in Georgia, or from a nightclub on Fifty-Second Street or from a peaceful farm in Iowa, would be hardly a definitive work on the United States. By the same token almost every approach to the USSR has been that limited and that special. It is my diffident opinion that Russia is neither Arcadia nor a black police state in which every man slaughters his brother. It is an immense nation with wonderful things and bad things, and it is a state which like all states is in the midst of a historical process, and is moving and changing. But when the last war ended, it was not Russia which sought to take over Europe by force. It was the United States. A deep revolutionary movement that was spontaneous and natural, and came to being out of the miseries and lessons of the Second World War, was created in Western Europe. Communism was the answer for Western Europe, and it would have been a more satisfactory answer than the mangle of present-day political life there. We opposed it as a nation not because Communism in Europe would have been a threat to America's existence, but because it would have been a threat to the present economic organization of America. It is perfectly ridiculous to assume that if Europe had gone Communist, Russia would have engaged in a war with us. Both Russia and the countries of Western Europe would have had their own crucial problems of reconstruction. It would have taken decades, as it may now take centuries, to have restored those countries to healthy productive societies. In the process America would have been influenced by what was occurring in Europe, might gradually and peacefully have oriented itself toward socialism. That would have meant the end of the present ruling society in America. And in the instinctive appreciation of a dangerous problem that ruling societies always exhibit, the campaign to identify the Soviet Union with the worst ogres of a nightmare was begun. Its success was a reflection of the neurosis of America. America is in a moral wilderness today, torn between a Christian ethic now enfeebled, a capitalist ethic, and a new sexual ethic whose essence is sadistic. When one contemplates the staggering frustrations and animosities of American life, I think there is hope to be found in the fact that there is resistance, and that there is a political party, the Progressive Party, which will poll millions of votes, millions of protests, against the campaign to make America fascist in preference to letting it move socialist. My hope for the future depends upon more than those millions of votes. It is heartening for us to remember that the economic rulers of America have their problems too. They have satisfied temporarily the spiritual frustration of America life by feeding Americans upon anti-Russian hysteria. But hatred, except in rare cases, is only a temporary food. The basic problems of Americans, the spiritual problems, remain unsolved, and there is no way short of fascism or war for the present ruling groups to solve those problems. There is resistance to fascism, and there is resistance to war. I think it is childish of us to assume that it is impossible for Americans to move toward the Progressive Party. History is filled with waves and counterwaves. My hope and my belief in America is that unlike Germany, there will be more and more resistance created as we move closer to the solution of the fascism and war that the reactionaries will present us. In the meantime I will act politically for those things in which I believe. If it will take courage so much the better. We shall all find our courage. The beauty in man is that under the press of circumstances he develops what he must possess. 1950s Freud (circa mid-1950s) For Freud it was unthinkable not to have a civilization--no matter what price must be paid in individual suffering, in neurosis, in the alienation of man from his instincts, the alternative--a return to barbarism, to the primitive, was simply beyond the cultural shaping of Freud's life. As a lower-middle-class middle-European Jew who rose in bourgeois society, he was not only the mirror but finally the essence of German culture. It could be argued that the nature of the Jews, the meaning of the Jews, is not to find themselves as a people, but to re-create within themselves, as works of art, the models of a culture which is forever alien to them. So it is possible that the finest understanding of manners, of snobbery, of power, or equally of bourgeois stability can be grasped only by an outsider who can never take such values for granted but must acquire them by imaginative exercises of will, talent, and social courage. Freud was not born to become a respected young neurologist in Viennese medical society at the age of forty; it took the application of his early ambition, the subjugation of a good part of his more rebellious instincts, to acquire the training, the habits, and the manners of a Viennese doctor. No surprise, then, if at the moment of engaging his second career, with that long heroic passage through the underwater currents of the dream, at whose end he was to create no less than the most pervasive religion of the twentieth century, the rational gloomy ethic of psychoanalysis, it was enough to ask of him that he be ready to turn the foundations of Western society into a new view of marriage, family, and man. One could hardly ask for more: that the view be revolutionary, that the search be not for foundations but dynamic. Freud was ready to endanger his security in the bourgeois world [he had attained] in order to save that world--his unadmitted love was always for the middle class, but it was simply not within the bounds of one hero to wreak two upheavals upon thought. Society was sick, Freud could see it, but of necessity the answer for him was to redefine the nature of man in such a way as to keep society intact and Freud in his study and consulting room. If civilization was top-heavy in its structures and institutions, and instinct was therefore crippled in its expression, and able to achieve beauty (melancholy beauty, be it said) only through sublimation, then so it must be. Man, for whatever reason, and the ultimate reason was mysterious--Freud had no flair for the mystical--man for whatever reason must accept himself as a crippled being who could become less crippled but never whole--in return his civilization would presumably evolve and become less tragic. But it was a spartan view. In return for austerity, and pure psychoanalysis was austere, severe, unrelenting (as opposed to the more amiable and friendly varieties which proliferate in a pleasure-loving America today), man would at least be given the dignity of maintaining his civilization. How middle-class and Jewish this is can hardly be exaggerated. Part of the paradox in Freud's style of mind was that he was capable of the finest intellectual distinctions, and the subtlest engagements of the opposite point of view in debate, while possessing almost no original capacity as a philosopher. At a very high level, he is the Jewish businessman raised to apotheosis, [even to the cigar,] and the sum of his philosophy in a depressed state could come to not much more than the heavy sigh of: "I've never had a particularly good time in my life, and the world is dog eat dog, but I've raised a family and I've taken care of them, and who knows, the kids never listen to the parents anyway, but maybe they'll make a better world, although I doubt it. The big thing is to do your duty, 'cause otherwise it would all be chaos. I mean, where would we be if everybody went around doing what they wanted to do?" This gloomy view could be maintained in Freud's time, at least until the First World War; afterward, Freud's sense of the possibilities darkened further, his speculative toe entered the new deep waters of mysticism as Thanatos was added to Eros, the death instinct engaged in a dialectic with libido. But mysticism is the executioner of the middle-class ethic. The stability of the bourgeois has always depended upon a schizophrenic separation of the power of religion-as-an-institution from religion as a personal revelation of Heaven, Hell, Eternity, the soul, God, and human destiny. Mysticism has the nasty faculty of joining one's public and private life, it presents as its ultimate threat the subordination of reason to instinct, even as society rules instinct by reason. Freud was the last genius of twentieth-century society, only the epigones have followed. And as he was dying in 1939, the wreckage of his world was about him, the last engineer of civilization was hearing the bulkheads blow as he went under into that dark night about which he had refused to speculate. And a dark night it was, because the war upon instinct which was the progressive rationale of the nineteenth century, the--for so long it seemed victorious--achievement of the Victorian period, was blown beyond recognition in the concentration camps and the atomic bomb. The dam of civilization burst before pent‑up floods of instinct, and even as gates were carried away in the wash, so the crippling irony remained, the debris of civilization dissolved into the instinct, and altered the language of instinct; men were not murdered by the million but liquidated, atomic residue was not a slow fatality but a fallout. Perhaps it is better to use Freud's image of the rider and the steed, reason controlling instinct, superego the reins, id the horse, and the rider as ego encouraging or punishing the separate heats of the animal. By that image, the wildness of the horse is controlled at the expense of the horseman's fatigue, but one goes where one wishes to go, if not always at the desired rate. This was the central image of Freud's psychology, civilization mounted upon the noble savage, but the results were unexpected. For the animal was controlled not a little too much but incommensurately too much, and as it came closer to death, so the horse went wild and headed for a cliff. But the rider was also insane, his fatigue was equally cruel, horse and rider had never been suited to one another, and in the gallop to the cliff, the rider was using his spurs, not his reins, they are at the moment of danger of leaping over together, each of them poisoned, berserk with frustration. With Freud's love for the English, the idea must have been that somehow one would muddle through. It would not be worth saying Freud had an umbilical respect for the meanings of anxiety and dread, if it were not that his disciples have reduced these concepts to alarm bells and rattles of malfunction in a psychic machine. Anxiety and dread are treated by them as facts, as the clashing of gears in a neurotic net. The primitive understanding of dread--that one was caught in a dialogue with gods, devils, and spirits, and so was naturally consumed with awe, shame, and terror, has been all but forgotten. We are taught that we feel anxiety because we are driven by unconscious impulses which are socially unacceptable; dread we are told is a repetition of infantile experiences of helplessness. It is induced in us by situations which remind our unconscious of weaning and other early deprivations. What is never discussed: the possibility that we feel anxiety because we are in danger of losing some part or quality of soul unless we act, and not dangerously; or the likelihood that we feel dread when intimations of our death inspire us with disproportionate terror, a horror not merely because we are going to die, but to the contrary because we are going to die badly and suffer some unendurable stricture of eternity. From the Hardcover edition. Excerpted from Mind of an Outlaw: Selected Essays by Norman Mailer All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.