But we were far more cheerful than anything I’ve said might indicate and none of the above seemed to matter very much at the time. Other things mattered, like walking and talking and drinking and eating, and the way Adele laughed, and the way Norman argued. He argued like a young man, he argued to win: and while I found him charming, he may have found me exasperating, for I kept moving back before that short, prodding forefinger. I couldn’t submit my arguments, or my real questions, for I had too much to hide. Or so it seemed to me then. I submit, though I may be wrong, that I was then at the beginning of a terrifying adventure, not too unlike the conundrum which seems to menace Norman now:
“I had done a few things and earned a few pence”; but the things I had written were behind me, could not be written again, could not be repeated. I was also realizing that all that the world could give me as an artist, it had, in effect, already given. In the years that stretched before me, all that I could look forward to, in that way, were a few more prizes, or a lot more, and a little more, or a lot more money. And my private life had failed—had failed, had failed. One of the reasons I had fought so hard, after all, was to wrest from the world fame and money and love. And here I was, at thirty-two, finding my notoriety hard to bear, since its principal effect was to make me more lonely; money, it turned out, was exactly like sex, you thought of nothing else if you didn’t have it and thought of other things if you did; and love, as far as I could see, was over. Love seemed to be over not merely because an affair was ending; it would have seemed to be over under any circumstances; for it was the dream of love which was ending. I was beginning to realize, most unwillingly, all the things love could not do. It could not make me over, for example. It could not undo the journey which had made of me such a strange man and brought me to such a strange place.
But at that time it seemed only too clear that love had gone out of the world, and not, as I had thought once, because I was poor and ugly and obscure, but precisely because I was no longer any of these things. What point, then, was there in working if the best I could hope for was the Nobel Prize? And how, indeed, would I be able to keep on working if I could never be released from the prison of my egocentricity? By what act could I escape this horror? For horror it was, let us make no mistake about that.
And, beneath all this, which simplified nothing, was that sense, that suspicion—which is the glory and torment of every writer—that what was happening to me might be turned to good account, that I was trembling on the edge of great revelations, was being prepared for a very long journey, and might now begin, having survived my apprenticeship (but had I survived it?), a great work. I might really become a great writer. But in order to do this I would have to sit down at the typewriter again, alone—I would have to accept my despair: and I could not do it. It really does not help to be a strong-willed person or, anyway, I think it is a great error to misunderstand the nature of the will. In the most important areas of anybody’s life, the will usually operates as a traitor. My own will was busily pointing out to me the most fantastically unreal alternatives to my pain, all of which I tried, all of which—luckily—failed. When, late in the evening or early in the morning, Norman and Adele returned to their hotel on the Quai Voltaire, I wandered through Paris, the underside of Paris, drinking, screwing, fighting—it’s a wonder I wasn’t killed. And then it was morning, I would somehow be home—usually, anyway—and the typewriter would be there, staring at me; and the manuscript of the new novel, which it seemed I would never be able to achieve, and from which clearly I was never going to be released, was scattered all over the floor.
That’s the way it is. I think it is the most dangerous point in the life of any artist, his longest, most hideous turning; and especially for a man, an American man, whose principle is action and whose jewel is optimism, who must now accept what certainly then seems to be a gray passivity and an endless despair. It is the point at which many artists lose their minds, or commit suicide, or throw themselves into good works, or try to enter politics. For all of this is happening not only in the wilderness of the soul, but in the real world which accomplishes its seductions not by offering you opportunities to be wicked but by offering opportunities to be good, to be active and effective, to be admired and central and apparently loved.
Norman came on to America, and I went to Corsica. We wrote each other a few times. I confided to Norman that I was very apprehensive about the reception of Giovanni’s Room, and he was good enough to write some very encouraging things about it when it came out. The critics had jumped on him with both their left feet when he published The Deer Park—which I still had not read—and this created a kind of bond, or strengthened the bond already existing between us. About a year and several overflowing wastebaskets later, I, too, returned to America, not vastly improved by having been out of it, but not knowing where else to go; and one day, while I was sitting dully in my house, Norman called me from Connecticut. A few people were going to be there—for the weekend—and he wanted me to come, too. We had not seen each other since Paris.
Well, I wanted to go, that is, I wanted to see Norman; but I did not want to see any people, and so the tone of my acceptance was not very enthusiastic. I realized that he felt this, but I did not know what to do about it. He gave me train schedules and hung up.
Getting to Connecticut would have been no hassle if I could have pulled myself together to get to the train. And I was sorry, as I meandered around my house and time flew and trains left, that I had not been more honest with Norman and told him exactly how I felt. But I had not known how to do this, or it had not really occurred to me to do it, especially not over the phone.
So there was another phone call, I forget who called whom, which went something like this:
N: Don’t feel you have to. I’m not trying to bug you.
J: It’s not that. It’s just—
N: You don’t really want to come, do you?
J: I don’t really feel up to it.
N: I understand. I guess you just don’t like the Connecticut gentry.
J: Well—don’t you ever come to the city?
N: Sure. We’ll see each other.
J: I hope so. I’d like to see you.
N: Okay, till then.
And he hung up. I thought, I ought to write him a letter, but of course I did nothing of the sort. It was around this time I went South, I think; anyway, we did not see each other for a long time.
But I thought about him a great deal. The grapevine keeps all of us advised of the others’ movements, so I knew when Norman left Connecticut for New York, heard that he had been present at this or that party and what he had said: usually something rude, often something penetrating, sometimes something so hilariously silly that it was difficult to believe he had been serious. (This was my reaction when I first heard his famous running-for-President remark. I dismissed it. I was wrong.) Or he had been seen in this or that Village spot, in which unfailingly there would be someone—out of spite, idleness, envy, exasperation, out of the bottomless, eerie, aimless hostility which characterizes almost every bar in New York, to speak only of bars—to put him down. I heard of a couple of fist-fights, and, of course, I was always encountering people who hated his guts. These people always mildly surprised me, and so did the news of his fights: it was hard for me to imagine that anyone could really dislike Norman, anyone, that is, who had encountered him personally. I knew of one fight he had had, forced on him, apparently, by a blowhard Village type whom I considered rather pathetic. I didn’t blame Norman for this fight, but I couldn’t help wondering why he bothered to rise to such a shapeless challenge. It seemed simpler, as I was always telling myself, just to stay out of Village bars.
And people talked about Norman with a kind of avid glee, which I found very ugly. Pleasure made their saliva flow, they sprayed and all but drooled, and their eyes shone with that blood-lust which is the only real tribute the mediocre are capable of bringing to the extraordinary. Many of the people who claimed to be seeing
Norman all the time impressed me as being, to tell the truth, pitifully far beneath him. But this is also true, alas, of much of my own entourage. The people who are in one’s life or merely continually in one’s presence reveal a great deal about one’s needs and terrors. Also, one’s hopes.
I was not, however, on the scene. I was on the road—not quite, I trust, in the sense that Kerouac’s boys are; but I presented, certainly, a moving target. And I was reading Norman Mailer. Before I had met him, I had only read The Naked and The Dead, The White Negro, and Barbary Shore—I think this is right, though it may be that I only read The White Negro later and confuse my reading of that piece with some of my discussions with Norman. Anyway, I could not, with the best will in the world, make any sense out of The White Negro and, in fact, it was hard for me to imagine that this essay had been written by the same man who wrote the novels. Both The Naked and The Dead and (for the most part) Barbary Shore are written in a lean, spare, muscular prose which accomplishes almost exactly what it sets out to do. Even Barbary Shore, which loses itself in its last half (and which deserves, by the way, far more serious treatment than it has received) never becomes as downright impenetrable as The White Negro does.
Now, much of this, I told myself, had to do with my resistance to the title, and with a kind of fury that so antique a vision of the blacks should, at this late hour, and in so many borrowed heirlooms, be stepping off the A train. But I was also baffled by the passion with which Norman appeared to be imitating so many people inferior to himself, i.e., Kerouac, and all the other Suzuki rhythm boys. From them, indeed, I expected nothing more than their pablum-clogged cries of Kicks! and Holy! It seemed very clear to me that their glorification of the orgasm was but a way of avoiding all of the terrors of life and love. But Norman knew better, had to know better. The Naked and The Dead, Barbary Shore, and The Deer Park proved it. In each of these novels, there is a toughness and subtlety of conception, and a sense of the danger and complexity of human relationships which one will search for in vain, not only in the work produced by the aforementioned coterie, but in most of the novels produced by Norman’s contemporaries. What in the world, then, was he doing, slumming so outrageously, in such a dreary crowd?
For, exactly because he knew better, and in exactly the same way that no one can become more lewdly vicious than an imitation libertine, Norman felt compelled to carry their mystique further than they had, to be more “hip,” or more “beat,” to dominate, in fact, their dreaming field; and since this mystique depended on a total rejection of life, and insisted on the fulfillment of an infantile dream of love, the mystique could only be extended into violence. No one is more dangerous than he who imagines himself pure in heart: for his purity, by definition, is unassailable.
But why should it be necessary to borrow the Depression language of deprived Negroes, which eventually evolved into jive and bop talk, in order to justify such a grim system of delusions? Why malign the sorely menaced sexuality of Negroes in order to justify the white man’s own sexual panic? Especially as, in Norman’s case, and as indicated by his work, he has a very real sense of sexual responsibility, and, even, odd as it may sound to some, of sexual morality, and a genuine commitment to life. None of his people, I beg you to notice, spend their lives on the road. They really become entangled with each other, and with life. They really suffer, they spill real blood, they have real lives to lose. This is no small achievement; in fact, it is absolutely rare. No matter how uneven one judges Norman’s work to be, all of it is genuine work. No matter how harshly one judges it, it is the work of a genuine novelist, and an absolutely first-rate talent.
Which makes the questions I have tried to raise—or, rather, the questions which Norman Mailer irresistibly represents—all the more troubling and terrible. I certainly do not know the answers, and even if I did, this is probably not the place to state them.
But I have a few ideas. Here is Kerouac, ruminating on what I take to be the loss of the garden of Eden:
At lilac evening I walked with every muscle aching among the lights of 27th and Welton in the Denver colored section, wishing I were a Negro, feeling that the best the white world had offered was not enough ecstasy for me, not enough life, joy, kicks, darkness, music, not enough night. I wished I were a Denver Mexican, or even a poor overworked Jap, anything but what I so drearily was, a “white man” disillusioned. All my life I’d had white ambitions.… I passed the dark porches of Mexican and Negro homes; soft voices were there, occasionally the dusky knee of some mysterious sensuous gal; and dark faces of the men behind rose arbors. Little children sat like sages in ancient rocking chairs.
Now, this is absolute nonsense, of course, objectively considered, and offensive nonsense at that: I would hate to be in Kerouac’s shoes if he should ever be mad enough to read this aloud from the stage of Harlem’s Apollo Theater.
And yet there is real pain in it, and real loss, however thin; and it is thin, like soup too long diluted; thin because it does not refer to reality, but to a dream. Compare it, at random, with any old blues:
Backwater blues done caused me
To pack my things and go.
’Cause my house fell down
And I can’t live there no mo’.
“Man,” said a Negro musician to me once, talking about Norman, “the only trouble with that cat is that he’s white.” This does not mean exactly what it says—or, rather, it does mean exactly what it says, and not what it might be taken to mean—and it is a very shrewd observation. What my friend meant was that to become a Negro man, let alone a Negro artist, one had to make oneself up as one went along. This had to be done in the not-at-all-metaphorical teeth of the world’s determination to destroy you. The world had prepared no place for you, and if the world had its way, no place would ever exist. Now, this is true for everyone, but, in the case of a Negro, this truth is absolutely naked: if he deludes himself about it, he will die. This is not the way this truth presents itself to white men, who believe the world is theirs and who, albeit unconsciously, expect the world to help them in the achievement of their identity. But the world does not do this—for anyone; the world is not interested in anyone’s identity. And, therefore, the anguish which can overtake a white man comes in the middle of his life, when he must make the almost inconceivable effort to divest himself of everything he has ever expected or believed, when he must take himself apart and put himself together again, walking out of the world, into limbo, or into what certainly looks like limbo. This cannot yet happen to any Negro of Norman’s age, for the reason that his delusions and defenses are either absolutely impenetrable by this time, or he has failed to survive them. “I want to know how power works,” Norman once said to me, “how it really works, in detail.” Well, I know how power works, it has worked on me, and if I didn’t know how power worked, I would be dead. And it goes without saying, perhaps, that I have simply never been able to afford myself any illusions concerning the manipulation of that power. My revenge, I decided very early, would be to achieve a power which outlasts kingdoms.
II
When I finally saw Norman again, I was beginning to suspect daylight at the end of my long tunnel, it was a summer day, I was on my way back to Paris, and I was very cheerful. We were at an afternoon party, Norman was standing in the kitchen, a drink in his hand, holding forth for the benefit of a small group of people. There seemed something different about him, it was the belligerence of his stance, and the really rather pontifical tone of his voice. I had only seen him, remember, in Malaquais’ living room, which Malaquais indefatigably dominates, and on various terraces and in various dives in Paris. I do not mean that there was anything unfriendly about him. On the contrary, he was smiling and having a ball. And yet—he was leaning against the refrigerator, rather as though he had his back to the wall, ready to take on all comers.
Norman has a trick, at least with me, of watching, somewhat ironically, as you stand on the edge of the crowd around him, waiting for his attention. I suppose
this ought to be exasperating, but in fact I find it rather endearing, because it is so transparent and because he gets such a bang out of being the center of attention. So do I, of course, at least some of the time.
We talked, bantered, a little tensely, made the usual, doomed effort to bring each other up to date on what we had been doing. I did not want to talk about my novel, which was only just beginning to seem to take shape, and, therefore, did not dare ask him if he were working on a novel. He seemed very pleased to see me, and I was pleased to see him, but I also had the feeling that he had made up his mind about me, adversely, in some way. It was as though he were saying, Okay, so now I know who you are, baby.
I was taking a boat in a few days, and I asked him to call me.
“Oh, no,” he said, grinning, and thrusting that forefinger at me, “you call me.”
“That’s fair enough,” I said, and I left the party and went on back to Paris. While I was out of the country, Norman published Advertisements for Myself, which presently crossed the ocean to the apartment of James Jones. Bill Styron was also in Paris at that time, and one evening the three of us sat in Jim’s living room, reading aloud, in a kind of drunken, masochistic fascination, Norman’s judgment of our personalities and our work. Actually, I came off best, I suppose; there was less about me, and it was less venomous. But the condescenion infuriated me; also, to tell the truth, my feelings were hurt. I felt that if that was the way Norman felt about me, he should have told me so. He had said that I was incapable of saying “F--- you” to the reader. My first temptation was to send him a cablegram which would disabuse him of that notion, at least insofar as one reader was concerned. But then I thought, No, I would be cool about it, and fail to react as he so clearly wanted me to. Also, I must say, his judgment of myself seemed so wide of the mark and so childish that it was hard to stay angry. I wondered what in the world was going on in his mind. Did he really suppose that he had now become the builder and destroyer of reputations,
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