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Über dieses Produkt
- Kurzbeschreibung"Writing is spooky," according to Norman Mailer. "There is no routine of an office to keep you going, only the blank page each morning, and you never know where your words are coming from, those divine words." In The Spooky Art, Mailer discusses with signature candor the rewards and trials of the writing life, and recommends the tools to navigate it. Addressing the reader in a conversational tone, he draws on the best of more than fifty years of his own criticism, advice, and detailed observations about the writer's craft.
Praise for The Spooky Art
" The Spooky Art shows Mailer's brave willingness to take on demanding forms and daunting issues. . . . He has been a thoughtful and stylish witness to the best and worst of the American century." - The Boston Globe
"At his best - as artists should be judged - Mailer is indispensable, an American treasure. There is enough of his best in this book for it to be welcomed with gratitude." - The Washington Post
"[ The Spooky Art ] should nourish and inform - as well as entertain - almost any serious reader of the novel." - Baltimore Sun
"The richest book ever written about the writer's subconscious." - The Philadelphia Inquirer
"Striking . . . entrancingly frank." - Entertainment Weekly
Praise for Norman Mailer
"[Norman Mailer] loomed over American letters longer and larger than any other writer of his generation." - The New York Times
"A writer of the greatest and most reckless talent." - The New Yorker
"A devastatingly alive and original creative mind." - Life
"Mailer is fierce, courageous, and reckless and nearly everything he writes has sections of headlong brilliance." - The New York Review of Books
"The largest mind and imagination [in modern] American literature . . . Unlike just about every American writer since Henry James, Mailer has managed to grow and become richer in wisdom with each new book." - Chicago Tribune
"Mailer is a master of his craft. His language carries you through the story like a leaf on a stream." - The Cincinnati Post
From the Hardcover edition.
- AutorNorman Mailer
- VerlagRandom House Inc
- Seiten352 Seiten
- Gewicht363 g
- LeseprobeA PREFACE
WITH THREE WARNINGS
AND ONE APOLOGY
During the seven years I worked on Harlot's Ghost , I perceived the CIA and its agents as people of high morals and thorough deceit, loyalty and duplicity, passion and ice-cold detachment. So many writers, including myself, have a bit of that in our makeup. It is part of what has made us novelists, even as intelligence agents are drawn to their profession by the striking opposites in their natures.
Let me assert from the outset, however, that The Spooky Art is not a book about intelligence agents. A work of that sort I might call The Art of the Spooks . This book, however, as the subtitle states, is about writing, its perils, joys, vicissitudes, its loneliness, its celebrity if you are lucky and not so very lucky in just that way. Needless to add, it speaks of problems of craft and plot, character, style, third person, first person, the special psychology of the writer. (I do not think novelists - good novelists, that is - are altogether like other people.) We novelists, good and bad, are also closet philosophers, and one is ready therefore - how not? - to offer one's own forays into the nature of such matters as being and nothingness, the near-to-unclassifiable presence of the unconscious and its demonic weapon - writer's block. En route, one looks into the need for stamina in doing a novel, and the relation of stamina to one's style. There are discussions of the differences and similarities between fiction and history, fiction and journalism, and, of course, I have often thought about the life of action and the life of meditation as it affects one's work. I have talked and written about the pitfalls of early success and how to cope with disastrous reviews and how we each do our best to live with the competitive spirit of the novelist rather than be eaten out by it. There is talk about identity and occasional crises of identity, as well as the presence of the unconscious in relation to the novelist, taken together with such strategems as when it is wise to enter a character's mind and when it is unwise to make characters out of real people in one's life.
All of that is Part I of this book. Part II concerns Genre and Colleagues. Since writers are often in search of how to work in other arts and crafts, Genre has to do with film and painting and journalism, with television and graffiti, as examples of some of the ways and by-ways down which writers search and/or flee from their more direct responsibility
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