Pulitzer Prize Winners

"In high school, I'd devoured the works of Philip Roth, Saul Bellow, and Norman Mailer, moved by stories of men trying to find their place in an America that didn't welcome them. Later, studying the early civil rights movement in college, I'd been intrigued by the influence of Jewish philosophers like Martin Buber on Dr. King's sermons and writings."

"In the beginning, Mailer spins publicity for convict and murderer Jack Abbott, helps get Abbott's prison book published and Abbott paroled. The con with the prose style of a Doberman (all speed and teeth) obeys his muse again. Six weeks after parole, Abbott kills a man in New York City's East Village. … It was common to hear New Yorkers say that he should be tried as an accessory to murder. Mailer barged around giving interviews and suing a newspaper for libel, looking truculent and stricken. In one way it was unfair: Mailer had had the courage to sponsor a talented pariah, and then something in Abbott's transition from prison went disastrously wrong. Mailer was personally aggrieved and pained, not only for Abbott but for Abbott's victim. It is true that certain writers adopt convicts: criminals, sinister, romantic and stupid as sharks, become the executive arms of intellectuals' violent fantasies. For some reason, intellectuals rarely understand that they are being conned: convicts are geniuses of ingratiation. Still, Mailer after all was not promoting a killer but a prose stylist and what he judged to be a salvageable human being. He miscalculated: he overrated the writer in Abbott and underestimated the murderer."

"I was inventing it as I went along. And I didn't know where I was going to end up, and I did not have a large shape in mind. I felt that I was making the path as I was going along. I like Armies of the Night, Norman Mailer writing the novel as history, history as novel. I teach Armies of the Night; I use it to show students how we make history in the same way we write a novel. And as we narrate what's going on, we shape history. I also like that book a lot because he writes about the responsibility of the writer. Does the writer actually go out in the street and perform politics and"

"men write about their life all the time. You know, Norman Mailer would put himself in his books, and no one made it seem that he was doing something less."

"He had such a compendious vision of what it meant to be alive. He had serious opinions on everything there was to have an opinion on, and everything he had was so original."

"We would talk about everything … He knew he wasn't going to live very much longer, but he would still talk of taking on the greatest subjects. He always was working on something."

"Norman was a splendid, surprising American writer, a good friend, a true New Yorker, and a man we will all miss. To me, it's like a thousand people just left the room. As a novelist, he never repeated himself, never succumbed to the temptation to write "The Naked and the Dead Go to Japan," and always made us imagine other lives, other choices, other varieties of human folly, grandeur and capacity for evil."

"Norman was ferociously smart, and surprised me at one point when he went off on a rant about the English and quinine and tonic water by interrupting himself when he realised I was English and being desperately keen to make sure I hadn't taken offense — the opposite of the pugnacious image he'd acquired. I … owed an enormous amount of why-Sandman-was-taken-seriously-in-the-early-years to Norman's quote on the cover of Season of Mists, for which I shall be forever grateful."

"He was a very sweet-natured person, despite what some people think. And he was very very patient. I would take one of his manuscripts and make some suggestions and he would be very nice about it and say, "Yes, you've given me something to think about." And I would get the manuscript back and I would see that he had included none of my ideas"

"He was absolutely dauntless … He was quite weak in the end, but he still planned to write a seven-volume novel about Hitler."

"He was really the great chronicler of his time, the champion of personal reportage. His output was prodigious, his range of interests very wide, from Marilyn Monroe to Picasso to the art of graffiti to extreme forms of crime. His vaunted life as a public figure may have actually impeded serious critical attention to much of his work. Presumably, it will be possible now."

"He was by nature bound to a style of excess … There were times when you would be fed up with him, but if you could conceive of American culture of the past 50 years without Norman Mailer, you would find it a lot drearier."

"Obviously, he was a great American voice."

"When you talk of Norman Mailer, right away I see van Gogh's work boots. Norman was a working man. Lord, did he work. From one end of his life to the other, he sat in solemn thought and left so much to read, so many pages with ideas that come at you like sparks spitting from a fire. He leaves them to a nation that has surrendered all its years to converting truth to an untruthful excuse for killing"

"if you are a success, you run the risk that Norman has run and that I run, too, of becoming a kind of show business personality. Then the legend becomes far more important than the work. It's as though you're living in an echo chamber. You hear only your own voice. And, when you become a celebrity, that voice is magnified by multitudes and you begin to drown in this endless duplication of what looks like yourself. You have to be really very lucky, and very stubborn, not to let that happen to you. It's a difficult trap to avoid. And that's part of Norman's dilemma, I think. A writer is supposed to write. If he appears on television or as a public speaker, so much the better or so much the worse, but the public persona is one thing."

"(“It was reported somewhere recently that your friend Norman Mailer said to you, in anger: "You're little, you're ugly, and you're as black as the ace of spades." But your comeback was not recorded.”) Oh, I just laughed. After all, it's true. But the point is, why, after all these years, did he have to say it? I mean, it's his problem, really, and I think it has to do with the fact that like most white liberals-though I'm not accusing him of being one exactly-he has always lied to himself about the way he really feels about Negroes."

"Alix Kates Shulman had no idea that its main principle, that "a woman and man should share equally the responsibility for their household and children in every way, from the insidiously unacknowledged tasks of daily life to the pleasures of guiding a young human to maturity," would cause such uproar. Reprinted in the debut issue of Ms., in Redbook (attracting two thousand letters), Life, a Harvard textbook on contract law, and other anthologies, it drew scorn from Norman Mailer, who famously mocked Shulman by declaring that he never would be married to a woman like her-he would never help his wife with the dishes!"

"How refreshing to go from Norman Mailer to Toni Morrison!"

"That's a photograph of Norman Mailer. He was a very great writer; he, uh, donated his ego to the Harvard Medical School for study."

"The idea to make New York City a state, in case you didn't know, is not original with me...Most people, however, will remember the statehood idea as it was first put forth in Norman Mailer's campaign for Mayor in 1969. He gave the idea some pzazz, but not enough people took it seriously."

"There's a detachment that you need as a writer. And as a young man, I probably had more detachment than I have today. So that part of me was just looking at the battlefield, and it was certainly full of horrors. There was a lieutenant with us and a driver and another enlisted man like myself. And I think they were shocked profoundly. I just thought — this is a cold and cruel thing to say, but it's the way a writer is — I thought, "Oh, this is good." Not that it was good that all these people are dead. But "Oh, it's so good for writing." There was a sense of, "This can be used.""

"He had a personality that was hopeless. He had a profound distrust of people's possibilities, and it came out in his personality. … There was an almost indecent pleasure he took in being sentimental about all the worst things."

"What's not realized about good novelists is that they're as competitive as good athletes. They study each other — where the other person is good and where the person is less good. Writers are like that but don't admit it."

"Writing can wreck your body. You sit there on the chair hour after hour and sweat your guts out to get a few words."

"I knew that Jack needed a lot of help, and what he really needed was somebody who could spend a prodigious amount of time with him, every night, see him, live with him, live with him the way someone in A.A. lives with a drunk. … I wasn't doing that. So when the crime occurred — because I'd just been hoping things would work out all right — when the crime occurred, I knew that I had a responsibility on that one."

"We are as ugly as animals in our fashion, and unless we deal with the ugliness in ourselves, unless we deal with the violence in ourselves, the brutality in ourselves, and find some way to sublimate it, just to use Freud's term, into something slightly higher, we're never going to get anywhere with anything."

"I certainly do have this feeling of affection for the absolute sense of intellectual freedom that exists as a live nerve, a live wire, right through the center of American life. … Every time I get totally discouraged with this country, I remind myself, "No, the fact is that finally we can really say what we think, and some extraordinary things have come out of that.""

"I've always felt that my relationship to the United States is analogous to a marriage. I love this country. I hate it. I get angry at it. I feel close to it. I'm charmed by it. I'm repelled by it. And it's a marriage that's gone on for let's say at least 50 years of my writing life, and in the course of that, what's happened? It's gotten worse. It's not what it used to be."

"It's a misperception of me that I am a wild man — I wish I still were. I'm 68 years old. The rage now is, oh, so deep it's almost comfortable. It has even approached the point where I can live with it philosophically. The world's not what I want it to be. But then no one ever said I had the right to design the world."

"We've got an agreeable, comfortable life here as Americans. But under it there's a huge, free-floating anxiety. Our inner lives, our inner landscape is just like that sky out there — it's full of smog. We really don't know what we believe anymore, we're nervous about everything."

"I had a great many prejudices that have since dissolved. But what I still hate about the women's movement is their insistence upon male piety in relation to it. I don't like bending my knee and saying I'm sorry, mea culpa. I find now that women have achieved some power and recognition they are quite the equal of men in every stupidity and vice and misjudgment that we've exercised through history. They're narrow-minded, power seeking, incapable of recognizing the joys of a good discussion. The women's movement is filled with tyrants, just as men's political movements are equally filled. What I've come to discover are the negative sides, that women are no better than men. I used to think — this is sexism in a way, I'll grant it — that women were better than men. Now I realize no, they're not any better."

"I love the idea of a left conservative because it gets rid of political cant. We're stifling in it. One of the diseases of the right is self-righteousness. I do believe that America's deepest political sickness is that it is a self-righteous nation. One of the diseases of the left is political correctness. If you're out of power for too long, then you just get worse and worse about how important your own ideas are."

"I don't think we're ever going to have a cheap fascism of Brownshirts and goose stepping or anything of that sort. We're too American for that. We would find that ridiculous. But there are always traces of repression. And you can find it in a Democratic government too. People who are "right-minded," you know, are always with us. But I think so long as we can move along with the economy, we're all right. It's just if there's a smash, a crash — that's when I'm not at all optimistic about what's going to happen."

"Historical, religious, and existential treatises suggest that for some persons at some times, it is rational not to avoid physical death at all costs. Indeed the spark of humanity can maximize its essence by choosing an alternative that preserves the greatest dignity and some tranquility of mind."

"Chicago was a town where nobody could ever forget how the money was made. It was picked up from floors still slippery with blood."

"It is the smell of the stockyards, all of it taken together, a smell so bad one must go down to visit the killing of the animals or never eat meat again. Watching the animals be slaughtered, one knows the human case — no matter how close to angel we may come, the butcher is equally there."

"West of the Amphitheatre, railroad sidings seemed to continue on for miles, accompanied by those same massive low sheds larger than armories, with pens for tens of thousands of frantic beasts, cattle, sheep, and pigs, animals in an orgy of gorging and dropping and waiting and smelling blood. In the slaughterhouses, during the day, a carnage worthy of the Disasters of War took place each morning and afternoon."

"New York is one of the capitals of the world and Los Angeles is a constellation of plastic, San Francisco is a lady, Boston has become Urban Renewal, Philadelphia and Baltimore and Washington wink like dull diamonds in the smog of Eastern Megalopolis, and New Orleans is unremarkable past the French Quarter. Detroit is a one-trade town, Pittsburgh has lost its golden triangle, St Louis has become the golden arch of the corporation, and nights in Kansas City close early. The oil depletion allowance makes Houston and Dallas naught but checkerboards for this sort of game. But Chicago is a great American city. Perhaps it is the last of the great American cities."

"There is no greater impotence in all the world like knowing you are right and that the wave of the world is wrong, yet the wave crashes upon you."

"His consolation in those hours when he was most uncharitable to himself is that taken at his very worst he was at least still worthy of being a character in a novel by Balzac, win one day, lose the next, and do it with boom! and baroque in the style."

"What characterizes a member of a minority group is that he is forced to see himself as both exceptional and insignificant, marvelous and awful, good and evil."

"There is one expanding horror in American life. It is that our long odyssey toward liberty, democracy and freedom-for-all may be achieved in such a way that utopia remains forever closed, and we live in freedom and hell, debased of style, not individual from one another, void of courage, our fear rationalized away."

"Sentimentality is the emotional promiscuity of those who have no sentiment."

"Masculinity is not something given to you, but something you gain. And you gain it by winning small battles with honor. Because there is very little honor left in American life, there is a certain built-in tendency to destroy masculinity in American men."

"There's a subterranean impetus towards pornography so powerful that half the business world is juiced by the sort of half sex that one finds in advertisements."

"We are close to dead. There are faces and bodies like gorged maggots on the dance floor, on the highway, in the city, in the stadium; they are a host of chemical machines who swallow the product of chemical factories, aspirin, preservatives, stimulant, relaxant, and breathe out their chemical wastes into a polluted air. The sense of a long last night over civilization is back again."

"We live in a time which has created the art of the absurd. It is our art. It contains happenings, Pop art, camp, a theater of the absurd … Do we have the art because the absurd is the patina of waste…? Or are we face to face with a desperate or most rational effort from the deepest resources of the unconscious of us all to rescue civilization from the pit and plague of its bedding?"

"There's that popular misconception of man as something between a brute and an angel. Actually man is in transit between brute and God."

"To make an Army work you have to have every man in it fitted into a fear ladder… The Army functions best when you're frightened of the man above you, and contemptuous of your subordinates."

"The natural role of twentieth-century man is anxiety."