nyuuzyou/wikis huggingface dataset:
67.19

“Following the Bouncing Talk of Norman Mailer.” Article-interview by Phyllis Meras. Providence Journal, 8 October, Sec. W, p. 20. Report of a conversation in a New York bar with Mailer and Edward White of G.P. Putnam’s, publishers of Why Are We in Vietnam? (67.15). Mailer says 67.15 “has its roots in Cannibals and Christians” (66.11), and goes on to link the total warfare practiced by Ulysses S. Grant with modern science’s “gross methods of experimentation.” He continues, noting that he abandoned a formal style in 67.15 for one that has been described as “Joyce gone hip,” a “pure American” style.
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Category:Works in the 1960s
Category:Works in 1967
Category:Article-Interviews
67.20

No dedication. Mailer’s essay, titled “Footnote to ‘Death in the Afternoon, a portrait of the Mexican bullfighter Amando Ramirez (El Loco) is 23 pp.; it is accompanied by a fragment from Federico García Lorca’s “Lament for Sánchez Mejías,” and 91 photographs, comprising a complete depiction of a corrida de toros, but using a series of bullfighters, including Luis Miguel Dominguin and Antonio Ordónez (the rivals in Ernest Hemingway’s The Dangerous Summer), and El Cordobes.
The volume is accompanied by a 33⅓, 60-minute, monaural record on which Mailer reads selections from his essay; Hugh Marlowe and Rosemary Tory read “Lament For Sánchez Mejías,” translated by Mailer and his daughter Susan (see 67.22); traditional Spanish music is performed on five cuts by the Bullring Band of Madrid, Pedro Cortes, flamenco guitarist and Paco Ortiz, flamenco singer. The record is produced by Bernard “Buzz” Farbar. Rpt: As “The Crazy One” in 67.17; “Homage to El Loco” in 72.7, 82.19. See 67.17 for explanation of differences among the three versions; 84.2.
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67.21

“Some Dirt in the Talk: A Candid History of an Existential Movie Called Wild 90.” Esquire, December, 190–194, 261, 264–269. Essay. Rpt: As “Some Dirt in the Talk” in 72.7, 82.19. See 68.1a.
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Category:Essays
67.22

Translation (with Susan Mailer) of “Lament for Ignacio Sánchez Mejías,” by Federico García Lorca. The Poetry Bag 1 (winter 1967–68), 5–10. Rpt: 67.20, where a fragment first appears. The entire poem is read on the recording accompanying 67.20; 72.7, 82.19. See 84.2.
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67.23

Foreword to The Beard, by Michael McClure. N.p.: Coyote; distributed by City Lights Books, San Francisco. Rpt: New York: Grove, 1985. One hundred eighty-two words on the merits of McClure’s play about a meeting in eternity of Jean Harlow and Billy the Kid. The first edition (Berkeley: Oyez, 1965) did not include Mailer’s foreword.
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Category:Introductory
67.24

Two untitled excerpts (168 words) from speech at Fifth Avenue Vietnam Peace Parade. In In the Teeth of War: Photographic Documentary of the March 26th, 1966, New York City Demonstration Against the War in Vietnam, edited by Donna Gould and Dave Dellinger, 34, 59; Introduction by Dave Dellinger. Additional excerpts from speeches of Juan Mari Bras, Donald Duncan, Rev. Howard Moody, A.J. Muste, Cleveland Robinson, Jerry Rubin, Gilberto Gerena Valentin. New York: Fifth Avenue Vietnam Peace Parade Committee; Selling Agent: OAK Publications, New York.
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67.3

“A Statement of Aims by the Playwright.” Village Voice, 5 January, 16. Paid advertisement of 161 words on the meaning of The Deer Park: A Play (67.13). Mailer says, it is “a play about sex . . . Hollywood and hypocrisy and artistic integrity, about memory and reality, love, snobbery, sorrow, manic will, farce and tragedy.” The version of this statement prefacing the working scripts of the play reads: “a play about fucking.”
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67.4

“Mr. Mailer Passes Out the Cigars.” New York Times, 22 January, Sec. 2, pp. 1, 3. Essay on theater, reviewers and the meaning of The Deer Park: A Play (67.13). Rpt: The essay was incorporated into the introduction to The Deer Park: A Play; the introduction was reprinted in Existential Errands (72.7) and The Essential Mailer (82.19) as “The Playwright as Critic.” See 67.4b.
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67.4a

“It Happened Last Night.” Column by Earl Wilson. New York Post, 2 February. Provides a description of a party at Mailer’s Brooklyn Heights apartment after the opening of The Deer Park: A Play (67.13), attended by approximately 500, including José Torres, Betsy Von Furstenburg, Artie Shaw, Budd Schulberg, and Monique Van Vooren. Mailer said that he and Capote are thieves for taking money for writing: “He’s a bigger thief than I am. He’s like Hertz and I’m like Avis.”
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67.4b

“Opening Night at the Theater.” Column by Pete Hamill. (New York) World Journal Tribune, 2 February. Hamill describes the fistfight that broke out at the opening night party for The Deer Park: A Play (67.13) at Mailer’s apartment, and quotes Mailer on why he said in a New York Times article (67.4) that only an intelligent, perceptive critic would like his play: “I wanted the critics to feel self-conscious at the opening. You have to hustle.”
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67.5

“Norman Mailer, Playwright.” Article-interview by Jerry Tallmer. New York Post Magazine, 11 February, 2. Quotes Mailer on the genesis of The Deer Park: A Play (67.13), and gives a capsule biography, including Mailer’s statement on his refusal to get into a shelter during a New York City air raid drill.
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67.6

“Norman Mailer Has Calmed Quite a Bit.” Article-interview by William A. Raidy. Long Island Press, 12 February. Quotes Mailer on The Deer Park: A Play (67.13), and mentions his forthcoming novel, Why Are We in Vietnam? (67.15).
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67.7

“Joe Shaw and the Hip Boxing Syndicate.” Article by Leroy F. Aarons. Washington Post, 26 March, Sec. B, p. 5. Chronicles involvement of Mailer, George Plimpton, Roger Donoghue, Harvey Breit, Charles Addams, Tom Quinn and Pete Hamill in career of welterweight contender Joe Shaw. Mailer is quoted briefly.
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67.9a

“Mailer: Critic Or Actor?” Article-interview by R. H. Gardner. Baltimore Sun, 10 April, B4. Account of ’s 7 April speech at Goucher College. His theme for the evening was the dangers of the status quo, and he related this to comments on the situation of “the Negro,” saying that if their influence continued to increase, it might change most institutions. He attacked President Johnson for the Vietnam War, and said Johnson might have continued the War as a way of diverting attention from the civil rights movement. Asked what liberal program he would advocate in place of President Johnson’s agenda, Mailer said it was a difficult question, adding “I have begun to suspect that there is a chasm not just between liberal political thought and political realism, but between liberal political thought and realism itself.”
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68.1

“Playboy Interview: Norman Mailer.”The full-text of this interview is available at the Internet Archive. By Paul Carroll. Playboy, January, 69–72, 74, 76, 78, 80, 82–84. One of Mailer’s most important interviews, with extended discussion of drugs, sex, fame, politics and Vietnam; less on purely literary matters. Rpt: Norman Mailer: The Man and His Work, edited by Robert F. Lucid. Boston: Little, Brown, 1971; as “Excerpts from Playboy” (partial) in 72.7 and 82.19; as “Vices” in 82.16 (partial).
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== Note ==
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68.10

“On the Steps of a Zeitgeist.” Article-interview by Jack Newfield. Village Voice, 30 May, 1, 26–27. Day-in-the-life article; a record of Mailer’s words and moods while visiting with, among others, José Torres, Pete Hamill, Tom Hayden, Dwight Macdonald, Mark Rudd, George Plimpton, Robert Silvers, Frances FitzGerald, Merv Griffin, Morey Amsterdam and Jake LaMotta. Rpt: In Newfield’s Bread and Roses Too: Reporting about America. New York: E.P. Dutton, 1971; Critical Essays on Norman Mailer, edited by J. Michael Lennon. Boston: G.K. Hall, December 1986.
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68.11

No dedication. In a note appended to the foreword, Mailer explains that the title “was once to be used for The Deer Park.55.4 The Idol was to represent Charles Francis Eitel, the artist; the Octopus was Herman Teppis, the producer, the man of power. Here I use it to characterize two administrations, The Idol and The Octopus,” or J.F.K. and L.B.J.
Rpt: Except for the foreword and some brief introductory and transition material, the bulk of this collection consists of selections from The Presidential Papers (63.37) and Cannibals and Christians (66.11). The most notable exception is “On Lady Chatterley and Tropic of Cancer” (168–170), which gives hints of his later comments on D.H. Lawrence in 71.20 and Henry Miller in 71.20 and 76.12.
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== Note ==
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68.13

“Doctoring the Evidence.” Letter to the editor. Partisan Review 35 (summer), 489–490. Mailer’s response to a letter from Irving Howe who commented on Mailer’s views on the health of American Negroes in the spring issue (68.3). Rpt: 72.7, 82.19. See 68.19.
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68.14

“Norman Mailer Enlists His Private Army to Act in Film.” Article by J. Anthony Lukas. New York Times, 23 July, Sec. M, p. 35. First of several accounts of the filming of Mailer’s movie, Maidstone, in the Hamptons on Long Island, New York. Mailer is quoted at length: “We hope to prove that one can make a beautiful, tasteful, resonant, touching, evocative picture with cinéma vérité methods in four days. If we can do it, a lot of people out in Hollywood are going to commit suicide.” Rpt: Mailer included an excerpt in Maidstone: A Mystery (71.28). See 68.15–68.17, 68.28, 71.30. See 13.2, 400–404.
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68.15

“Produced by Norman Mailer, Directed by Norman Mailer, Written by Norman Mailer, Starring Norman Mailer, and Introducing Norman Mailer’s Friends.” Article by Harvey Aronson. Weekend with Newsday, 27 July, 10–13, 38. Account, with 12 photographs, of the filming of Maidstone. See 68.14, 68.16, 68.17, 68.28, 71.28, 71.30.
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68.16

“Mailer Film Party a Real Bash: 1 Broken Jaw, 2 Bloody Heads.” Article by J. Anthony Lukas. New York Times, 31 July, 29. Account of a fight between Mailer and a member of the cast of Maidstone. See 68.14, 68.15, 68.16a, 68.16b, 68.16c, 68.17, 68.28, 71.28, 71.30.
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68.16a

“Mailer’s New Movie Has a Punchy Denouement.” Article-interview by Joseph Mancini. New York Post, 31 July. Account of a fistfight on the set of Maidstone. Mailer told Lane Smith, who he had just knocked down, that it was him, not José Torres, who had hit him. See 68.16, 68.16b, 68.16c, 68.21a.
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68.16b

“People.” Article by unidentified writer. Time, 9 August, 34. Brief account of the contretemps on the set of Maidstone on Long Island. Mailer is quoted: “I was making a movie on a violent subject. Obviously you can’t always control violence.” See 68.16, 68.16a, 68.16c, 68.21a.
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68.16c

“Newsmakers.” Article by unidentified writer. Newsweek, 12 August. Another squib on the violence on the set of Maidstone. Mailer: “The whole picture is charged with violence and in the four estates on which we worked, not a plate was broken, not an item was stolen. I think that’s a pretty good record.” See 68.16, 68.16a, 68.16b, 68.21a.
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68.17

“Norman Mailer, Movie Maker.” Article by Sally Beauman. New York, 19 August, 50–57. Another long account of the making of Mailer’s experimental movie, Maidstone. Rpt: Mailer included excerpts in Maidstone: A Mystery (71.28). See 68.14–68.16, 68.28, 71.30.
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68.18

“Hundred Injured: 178 Are Arrested as Guardsmen Join in Using Tear Gas.” Article by J. Anthony Lukas. New York Times, 29 August, Sec L. pp. 1, 23. Report on the riots at the Democratic National Convention in Chicago, including a description of the Grant Park Rally where Mailer, Allen Ginsberg, Jean Genet, William Burroughs and Dick Gregory spoke. Mailer said: “I’m a little sick about all this and also a little mad, but I’ve got a deadline on a long piece and I’m not going to go out and march and get arrested. I just came here to salute all of you.” The piece referred to is Miami and the Siege of Chicago (68.25).
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68.19

Letter to the editor. Partisan Review 35 (fall), 647–650. Continuation of the exchange with Irving Howe cited in 68.13, with an additional letter by Dr. H. Jack Geiger of Tufts School of Medicine. Rpt: 72.7, 82.19. See 68.3.
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68.1a

Mailer statement endorsing Wild 90. Village Voice, early January. Mailer comments on the mainly negative reviews, adding that his first full-length film has several weaknesses, including poor sound quality, but nevertheless believes that “in ten years it will be a private classic.” He offers a refund to anyone who doesn’t like it. See 67.21.
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68.2

“The Steps of the Pentagon.” Harper’s, March, 47–78, 83–98, 101–130, 136, 138, 140, 142; cover story. Nonfiction narrative on the anti-war March on the Pentagon, 19–21 October 1967. Mailer’s first appearance in Harper’s was also the longest article in the history of the magazine and U.S. journalism, to that date. See Henry Raymont’s article, “Harper’s and Atlantic Put Out ‘Vietnam’ Issues,” New York Times, 19 February, 14. Rpt: In a revised form as “History as a Novel: The Steps of the Pentagon,” book 1 of The Armies of the Night (68.8). See 68.6.
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68.20

“Pooter: Vidal on Mailer on Vidal.” Interview by unidentified interviewer. London Times, 21 September. Linked interviews with Gore Vidal and on politics. Mailer says, “I don’t agree with Gore much about anything, but if you smelted us together we’d make one great politician.”
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68.21

“Norman Mailer: Why Do People Dislike America?” Profile-interview by Oriana Fallaci. The Egotists: Sixteen Surprising Interviews. Chicago: Regnery, October, 1–18. Conducted in April 1967, this unusual interview focuses on the American character, America and Europe, and violence. Rpt: As “Interview with Norman Mailer” (minus the prefatory five-page profile) in Writer’s Digest, December 1969, 40–47, 81; cover photograph of Mailer. Mailer complained about Fallaci’s inaccuracy in 70.5.
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68.21a

“War & Peace: The Mailer Version.” Article-interview by John McClosky. Men’s Wear, 4 October, 170–173, 189. A record of some conversations among the cast of Maidstone, and Sen. Jacob Javits and his wife Marian, both friends of Mailer. Lady Jeanne Campbell is quoted: “You know, Norman is such a great artist. I just don’t understand his concentration on violence. We have it all around us. I think the task of the artist is to go beyond violence. To lead us to some higher plane . . . to the spiritual.” See 68.16–68.16c.
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68.23

“Mailer, McLuhan and Muggeridge: On Obscenity.” Transcript of a television program, “The Way It Is,” on CBLT (Toronto) moderated by Robert Fulford. The panel consisted of , Marshall McLuhan and Malcolm Muggeridge. Realist, October, 5–12. Rpt: 88.6 and (in a truncated form) in Montrealer, May 1968.
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68.23a

“Critics’ Influence on Campus Part of New Producer Mailer’s Insights.” Article-interview by Stuart Byron. Variety, 9 October. Mailer talks about the lessons he has learned in making films, and the difference between films and novels. “In book criticism it’s usual to treat a first novel with a certain amount of generosity. I really thought ‘Wild 90’ would be handled like that because it was my first film. But film critics have the attitude that you’ve got to know what you’re doing.”
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68.24

“Norman Mailer in Focus.” Article-interview by William Foster. Week-End Scotsman, 19 October, 1. In London to promote The Armies of the Night (68.8), Mailer comments on the influence of Leo Tolstoy, William Faulkner and Ernest Hemingway, his films, and race relations in the U.S.
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68.25

====Miami and the Siege of Chicago: An Informal History of the Republican and Democratic Conventions of 1968. New York: World, 24 October; simultaneously as a softcover: New York: New American Library; London: Weidenfeld and Nicolson, November or December, with different subtitle: An Informal History of the American Political Conventions of 1968. Nonfiction narrative, 223 pp., $5.95.====
Dedication: “To my Father.” Nominated for the National Book Award in the history and biography category. Rpt: 68.27, 76.5, 98.7 (partial). See 68.18, 69.3, 72.7.
== Bibliography ==
Reviews
* Negative.
* Positive.
* Positive.
* Positive. Rpt: Lucid (1971), Bloom (1986).
* Positive.
* Mixed.
Essays
* 
* 
* 
* 
* 
* 
== Note ==
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68.26

“When Irish Eyes Are Smiling, It’s Norman Mailer.” Article-interview by Vincent Canby. New York Times, 27 October, Sec. 2, p. 15. Brief profile followed by a lively discussion of moviemaking, Mailer’s movie, Beyond the Law, The Armies of the Night (68.8), the Irish and the Jews. Rpt: 88.6. See 84.18.
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68.27

“Miami Beach and Chicago.” Harper’s, November, 41–52, 55–66, 69–84, 89–104, 107–130; cover story. Nonfiction narrative. Appeared at virtually the same time as the American book versions (68.25). The only difference between the versions is that the title of the first chapter in 68.25 is “Miami Beach, August 3-9.” In 68.27, it is “Miami Beach, August 5-9.” The correct dates for Mailer’s coverage of the Republican convention are 2-8 August, as noted in the partial reprint in The Time of Our Time (98.7). Rpt: 76.5.
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68.28

“At Play in the Fields of the Bored.” Article by James Toback. Esquire, December, 150–155, 22, 24, 26, 28, 30, 32, 34, 36. The most extended account of the filming of Maidstone, prefaced by Toback’s memories of his earlier contacts with Mailer. Rpt: Mailer included excerpts in Maidstone: A Mystery (71.28). See 68.14–68.17, 71.30.
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68.29

“Flying High with Mailer.” Article-interview by Raymond A. Sokolov. Newsweek, 9 December, 84, 86–88; cover photograph of Mailer. Profile with brief Mailer comments sprinkled throughout, mainly from earlier writing and interviews. Accompanied by 68.30. See 68.31.
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68.3

“Black Power: A Discussion.” Partisan Review 35 (spring), 218–221. Symposium contribution written in response to Martin Duberman’s piece on Black Power in the previous number of Partisan Review. Other contributors are Robert Coles, Ivanhoe Donaldson, Paul Feldman, Charles V. Hamilton, Abbie Hoffman, Tom Kahn, William Melvin Kelley, Jack Newfield, Fred Powledge, Stephen Thernstrom and Dr. Nathan Wright Jr. Rpt: As “Contribution to a Partisan Review Symposium” in 72.7, 82.19, and in 13.1. See 68.13, 68.19.
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68.31

Letter to the editor. Newsweek, 23 December, 7. Mailer corrects four errors in 68.29, the most important of which is: “No publisher ever forced me to censor The Naked and the Dead.48.2 I decided to use the word fug before the book was even begun. In those days the big brother of fug was simply not ready for public hire.” Rpt: 14.3. See 49.3, 65.21, 92.12, 95.53. See 13.2, 791.
==Note==
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68.32

A Selection from the Short Fiction of Norman Mailer, edited with notes by Iwao Iwamoto. Tokyo: Shohakusha, softcover, 88 pp. Unusual English language edition containing three stories set in Japan and the Philippines during and after WWII: “The Paper House,” “The Language of Men” and “The Dead Gook.” Rpt: 52.2, 52.3, 53.2, 59.13, 67.11, 82.19. See 74.19.
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68.3a

“Norman Mailer Has a new Attitude Toward Himself.” Article-interview by Peter Altman. Minneapolis Star, 6 March. Mailer complains about the dishonesty of journalists and says that interviews with them are “hopeless, necessarily superficial and fake,” and described himself as a dove in the debate about the war.
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68.3b

“U.S. Should Relocate War in Amazon, Mailer Says.” Article by Jon Halvorsen. [University of] Minnesota Daily, 6 March 1968, 1. Mailer proposes that the Vietnam War be shifted to South America, and be filmed for live television, and “pictures of corpses for pay TV.”
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68.3c

“Mailer Enthralls ‘U’ Students, But Rates Performance as ‘Fair. Article-interview by Mike Steele. Minneapolis Tribune, 6 March 1968, 17. Report of a press conference following his speech at the St. Paul campus of the University of Minnesota. Mailer had said in his speech that he was neither a protestor nor a Gandhian nonviolent resister, and was asked how then he described himself. He said, “I do things that make sense to me as they come up. I don’t worry about consistency, only the internal consistency of myself. General attitudes of consistency have no relation to reality. People who are anti-Communist all the time or pro-civil disobedience all the time are in danger of becoming totalitarian.”
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