nyuuzyou/wikis huggingface dataset:
Edward Birzin

wrote more graffiti in New York City in the 1990s than anybody you know, wrote books about graffiti (he wrote them under different aliases so you’ll have to ask him the titles) and has now completed a Ph.D. on the topic of how graffiti grew from child’s play to an original art in the 1970s titled Subway Art (efact). He studied in Berlin, Germany for seven years where he learned to be kind, to think clearly, to take his time (don’t rush) and to speak German. He also made the most beautiful babies with the most beautiful woman in the world. He teaches liberation to eleventh graders in the South Bronx and is an adjunct at Brooklyn College. He thinks there should be more books, articles and press about Mailer’s influence on graffiti; please contact him so that we can make these books and let the world know that Mailer influenced the growth of graffiti. And graffiti is the art of deconstruction. 
What I find exciting about Mailer and Graffiti is that graffiti is still here today (all over Europe), and it grows, and it actually is as deep as Mailer said it was, especially when looking at the world through Mailer’s lens. Mailer “determine(d) that a relationship of cause and effect should exist between writing and acting: ‘there is no communication unless action has resulted, be it immediately or in the unknown and indefinite future (Adams (1976), pp. 3). I laugh so loudly when I think of Mailer in 1973 writing The Faith of Graffiti and then I think of all of the years I spent painting my name and obsessed with graffiti, and I wonder “Mailer, did you do this to me?” Thank you, Norman.
Category:Contributors
Category:2019 Conference
Eiichi Yamanishi, Janaury 17, 1964

::::::::::::::::::::142 Columbia Heights
::::::::::::::::::::Brooklyn 1, New York
::::::::::::::::::::January 17, 1964
Dear Eiichi,Eiichi Yaminishi was Mailer’s Japanese translator.
Just a quick note. I finished the fourth installment, and so once again I’m rushing to get through my mail. The first installment was sent out to you last week, and the galleys of the next two installments mailed out a day or so ago, so you should have the first 32,000 words by the time you receive this letter. The only thing I would suggest is that you state what you think is necessary in the clearest and simplest terms to Henry Morrison, because while he is a very able agent it’s possible that he does not know too much about the situation in Japan, and I think in such cases it is a mistake to make him aware of all the complexities. He is likely to start worrying and playing a larger part himself. You see, I’m afraid that if he plays the main role, he will start consulting Tuttle again, and it is my impression that whenever Tuttle appears on the scene, people start trying to pry certain rights away from you. So if you want to write the negotiations for me in Japan, that’s fine, Eiichi; if you would rather have someone else take up such a work and merely consult you for advice, then let me know that, too. Whichever course you desire is completely agreeable to me, my dear friend, but I was not certain from your last letter which course you prefer. Just tell me exactly what you wish and I will arrange it with Morrison.
As for the rest, I hope to take a week’s vacation and go skiing, and then in a few days I have a debate on television with William Buckley. It is however not live, but taped.
My very best to you, Eiichi, and to your fine family,
::::::::::::::::::::Norman
===Note===
Eiichi Yaminishi, February 19, 1964

::::::::::::::::::::142 Columbia Heights
::::::::::::::::::::Brooklyn 1, New York
::::::::::::::::::::February 19, 1964
Dear Eiichi,Eiichi Yaminishi was Mailer’s Japanese translator.
Again just a note. I’ve just finished the fifth installment and now must go through all the mail of the last month, so there’s not time to write properly to anyone.
I made an arrangement for you to get tear sheets (that is to say, pages cut from the magazine before it appears each month) when they are ready. Thus in another three weeks you should get the fourth installment and in seven weeks, the fifth installment, which I’ve just finished. In other words you will be receiving each installment of the novel seven to eight weeks after I’ve finished it. If you think this is too slow and you would rather have galleys, we can shorten the time to about four weeks, or indeed if speed is altogether essential I can make arrangements to have a typewritten copy of each installment sent to you a week or ten days after I finish it. However, this last may be hard on your eyesight, for the first typewritten copies which are easier to read have to go of necessity to the hard-cover publisher and the paperback publisher here, and as you know, a third or fourth carbon is no joy to work with. At any rate, dear Eiichi, let me know what is most comfortable for you.
As for a copy of previous novel contracts of my novels, let Anne Barry know if you’ve not received them, and she will get in touch with Mr. Rembar and ask him to send it to you.
I was pleased you liked the first three installments so much. The fourth and fifth gave me great difficulty but I think that they have not, so to speak, “lost” the book. I still have the chance to make this a good novel and as I approach the last three installments the problem becomes exciting, almost as if one were in a race.
Outside of that, no news. Isn’t it true that when one is working hard there is never any news, just work. Please say hello to your children and to your dear wife, and ask Toshio and Michio to accept my best wishes for their entrance examinations.
::::::::::::::::::::Warmly,
::::::::::::::::::::Norman
P.S. Your letter of February 10 just arrived and I was wondering if it is worth the difficulty to have the book appear in serial especially if they plan to print it in five installments rather than in eight, because the novel is being constructed on the form of eight separate chapters. Again I leave it to you to do whatever you consider most wise, but I thought it would make it easier for you to play your hand if you know that I have no particular insistence it be printed as a serial in Japan.
===Note===
Eiichi Yaminishi, January 17, 1964

::::::::::::::::::::142 Columbia Heights
::::::::::::::::::::Brooklyn 1, New York
::::::::::::::::::::January 17, 1964
Dear Eiichi,Eiichi Yaminishi was Mailer’s Japanese translator.
Just a quick note. I finished the fourth installment, and so once again I’m rushing to get through my mail. The first installment was sent out to you last week, and the galleys of the next two installments mailed out a day or so ago, so you should have the first 32,000 words by the time you receive this letter. The only thing I would suggest is that you state what you think is necessary in the clearest and simplest terms to Henry Morrison, because while he is a very able agent it’s possible that he does not know too much about the situation in Japan, and I think in such cases it is a mistake to make him aware of all the complexities. He is likely to start worrying and playing a larger part himself. You see, I’m afraid that if he plays the main role, he will start consulting Tuttle again, and it is my impression that whenever Tuttle appears on the scene, people start trying to pry certain rights away from you. So if you want to write the negotiations for me in Japan, that’s fine, Eiichi; if you would rather have someone else take up such a work and merely consult you for advice, then let me know that, too. Whichever course you desire is completely agreeable to me, my dear friend, but I was not certain from your last letter which course you prefer. Just tell me exactly what you wish and I will arrange it with Morrison.
As for the rest, I hope to take a week’s vacation and go skiing, and then in a few days I have a debate on television with William Buckley. It is however not live, but taped.
::::::::::::::::::::My very best to you, Eiichi, and to your fine family,
::::::::::::::::::::Norman
===Note===
Eiichi Yaminishi, July 7, 1964

::::::::::::::::::::597 Commercial Street
::::::::::::::::::::Provincetown, Massachusetts
::::::::::::::::::::July 7, 1964
Dear Eiichi,Eiichi Yaminishi was ’s longtime Japanese translator. 
This is just a quick note. By now, ideally, you’ve received the last three installments (six, seven, and eight) of An American Dream, and so you can think about the book as a whole. Much of the news you have heard about the novel is untrue or inaccurate. For instance, it will not be published in October or November, but in January. Same for England. And it has not been sold to the films. Warner Brothers took an option but of course may decide not to buy it. That of course is all by the bye. The book may make a vast amount of money, it may not—but what it has done is to provide me with sufficient income so that for the next two years I can concentrate on doing the best writing of which I’m capable without fear or wonder how to meet my expenses.
Apart from the fact that this was a commercial book (that is, one of the basic motives for its conception was the desire to make a great deal of money) it is also my attempt to write as good a novel as possible under the circumstances, and as I think you will see, the book, while conventional in many aspects, is also unusual in its “psychic world,” and may in this sense go further than any novel I know. Incidentally, I’m going to spend a few weeks this summer making changes in the text. They will be little changes, but numerous ones. For that reason, I would suggest you do not start your translation until the middle of September when I can give you the final copy, unless it should prove necessary to go to work earlier. If that proves the case, we’ll have to figure a way to send you the changes. That of course will mean more work for you and more work for me. At any rate, dear Eiichi, my best to you for now, and hope that all is well with your fine family, so many good sons and daughters.
::::::::::::::::::::Warmly,
::::::::::::::::::::Norman
===Notes===
Elizabeth Ricketts

is a Ph.D. candidate at the University of South Florida specializing in 20th century British and American literature, particularly Irish and Irish-American literature. She received her B.A. from the College of New Jersey and her M.A. from Marymount University. Her research interests include postcolonial theory, digital humanities, and the use of both ancient and modern mythologies in literature.
Category:Contributors
Category:2017 Conference
Erik Nakjavani

is Professor Emeritus of Humanities at the University of Pittsburgh. His life-long interests have been in literary theory, psychoanalysis, and philosophy. He specializes in Hemingway studies, and is a founding member of the Hemingway Society. His latest essay, “Theory and Practice of Fictionalized Biography: Hemingway’s ‘Under Kilimanjaro appeared in The Mailer Review (2018).
Category:Contributors
Category:2021 Vol. 15 (MR)
Category:2019 Conference
Category:2017 Conference
Ester Whitby, December 15, 1964

::::::::::::::::::::142 Columbia Heights
::::::::::::::::::::Brooklyn 1, New York
::::::::::::::::::::December 15, 1964
Dear Mrs. WhitbyEsther Whitby was a Mailer fan. 
It was agreeable to get your letter, and I rush to answer, because I feel the change you made was not correct. Rojack has been married nine years. It is just that in one place (in the beginning of Chapter 2) he speaks of having spent a year learning something about Deborah, and then in effect having the leisure to consider it for the next eight years. I hope this is the only apparent inconsistency. I have a small uneasy feeling-I'm very bad about these matters-that I may have said in one place or another that they were married "all but nine years," probably for no other reason than that I liked too much the sound of"all but." If that sort of discrepancy does appear here and there, I think that we ought nonetheless to stay with nine, because its sound is sufficiently different from eight so that the cadence of a few sentences might be hurt a bit if we changed. Under the circumstances, we can defend nine as poetic license.
Yes, I guess we are related, by marriage at any rate. But you must be a Menell.The Menells were related to the Mailers by marriage. I remember meeting Bertha back in 1947, and another Menell, the son or nephew of Slip Menell, about two years ago in New York. Well, when I get to London we'll have to talk about all this.
::::::::::::::::::::My best for now,
::::::::::::::::::::Norman Mailer
===Notes===
Esther Whitby, December 15, 1964

::::::::::::::::::::142 Columbia Heights
::::::::::::::::::::Brooklyn 1, New York
::::::::::::::::::::December 15, 1964
Dear Mrs. Whitby,Esther Whitby was a Mailer fan.
It was agreeable to get your letter, and I rush to answer, because I feel the change you made was not correct. Rojack has been married nine years. It is just that in one place (in the beginning of Chapter 2) he speaks of having spent a year learning something about Deborah, and then in effect having the leisure to consider it for the next eight years. I hope this is the only apparent inconsistency. I have a small uneasy feeling—I’m very bad about these matters—that I may have said in one place or another that they were married “all but nine years,” probably for no other reason than that I liked too much the sound of “all but.” If that sort of discrepancy does appear here and there, I think that we ought nonetheless to stay with nine, because its sound is sufficiently different from eight so that the cadence of a few sentences might be hurt a bit if we changed. Under the circumstances, we can defend nine as poetic license.
Yes, I guess we are related, by marriage at any rate. But you must be a Menell.The Menells were related to the Mailers by marriage. I remember meeting Bertha back in 1947, and another Menell, the son or nephew of Slip Menell, about two years ago in New York. Well, when I get to London we’ll have to talk about all this.
::::::::::::::::::::My best for now,
::::::::::::::::::::Norman Mailer
===Notes===
Ezra Cappell

holds a joint appointment at the College of Charleston as Professor of Jewish Studies and Professor of English. Prior to this appointment, Dr. Cappell was Professor of English and Director of the Inter-American Jewish Studies Program at the University of Texas at El Paso. Dr. Cappell holds degrees from NYU (M.Phil and Ph.D.) as well as City College (M.A.) and Queens College (B.A.). His publications include American Talmud: The Cultural Work of Jewish American Fiction (SUNY Press, 2007) and a co-edited volume (with Jessica Lang): Off the Derech: Leaving Orthodox Judaism in the Modern World (SUNY Press, 2020). 
Category:Contributors
Category:2008 Vol. 2 (MR)
Category:2022 Conference
Category:2018 Conference
Foreword to Enduring Justice: Photographs

By Norman MailerFrom Reprinted by Project Mailer with permission of the estate of Norman Mailer. (01.8)
This book of photography by Thomas Roma is wed to a perfect title. To the man or woman in the dock, and to their family and friends, justice is a state that is there to be endured. For justice comes down to long dead hours of sitting around. Justice consists of waiting to speak to your lawyer who is never with you long enough and charges more than you can afford while all the while he emanates his profound dissatisfaction with what he is being paid. Justice is the hard small ball of concentrated dread in the pit of the stomach that suggests it will never dissolve. You are in the pits and you are enduring it.
Justice is the smell in the smoke of the bail bondsman's cheap cigar as the fumes drift down the dire corridors; justice is the look in the judge’s eye when he is debating whether to call another recess for his bladder; justice is the look your woman gives as she hands your crying baby over during recess. Justice is what you pay for getting caught. You will not be able to measure the cost in money: you are living with the knowledge that one way or another, you are going to be less of a man when it is all done.
Justice is equal to living in the mood of an overcrowded men's room for the rest of your days. Justice will more than make you pay for the highest pleasure you felt in the highest moment of the crime. The final horror of justice is looking at your kids. Either their eyes are in misery or their mouths are numb.
And the wives, the girlfriends. How deadening are their emotions! If they are not bitter, then they are kin to despair. They know that danger is approaching — the danger that soon they will feel nothing at all. The women stare into the bleak eye of the future — no man, no money, and too many kids.
Justice is taking such a whack at your ego that the only way to restore yourself is to go out and pull another caper. Self-respect is what crime is all about. Self-respect — usually to be followed by the second act — enduring justice.
These photographs have the eloquence and resonance of the best literature on the most unhappy subjects.
==Citation==
Category:Written by Norman Mailer
Category:Full Text Introductory
Foreword to The Beard

By Norman MailerFrom Reprinted by Project Mailer with permission of the estate of Norman Mailer. (67.23)
Michael McClure’s The Beard is a mysterious piece of work, for while its surface seems simple, repetitive and obscene, there is an action working which is dramatic and comic at once, and the play emits an odd but intense field of attention, almost as if ghosts from two periods of the American past were speaking across decades to each other, and yet at the same time are present in our living room undressing themselves or speaking to us of the nature of seduction, the nature of attraction, and particularly, the nature of perverse temper between a man and a woman. Obstinacy face to face with the sly feint and parry all in one, the repetition serves almost as subway stops on that electric trip a man and a woman make if they move from the mind to the flesh. That mysterious trip, whose mystery often resides to the dilemma of whether the action is extraordinarily serious or meaningless. It is with these ambiguities, these effervescences that The Beard plays, masterfully, be it said, like a juggler.
==Citation==
Category:Written by Norman Mailer
Category:Archive
Category:Full Text Introductory
Category:Foreword
Foreword to Views of a Nearsighted Cannoneer

By Norman MailerFrom Reprinted by Project Mailer with permission of the estate of Norman Mailer. (61.23)
Krim and his odd honest garish sober grim surface is a child of our time. I think sometimes, as a matter of style, he is the child of our time, He is New York in the middle of the 20th Century, the city man, his prose is brilliance upon occasion as the electronic beauty of our lights, his shifts and shatterings of mood as screeching and true as the grinding of wheels and a subway train. He has the guts of New York, old Krim, and it is not so impossible that when the digital computer in the mind of new historians begins to take over the psychic ash heaps and spiritual dumps of this insane, cruel, rapacious, avid, cancerous and alas — in the end — cowardly city, they will say if they have a sense of the past that yes, in the work of Seymour Krim lives one of the truest beats of how horrible, how jarring, how livid and how exciting was this city where the best of us burned and burned out without a war, a cause, an underground, or a passion for the blood.
New York, September 1960
==Citation==
Category:Written by Norman Mailer
Category:Archive
Category:Full Text Introductory
Category:Foreword
Francis Irby Gwaltney, November 9, 1963

::::::::::::::::::::142 Columbia Heights	
::::::::::::::::::::Brooklyn 1, New York
::::::::::::::::::::November 9, 1963
Dear Fig,Mailer served in the Army with “Fig” (1921-1981), a teacher, novelist and native of Arkansas. During a visit there in March 1975, he introduced Mailer to the woman who became his sixth wife, Barbara Norris Church Mailer.
I really enjoyed the hell out of your last letter and have taken a month and a half to get around to answering it only because I’ve gotten caught up in a job of work which could be killing if it gets going wrong. I decided the only way out of my financial hole was to take a jump, and so I contracted with Esquire to write a novel in eight parts, each installment (ten thousand words) will appear in a successive month, and since I didn’t have anything behind me when I started, it comes down to writing a book in eight months, which has a finished draft good enough to make it a good novel. I did, however, succeed in selling it to Dial and Dell before I started for a price so large it’s crazy, and what’s good about this is that I’ll have economic freedom for a couple of years and may be able to do my big book in relative calm.
Incidentally, the agent I had who brought this deal off was a real live wire who accomplished a hell of a lot for me—his name is Scott Meredith—and so if you’re dissatisfied with John when the time comes to get a new book published, maybe it would be worth your while to let Scott take a crack at it.
Things are going along quietly in New York with lots of work, and Bev and I take off for two weeks each month to the country, either to Provincetown or to Jamaica, Vermont, and there I sweat the fat drop and try to do my work. I’d love to get out to Ruston to see you this winter, but I don’t think there’s too much chance of it, what with the work schedule. Maybe if I get fed up with the East I’ll go out to do my two-week’s stint in Louisiana. But the trouble is that I’m very poor company when I’m writing and so hesitate to visit friends at such a time. If the impulse ever did take me, what airplane route does one take to get into the vicinity of northern Louisiana?
This letter isn’t as long as I’d like it to be, but that’s because I haven’t answered any mail in a month and so as usual I have to knock off sixty letters in a day and half.
Give my love to your sly-boots lady and to Yee-Yee and to Frank. Bev sends her love,
::::::::::::::::::::Norman
===Notes===
Gabrielle Grilli

is a poet and writer currently working on her graduate thesis while attending the Master of Fine Arts Program at the University of South Florida teaching Composition and Creative Writing. Her interests include versification and the evolution of poetry forms. She graduated from the University of Florida with a Bachelor of Arts in English and minors in French and Teaching. Her work has been featured in Chasing Light: A Burgert Brothers Anthology, Panoplyzine, The Racket, The Fine Print, Sweet Lit, and Saw Palm: Places to Stand. She was also a finalist in the Spring 2021 F(r)iction Poetry Contest.
Category:Contributors
Category:2021 Vol. 15 (MR)
Gary D. Rhodes

currently serves as Professor of Media at Oklahoma Baptist University. He is the author of Emerald Illusions: The Irish in Early American Cinema (IAP, 2012), The Perils of Moviegoing in America (Bloomsbury, 2012), and The Birth of the American Horror Film (Edinburgh UP, 2018), as well as the editor of such anthologies as Edgar G. Ulmer: Detour on Poverty Row (Lexington, 2008), The Films of Joseph H. Lewis (Wayne State University, 2012), and The Films of Budd Boetticher (Edinburgh UP, 2017). Rhodes is also the writer-director of such documentary films as Lugosi: Hollywood’s Dracula (1997) and Banned in Oklahoma (2004). His latest book, coauthored with Robert Singer, is Consuming Images: Film Art and the American Television Commercial (Edinburgh UP, 2020).
Category:Contributors
Category:2021 Vol. 15 (MR)
Gay Talese

helped develop non-fiction reportage into what has become
known as New Journalism. He wrote for the New York Times in the 1960s. His
works include The Bridge (1964), The Kingdom and the Power (1969), Fame and Obscurity (1970), Honor Thy Father (1971), Thy Neighbor’s Wife (1981), Unto the Sons (1992), and A Writer’s Life (2006).
Category:Contributors
Category:2008 Vol. 2 (MR)
Category:2003 Conference