An American Dream

An American Dream

by Norman Mailer
An American Dream

An American Dream

by Norman Mailer

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Overview

In this wild battering ram of a novel, which was originally published to vast controversy in 1965, Norman Mailer creates a character who might be a fictional precursor of the philosopher-killer he would later profile in The Executioner’s Song. As Stephen Rojack, a decorated war hero and former congressman who murders his wife in a fashionable New York City high-rise, runs amok through the city in which he was once a privileged citizen, Mailer peels away the layers of our social norms to reveal a world of pure appetite and relentless cruelty. One part Nietzsche, one part de Sade, and one part Charlie Parker, An American Dream grabs the reader by the throat and refuses to let go.
 
Praise for An American Dream
 
“Perhaps the only serious New York novel since The Great Gatsby.”—Joan Didion, National Review
 
“A devil’s encyclopedia of our secret visions and desires . . . the expression of a devastatingly alive and original creative mind.”Life
 
“A work of fierce concentration . . . perfectly, and often brilliantly, realistic [with] a pattern of remarkable imaginative coherence and intensity.”Harper’s
 
“At once violent, educated, and cool . . . This is our history as Hawthorne might have written it.”Commentary
 
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
 
“Mailer is indispensable, an American treasure.”The Washington Post
 
“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

Product Details

ISBN-13: 9780812985979
Publisher: Random House Publishing Group
Publication date: 09/17/2013
Sold by: Random House
Format: eBook
Pages: 288
Sales rank: 429,748
File size: 2 MB

About the Author

Born in 1923 in Long Branch, New Jersey, and raised in Brooklyn, New York, Norman Mailer was one of the most influential writers of the second half of the twentieth century and a leading public intellectual for nearly sixty years. He is the author of more than thirty books. The Castle in the Forest, his last novel, was his eleventh New York Times bestseller. His first novel, The Naked and the Dead, has never gone out of print. His 1968 nonfiction narrative, The Armies of the Night, won the Pulitzer Prize and the National Book Award. He won a second Pulitzer for The Executioner’s Song and is the only person to have won Pulitzers in both fiction and nonfiction. Five of his books were nominated for National Book Awards, and he won a lifetime achievement award from the National Book Foundation in 2005. Mr. Mailer died in 2007 in New York City.

Hometown:

Provincetown, Massachusetts, and New York, New York

Date of Birth:

January 31, 1923

Date of Death:

November 10, 2007

Place of Birth:

Long Branch, New Jersey

Education:

B.S., Harvard University, 1943; Sorbonne, Paris, 1947-48

Read an Excerpt

I MET Jack Kennedy in November, 1946. We were both war heroes, and both of us had just been elected to Congress. We went out one night on a double date and it turned out to be a fair evening for me. I seduced a girl who would have been bored by a diamond as big as the Ritz.
 
She was Deborah Caughlin Mangaravidi Kelly, of the Caughlins first, English-Irish bankers, financiers and priests; the Mangaravidis, a Sicilian issue from the Bourbons and the Hapsburgs; Kelly’s family was just Kelly; but he had made a million two hundred times. So there was a vision of treasure, far-off blood, and fear. The night I met her we had a wild ninety minutes in the back seat of my car parked behind a trailer truck on a deserted factory street in Alexandria, Virginia. Since Kelly owned part of the third largest trucking firm in the Midwest and West, I may have had a speck of genius to try for his daughter where I did. Forgive me. I thought the road to President might begin at the entrance to her Irish heart. She heard the snake rustle however in my heart; on the telephone next morning she told me I was evil, awful and evil, and took herself back to the convent in London where she had lived at times before. I did not know as yet that ogres stand on guard before the portal of an heiress. Now in retrospect I can say with cheer: that was the closest I came to being President. (By the time I found Deborah again—all of seven years later in Paris—she was no longer her father’s delight, and we were married in a week. Like any tale which could take ten books, it is best to quit it by a parenthesis—less than ten volumes might be untrue.)
 
Of course Jack has gone on a bit since those days, and I have traveled up and I have voyaged down and I’ve gone up and down, but I remember a full moon the night we had our double date, and to be phenomenologically precise, there was also a full moon on the night I led my patrol to the top of a particular hill in Italy, and a full moon the night I met another girl, and a full moon.… There are times when I like to think I still have my card in the intellectual’s guild, but I seem to be joining company with that horde of the mediocre and the mad who listen to popular songs and act upon coincidence. The real difference between the President and myself may be that I ended with too large an appreciation of the moon, for I looked down the abyss on the first night I killed: four men, four very separate Germans, dead under a full moon—whereas Jack, for all I know, never saw the abyss.
 
Of course, I did not have any illusion that my heroism was the equal of his. I got good for one night. I was a stiff, overburdened, nervous young Second Lieutenant, fresh from Harvard, graduated a year behind Prince Jack (we never met—not there). I had gone into the Army with a sweaty near-adolescent style, Harvard on the half-shell (“Raw-Jock” Rojack was the sporting name bestowed on me in House Football) and I had been a humdrum athlete and, as a student, excessively bright: Phi Beta Kappa, summa cum laude, Government.
 
Small wonder I was thus busy working to keep some government among the hard-nosed Southerners and young Mafiosos from the Bronx who made up the double nucleus of my platoon, working so busily that death this night first appeared to me as a possibility considerably more agreeable than my status in some further disorder. I really didn’t care much longer whether I stayed alive. When I steered us up the hill therefore to get pinned down in a long, bad line, one hundred feet from the summit, a modest twin dome, a double hill with a German machine gun on one knoll and a German machine gun on the other, I was so ready to die in atonement I was not even scared.
 
Trapped beneath a rusty sputter—the guns had not quite found me nor any of the others—the full moon giving a fine stain to the salient of our mood (which was fear and funk and a sniff of the grave), I could nonetheless feel danger withdraw from me like an angel, withdraw like a retreating wave over a quiet sea, sinking quietly into the sand, and I stood and then I ran, I ran up the hill into the aisle of safety I felt opening for me which is part of what captured that large decoration later, because the route I took was under the separate fire of each of those guns and the two together could stitch you to a pulp. Their fire was jagged, however, it was startled, and as I ran, I threw my carbine away, out ten yards to the front of me, crossed my arms to pull a grenade from each shirt pocket, pulled the rings with my teeth, which I had hardly been able to do in practice (much too hard on the teeth), released the spoon handles, the fuse now lit, and spitting, and shot my arms out like the wings of the letter Y. The grenades sailed away in separate flights and I had time to stop, turn around; and dive back for my carbine which I had overrun.
 
Years later I read Zen in the Art of Archery and understood the book. Because I did not throw the grenades on that night on the hill under the moon, it threw them, and it did a near-perfect job. The grenades went off somewhere between five and ten yards over each machine gun, blast, blast, like a boxer’s tattoo, one-two, and I was exploded in the butt from a piece of my own shrapnel, whacked with a delicious pain clean as a mistress’ sharp teeth going “Yummy” in your rump, and then the barrel of my carbine swung around like a long fine antenna and pointed itself at the machine-gun hole on my right where a great bloody sweet German face, a healthy spoiled overspoiled young beauty of a face, mother-love all over its making, possessor of that overcurved mouth which only great fat sweet young faggots can have when their rectum is tuned and entertained from adolescence on, came crying, sliding, smiling up over the edge of the hole, “Hello death!” blood and mud like the herald of sodomy upon his chest, and I pulled the trigger as if I were squeezing the softest breast of the softest pigeon which ever flew, still a woman’s breast takes me now and then to the pigeon on that trigger, and the shot cracked like a birth twig across my palm, whop! and the round went in at the base of his nose and spread and I saw his face sucked in backward upon the gouge of the bullet, he looked suddenly like an old man, toothless, sly, reminiscent of lechery. Then he whimpered “Mutter,” one yelp from the first memory of the womb, and down he went into his own blood just in time, timed like the interval in a shooting gallery, for the next was up, his hole-mate, a hard avenging specter with a pistol in his hand and one arm off, blown off, rectitude like a stringer of saliva across the straight edge of his lip, the straightest lip I ever saw, German-Protestant rectitude. Whap! went my carbine and the hole was in his heart and he folded back the long arm with the pistol, back across his chest to cover his new hole and went down straight and with a clown’s deep gloom as if he were sliding down a long thin pipe, and then I turned, feeling something tear in my wound, nice in its pain, a good blood at liberty, and I took on the other two coming out of the other hole, one short stocky ape-like wretch with his back all askew, as if he’d had a false stuffed hump which shrapnel had disgorged beyond his shoulder blade: I fired at him and he went down and I never knew where it hit nor quite saw his face; then the last stood up straight with a bayonet in his hand and invited me to advance. He was bleeding below his belt. Neat and clean was his shirt, level the line of his helmet, and nothing but blood and carnage below the belt. I started to rise. I wanted to charge as if that were our contract, and held, for I could not face his eyes, they now contained all of it, the two grenades, the blood on my thigh, the fat faggot, the ghost with the pistol, the hunchback, the blood, those bloody screams that never sounded, it was all in his eyes, he had eyes I was to see once later on an autopsy table in a small town in Missouri, eyes belonging to a redneck farmer from a deep road in the Ozarks, eyes of blue, so perfectly blue and mad they go all the way in deep into celestial vaults of sky, eyes which go back all the way to God is the way I think I heard it said once in the South, and I faltered before that stare, clear as ice in the moonlight, and hung on one knee, not knowing if I could push my wound, and suddenly it was all gone, the clean presence of it, the grace, it had deserted me in the instant I hesitated, and now I had no stomach to go, I could charge his bayonet no more. So I fired. And missed. ”
 

What People are Saying About This

From the Publisher

"A writer of the greatest and most reckless talents."
The New Yorker

"A devastatingly alive and original creative mind."
Life

"A work of fierce concentration. . . . Perfectly, and often brilliantly, realistic [with] . . . a pattern of remarkable imaginative coherence and intensity."
Harper's

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