Advertisements For Myself

Originally published in 1959, Advertisements for Myself is an inventive collection of stories, essays, polemic, meditations, and interviews. It is Norman Mailer at his brilliant, provocative, outrageous best. Emerging at the height of "hip," Advertisements is at once a chronicle of a crucial era in the formation of modern American culture and an important contribution to the great autobiographical tradition in American letters.

Advertisements for Myself is a comprehensive collection of the best of Norman Mailer's essays, stories, interviews and journalism from the Forties and Fifties, linked by anarchic and riotous autobiographical commentary. Laying bare the heart of a witty, belligerent and vigorous writer, this manifesto of Mailer's key beliefs contains pieces on his war experiences in the Philippines (the basis for his famous first novel The Naked and the Dead), tributes to fellow novelists William Styron, Saul Bellow, Truman Capote and Gore Vidal and magnificent polemics against pornography, advertising, drugs and politics. Also included is his notorious exposition of the phenomenon of the 'White Negro', the Beat Generation's existentialist hero whose life, like Mailer's, is 'an unchartered journey into the rebellious imperatives of the self'

Advertisements for Myself, a diverse and freewheeling tour through Mailer’s early career, covers the many subjects with which he’d grapple for the rest of his life: sex, race, politics, literature, and the systems of power that shape American life. There are lists, interviews, poems, confessions, postscripts, two Tables of Contents (one chronological, one thematic), undergraduate short stories, fragments from a one-act play—and of course, Mailer’s classic, groundbreaking essays, including “The White Negro (Superficial Reflections on the Hipster)”, perhaps Mailer’s most prescient early polemic, and “Mind of an Outlaw”, which lends its name to Mailer’s latest, and first posthumous, collection. A playful, unclassifiable snapshot of American culture at the end of the fifties, Advertisements for Myself, is also a cornerstone of Mailer’s long and prolific career: “In this volume,” declared The New York Times in 1959, “Mr. Mailer, at 36, shows once again that he is the most versatile if not the most significant talent of his generation.”

This witty and heavily illustrated volume features more than 300 vintage book advertisements—startling and strange, beautiful and funny—that together reveal a kind of secret history of American literature over the last century. New York Times book critic Dwight Garner brings together original ads for some of the most acclaimed and best-selling books of the twentieth century, including The Great Gatsby, Ulysses, On the Road, Invisible Man, Lolita, Silent Spring, The Joy of Sex, Fear and Loathing on the Campaign Trail '72, White Noise, and dozens of other classics. These ads show us famous books when they were simply new volumes jostling for attention on bookstore shelves, not yet icons of our literary culture. And the ads capture many beloved authors—Toni Morrison, Cormac McCarthy, Susan Sontag, and Kurt Vonnegut among a great many others—at moments before their careers were assured, before their personas had hardened into those of "famous writers." In his introduction, Garner explains the changing styles of book advertising; explores the cross-pollination between literature and the world of advertising, in which many writers—including Don DeLillo, Salman Rushdie, and James Patterson—worked before publishing their first books; and makes a convincing case that these vintage ads are important and lasting literary documents. Read Me is a fascinating and unusual romp through literary history, and an ideal gift for any reader.

I've divorced better men than you. And worn more expensive shoes than these. So don't think placing this ad is the biggest comedown I've ever had to make. Sensitive F, 34. Employed in publishing? Me too. Stay the hell away. Man on the inside seeks woman on the outside who likes milling around hospitals guessing the illnesses of out-patients. 30-35. Leeds. They Call Me Naughty Lola is a testament to the creativity and humor that can still be found among men and women longing for love and allergic to the concepts of Internet and speed dating. Here is an irresistible collection of the most brilliant and often absurd personal ads from the world's funniest -- and most erudite -- lonely-hearts column. The ads have been called "surreal haikus of the heart," and in an age of false advertising, the men and women who write them are hindered neither by high expectations nor by positivism of any kind. And yet, while hopes of finding a suitable mate remain low, the column has produced a handful of marriages, many friendships, and at least one divorce. Here are the young, old, fat, bald, healthy, ill, rich, and poor hoping that they can find true love, or at the very least, someone to call them Naughty Lola.

With his stunning debut novel, She's Come Undone, Wally Lamb won the adulation of critics and readers with his mesmerizing tale of one woman's painful yet triumphant journey of self-discovery. Now, this brilliantly talented writer returns with I Know This Much Is True, a heartbreaking and poignant multigenerational saga of the reproductive bonds of destruction and the powerful force of forgiveness. A masterpiece that breathtakingly tells a story of alienation and connection, power and abuse, devastation and renewal--this novel is a contemporary retelling of an ancient Hindu myth. A proud king must confront his demons to achieve salvation. Change yourself, the myth instructs, and you will inhabit a renovated world. When you're the same brother of a schizophrenic identical twin, the tricky thing about saving yourself is the blood it leaves on your bands--the little inconvenience of the look-alike corpse at your feet. And if you're into both survival of the fittest and being your brother's keeper--if you've promised your dying mother--then say so long to sleep and hello to the middle of the night. Grab a book or a beer. Get used to Letterman's gap-toothed smile of the absurd, or the view of the bedroom ceiling, or the influence of random selection. Take it from a godless insomniac. Take it from the uncrazy twin--the guy who beat the biochemical rap. Dominick Birdsey's entire life has been compromised and constricted by anger and fear, by the paranoid schizophrenic twin brother he both deeply loves and resents, and by the past they shared with their adoptive father, Ray, a spit-and-polish ex-Navy man (the five-foot-six-inch sleeping giant who snoozed upstairs weekdays in the spare room and built submarines at night), and their long-suffering mother, Concettina, a timid woman with a harelip that made her shy and self-conscious: She holds a loose fist to her face to cover her defective mouth--her perpetual apology to the world for a birth defect over which she'd had no control. Born in the waning moments of 1949 and the opening minutes of 1950, the twins are physical mirror images who grow into separate yet connected entities: the seemingly strong and protective yet fearful Dominick, his mother's watchful "monkey"; and the seemingly weak and sweet yet noble Thomas, his mother's gentle "bunny." From childhood, Dominick fights for both separation and wholeness--and ultimately self-protection--in a house of fear dominated by Ray, a bully who abuses his power over these stepsons whose biological father is a mystery. I was still afraid of his anger but saw how he punished weakness--pounced on it. Out of self-preservation I hid my fear, Dominick confesses. As for Thomas, he just never knew how to play defense. He just didn't get it. But Dominick's talent for survival comes at an enormous cost, including the breakup of his marriage to the warm, beautiful Dessa, whom he still loves. And it will be put to the ultimate test when Thomas, a Bible-spouting zealot, commits an unthinkable act that threatens the tenuous balance of both his and Dominick's lives. To save himself, Dominick must confront not only the pain of his past but the dark secrets he has locked deep within himself, and the sins of his ancestors--a quest that will lead him beyond the confines of his blue-collar New England town to the volcanic foothills of Sicily 's Mount Etna, where his ambitious and vengefully proud grandfather and a namesake Domenico Tempesta, the sostegno del famiglia, was born. Each of the stories Ma told us about Papa reinforced the message that he was the boss, that he ruled the roost, that what he said went. Searching for answers, Dominick turns to the whispers of the dead, to the pages of his grandfather's handwritten memoir, The History of Domenico Onofrio Tempesta, a Great Man from Humble Beginnings. Rendered with touches of magic realism, Domenico's fablelike tale--in which monkeys enchant and religious statues weep--becomes the old man's confession--an unwitting legacy of contrition that reveals the truth's of Domenico's life, Dominick learns that power, wrongly used, defeats the oppressor as well as the oppressed, and now, picking through the humble shards of his deconstructed life, he will search for the courage and love to forgive, to expiate his and his ancestors' transgressions, and finally to rebuild himself beyond the haunted shadow of his twin. Set against the vivid panoply of twentieth-century America and filled with richly drawn, memorable characters, this deeply moving and thoroughly satisfying novel brings to light humanity's deepest needs and fears, our aloneness, our desire for love and acceptance, our struggle to survive at all costs. Joyous, mystical, and exquisitely written, I Know This Much Is True is an extraordinary reading experience that will leave no reader untouched.

If he had been with me everything would have been different... I wasn't with Finn on that August night. But I should've been. It was raining, of course. And he and Sylvie were arguing as he drove down the slick road. No one ever says what they were arguing about. Other people think it's not important. They do not know there is another story. The story that lurks between the facts. What they do not know—the cause of the argument—is crucial. So let me tell you...

Chosen by Town & Country as one of the most anticipated books of the year | Named "An LGBTQ Book That'll Change the Literary Landscape in 2020" by O: The Oprah Magazine In this poignant and urgent love letter to his son, award-winning Broadway, TV and film producer Richie Jackson reflects on his experiences as a gay man in America and the progress and setbacks of the LGBTQ community over the last 50 years. “My son is kind, responsible, and hardworking. He is ready for college. He is not ready to be a gay man living in America." When Jackson's son born through surrogacy came out to him at age 15, the successful producer, now in his 50s, was compelled to reflect on his experiences and share his wisdom on life for LGBTQ Americans over the past half-century. Gay Like Me is a celebration of gay identity and parenting, and a powerful warning for his son, other gay men and the world. Jackson looks back at his own journey as a gay man coming of age through decades of political and cultural turmoil. Jackson's son lives in a seemingly more liberated America, and Jackson beautifully lays out how far we’ve come since Stonewall -- the increased visibility of gay people in society, the legal right to marry, and the existence of a drug to prevent HIV. But bigotry is on the rise, ignited by a president who has declared war on the gay community and fanned the flames of homophobia. A newly constituted Supreme Court with a conservative tilt is poised to overturn equality laws and set the clock back decades. Being gay is a gift, Jackson writes, but with their gains in jeopardy, the gay community must not be complacent. As Ta-Nehisi Coates awakened us to the continued pervasiveness of racism in America in Between the World and Me, Jackson’s rallying cry in Gay Like Me is an eye-opening indictment to straight-lash in America. This book is an intimate, personal exploration of our uncertain times and most troubling questions and profound concerns about issues as fundamental as dignity, equality, and justice. Gay Like Me is a blueprint for our time that bridges the knowledge gap of what it’s like to be gay in America. This is a cultural manifesto that will stand the test of time. Angry, proud, fierce, tender, it is a powerful letter of love from a father to a son that holds lasting insight for us all.