An American Dream is serialized in Esquire, January-August, with Mailer completing each chapter six weeks before it appears.
On 17 March, Michael Burks born to Beverly.
In August, he covers the Republican Convention in San Francisco for Esquire. “In the Red Light,” his account, appears in the November issue.
Letter to Pierre Brodin. In Présences: Contemporaines Écrivains Américains D’Aujourd’hui, by Pierre Brodin, 205. Paris: Les Nouvelles Éditions Debresse. Mailer answers Brodin’s query about his favorite French novels by saying that
the French novel has always been more congenial to me than the English, and much of what I learned as a young novelist came from Stendhal, from [Marcel] Proust, and from [André] Malraux.
He goes on to mention others: Gustave Flaubert, Emile Zola, André Gide, J.K. Huysmans, Charles Baudelaire, Jean-Paul Sartre and Georges Simenon, and “the largest single personal influence on my intellectual life has been my dear and old friend, Jean Malaquais.” Mailer’s letter is included in an appendix to this study of American writers. Rpt: 14.3.
“Talking of Violence.” Interview by W.J. Weatherby. Twentieth Century 173 (winter 1964-65), 109-14. Rpt: 82.16 (partial).
“The Best Man, 1964: To Pick Him, We Must Choose between Nostalgic Extremism and Overwhelming Moderation.” Book Week (New York Herald Tribune), 1 November, 1, 7-8. Review of My Hope for America, by Lyndon B. Johnson. The second half of the review’s title is most likely the work of the editors of Book Week, according to Mailer. Rpt: 65.14 (partial), 66.11, 68.11, 98.7.
“In the Red Light: A History of the Republican Convention in 1964.” Esquire, November, 83-89, 167-72, 174-77, 179. Nonfiction narrative. Rpt: 65.14 (partial), 66.11, 68.11, 76.5.
“A Vote for Bobby K.—Possibility of a Hero.” Village Voice, 29 October, 4, 10. Essay. Rpt: 66.11, 68.11.
“The Executioner’s Song.” Fuck You/A Magazine of the Arts 7 (no. 5), September [23-25]. Poem. The magazine, 83 pages, is reproduced typescript on sheets of various colors, unbound, stapled. Edited by Ed Sanders (founder of “The Fugs,” described in 68.8), it contains poems by Allen Ginsberg, Robert Creely, William Burroughs, Charles Olson, Michael McClure, Judith Malina, Gary Snyder and several others. Mailer later used the poem’s title for chapter 15 of The Fight (75.12), and for The Executioner’s Song (79.14). Rpt: 66.11 (with slight changes and mistitled “The Executioners” in acknowledgments).
“Gargoyle, Guignol, False Closet.” Dublin: Dolmen Press, July, 2 pp. pamphlet. Limited edition of 100. Essay, consisting of the rebuttal portion (part three) of 64.10, slightly revised. Rpt: 64.16, partial in 66.11 and 68.11.
“Architects: Blindness Is the Fruit of Your Design.” Village Voice, 18 June, 5. Essay consisting of part three of 64.10, slightly revised. The editors of Village Voice note that when Vincent Scully was offered the last word in this debate on modern architecture, he said, “I feel that I have had the last word already.” Rpt: 64.17; and partial in 66.11 and 68.11.
“Special Preface to the Bantam Edition.” The Presidential Papers. New York: Bantam, May, softcover, v-vii. Foreshadowed by Mailer’s contribution to “The Fate of the Union: Kennedy and After” (63.38). Same preface appears in the first British edition (63.37). The first American edition of 63.37 has a jacket photograph of Mailer in a J.F.K.-style rocker. The same picture is used on the cover of the Bantam edition, but the photograph has been altered to remove the rockers. Rpt: 76.13. See 14.4.