The Deer Park: A Play opens at Theatre DeLys in New York on 31 January; it closes 21 May after 127 performances. Mailer underwrites the production and loses money. The cast includes his wife Beverly, ex-wife Adele, Rip Torn and his old friend, actor Mickey Knox.
On 24 May, he is inducted into the National Institute of Arts and Letter. Publishes four books: The Short Fiction of Norman Mailer which contains 19 stories written from 1940 to 1962 (11 May); The Deer Park: A Play (7 August); Why Are We in Vietnam? (15 September); The Bullfight, a portrait of Mexican bullfighter Amado Ramirez, known as “El Loco” (mid-November); makes two experimental films, “Wild 90” and “Beyond the Law,” co-produced by his close friend, Buzz Farbar.
On 21 October, he takes part in an anti-war protest at the Pentagon, along with Robert Lowell, Noam Chomsky and Dwight Macdonald. Why Are We in Vietnam? is nominated for the National Book Award.
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.
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. Rpt: Project Mailer.
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.
“Some Dirt in the Talk: A Candid History of an Existential Movie Called Wild 90.” Esquire, December, 190-94, 261, 264-69. Essay. Rpt: As “Some Dirt in the Talk” in 72.7, 82.19. See 68.1a.
The Bullfight: A Photographic Narrative with Text by Norman Mailer. New York: CBS Legacy Collection Book, distributed by Macmillan, mid- November. Essay, 112 unnumbered pp., $7.95.
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 33 1/3, 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.
“Anything Goes: Taboos in Twilight.” Article by unidentified writer. Newsweek, 13 November, 74-78. Long article on sexual permissiveness in the media, “a Babylonian age.” Mailer has a long quote: “We’re in a time that’s divorced from the past. There’s utterly no tradition anymore. It’s a time when our nervous systems are being remade. There’s an extraordinary amount of obscenity around—and it’s in my new book [Why Are We in Vietnam? (67.15)]. I had to write it that way despite the fact that I hate to add all that obscenity.” He did so because obscenity “is the only metaphor to express the situation that produces Vietnam.”
“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.
“Why We Are Interviewing Norman Mailer.” By Mike McGrady. Newsday, 7 October, 3, 20, 30. Comment on violence and Vietnam, L.B.J., book reviews and his influence: “You know, I realize that my style of article writing has influenced more people than my fiction style. When I started doing articles, I didn’t see why I couldn’t use my equipment as a novelist.” Rpt: 88.6.
“The Crazy One.” Playboy, October, 91-92, 112, 211- 14. Portrait of the Mexican bullfighter, Amado Ramirez, a.k.a. El Loco. Rpt: As “Footnote to ‘Death in the Afternoon’” in 67.20; “Homage to El Loco” in 72.7 and 82.19. It is likely that 67.20, while published later than 67.17, was written earlier. These two versions are not significantly different from each other or from the final version in 72.7 and 82.19. This version also appeared in The Twentieth Anniversary Playboy Reader, edited by Hugh M. Hefner. Chicago: Playboy Press, 1974; complete in 98.7 and 13.1.