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Overview
Praise for The Deer Park
“A scathing portrayal of Hollywood . . . studded with brilliant and illuminating passages.”—The New York Times Book Review
“A writer of the greatest and most reckless talent . . . [Mailer] drives us up and down The Deer Park at breakneck speed. It is a trip through unfamiliar country, for a time funny and then unnerving.”—The New Yorker
“Savage . . . brilliant . . . exhilarating.”—The Atlantic Monthly
“Entertaining and wise . . . In addition to his furious energy and true ear, Mailer is simpatico with humanity . . . on a level rare in American fiction.”—The New Republic
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: | 9780812985993 |
|---|---|
| Publisher: | Random House Publishing Group |
| Publication date: | 09/17/2013 |
| Sold by: | Random House |
| Format: | eBook |
| Pages: | 384 |
| Sales rank: | 850,335 |
| File size: | 2 MB |
About the Author
Hometown:
Provincetown, Massachusetts, and New York, New YorkDate of Birth:
January 31, 1923Date of Death:
November 10, 2007Place of Birth:
Long Branch, New JerseyEducation:
B.S., Harvard University, 1943; Sorbonne, Paris, 1947-48Read an Excerpt
IN THE CACTUS WILD of Southern California, a distance of two hundred miles from the capital of cinema as I choose to call it is the town of Desert D’Or. There I went from the Air Force to look for a good time. Some time ago.
Almost everybody I knew in Desert D’Or had had an unusual career, and it was the same for me. I grew up in a home for orphans. Still intact at the age of twenty-three, wearing my flying wings and a First Lieutenant’s uniform, I arrived at the resort with fourteen thousand dollars, a sum I picked up via a poker game in a Tokyo hotel room while waiting with other fliers for our plane home. The curiosity is that I was never a gambler, I did not even like the game, but I had nothing to lose that night, and maybe for such a reason I accepted the luck of my cards. Let me leave it at that. I came out of the Air Force with no place to go, no family to visit, and I wandered down to Desert D’Or.
Built since the Second World War, it is the only place I know which is all new. A long time ago, Desert D’Or was called Desert Door by the prospectors who put up their shanties at the edge of its oasis and went into the mountains above the desert to look for gold. But there is nothing left of those men; when the site of Desert D’Or was chosen, none of the old shacks remained.
No, everything is in the present tense, and during the months I stayed at the resort, I came to know it in a way we can know few places. It was a town built out of no other obvious motive than commercial profit and so no sign of commerce was allowed to appear. Desert D’Or was without a main street, and its stores looked like anything but stores. In those places which sold clothing, no clothing was laid out, and you waited in a modern living room while salesmen opened panels in the wall to exhibit summer suits, or held between their hands the blooms and sprays of a tropical scarf. There was a jewelry store built like a cabin cruiser; from the street one peeped through a porthole to see a thirty-thousand-dollar necklace hung on the silver antlers of a piece of driftwood. None of the hotels—not the Yacht Club, nor the Debonair, not the Yucca Plaza, the Sandpiper, the Creedmor, nor the Desert D’Or Arms—could even be seen from outside. Put behind cement-brick fences or wooden palings, one hardly came across a building which was not green, yellow, rose, orange, or pink and the approach was hidden by a shrubbery of bright flowers. You passed through the gate to the Yacht Club, the biggest and therefore the most exclusive hotel in the resort, and followed its private road which twisted through the grounds for several hundred yards, expecting a mansion at the end, but came instead to no more than a carport, a swimming pool in the shape of a free-form coffee table with curved-wall cabañas and canasta tables, and a set of lawn-tennis courts, the only lawn in all that part of Southern California. At night, along yellow sidewalks which crossed a winding artificial creek, lit up with Japanese lanterns strung to the tropical trees, you could wander by the guest bungalows scattered along the route, their flush pastel-colored doors another part of the maze of the arrangement.
I blew a piece of my fourteen-thousand-dollar fortune and stayed at the Yacht Club until I picked the house I was to rent for the rest of my stay in Desert D’Or. I could describe that house in detail, but what would be the use? It was like most of the houses in the resort; it was modern, ranch-style, of course, with light furniture and rugs which felt like poodle wool, and it had a garden and a wall which went around the garden, the standard fault of Desert D’Or architecture; along the desert table, the walls were made of glass to have a view of mesa-colored sand and violet mountains, but the houses were so close to each other that the builders had to fence them in, and the result was like living in a room whose walls are mirrors. In fact, my house had a twenty-foot mirror which faced the wall of plate-glass window. No matter where I stood in the living room, I could never miss the sight of my rented garden with its desert flowers and the lone yucca tree.
During the dry season which lasted for nine months of the year, the resort was parched by the sun. Every twilight the spray from a thousand sprinklers washed dust and sand from the gray foliage; morning and afternoon the sun scorched the sap from the plants and the desert circled the resort, its cacti standing on the horizon while croppings of dusty rock gathered like scavengers in the distance. The blue sky burned on the pale desert. It would come on me at times that Desert D’Or was a place where no trees bear leaves. The palms and the yuccas lifted a foliage of tufts and fans and fronds and shoots, but never leaves, and on some of the roads where tall palms lined the way, their dead fronds hung from the trunk like an ostrich’s muff.
During the off-season, most of the activity took place in the bars. The bars were a village in the town, or at least a kind of main street in the absence of any other, yet they were as different from the warm front of Desert D’Or as the inside of one’s body is separate from the surface of one’s skin. Like so many other places in Southern California, the bars, cocktail lounges, and night clubs were made to look like a jungle, an underwater grotto, or the lounge of a modern movie theater. The Cerulean Room, to take an example, had an irregular space of rose-orange walls and booths of yellow leatherette under the influence of a dark blue ceiling. Above the serving bar with its bank of bottles, its pyramids of citrus fruit, a smoky-yellow false ceiling reflected into the mirror behind the bar and colored the etching of a half-nude girl which had been cut into the glass. Drinking in that atmosphere, I never knew whether it was night or day, and I think that kind of uncertainty got into everybody’s conversation. Men lacquered with liquor talked to other men who were sober, stories were started and never finished. On a typical afternoon in the air-cooled midnight of the bar, you could see a fat old man in a Palm Beach suit talking to a young girl with orange lipstick and the deep sun tan of Desert D’Or, the girl more interested in the old gent than the gentleman in her. Promoters and tourists, middle-aged women with new-colored hair, and high school kids who had competed in running hotrods across the desert, were jammed together. The talk was made up of horses, stories of parties the night before, and systems for roulette. Running along the heavy beat of a third-rate promoter trying to raise money, there would come the solo shriek of one hysterical blond or another, who seemed to be laughing in that tune which goes, “I’m dumb, I’m dumb, but you’re a scream.”
In such a way, afternoon was always passing into night, and drunken nights into the dawn of a desert morning. One seemed to leave the theatrical darkness of afternoon for the illumination of night, and the sun of Desert D’Or became like the stranger who the drunk imagines to be following him. So I spent my first few weeks doing little more than pick up the bar checks of all those small sharp prospectors for pleasure from the capital, and in the capsule biography by which most of the people knew one another, I was understood to be an Air Force pilot whose family was wealthy and lived in the East, and I even added the detail that I had a broken marriage and drank to get over it. As a story it was reasonable enough to pass, and I sometimes believed what I said and tried to take the cure in the very real sun of Desert D’Or with its cactus, its mountain, and the bright green foliage of its love and its money.
What People are Saying About This
"Savage . . . brilliant . . . exhilarating."
—Atlantic Monthly
"A writer of the greatest and most reckless talents."
—The New Yorker
"Entertaining and wise. . . . In addition to his furious energy and true ear, Mailer is simpatico with humanity . . . on a level rare in American fiction."
—New Republic
"Studded with brilliant and illuminating passages."
—The New York Times