November 6, 2024

From Gerald R. Lucas

Portrait of the Writer as a Young Man: Norman Mailer’s Lipton’s

I’m pleased to present Lipton’s: A Marijuana Journal, an intimate window into Norman Mailer’s life and mind in the mid-1950s. This journal captures a pivotal moment in his career, as Mailer struggled with the paradox of early success and subsequent failure. He had experienced meteoric fame with The Naked and the Dead (1948), a war novel that not only received acclaim but also positioned him as a bold new voice in American literature. However, the years following this triumph were marked by profound doubt and frustration.

For those who may not be familiar with Mailer, here’s a bit of background. Norman Mailer was one of the most influential and controversial American writers of the 20th century. Born in 1923, Mailer rose to prominence with his debut novel, The Naked and the Dead, a portrayal of the Pacific theater of World War II that brought him instant fame at the age of twenty-five. Often described as both a novelist and a public intellectual, Mailer became known not only for his literary innovations but also for his provocative opinions on politics, culture, and morality. Over his career, he authored a wide range of works—including novels, essays, and nonfiction—that pushed boundaries and tackled issues such as war, existentialism, American identity, and the nature of power. His writing was characterized by its bold style and intrepid engagement with difficult subjects. In the 1950s, however, Mailer found himself in a precarious position, questioning his own literary future and grappling with the direction of his work. This uncertainty and self-doubt are powerfully documented in Lipton’s Journal, which we’ll explore today.

Mailer’s second novel, Barbary Shore (1951), was dismissed harshly, with Time magazine calling it “tasteless, graceless, and paceless”—a review Mailer found deeply wounding and never forgot.[1] The negative reception of Barbary Shore struck Mailer at the core of his identity as a writer, instilling a fear that perhaps his earlier success was a fluke.

His sense of imposterhood was further compounded by Rinehart & Company’s ultimate rejection of The Deer Park, his third novel. He had hoped The Deer Park would redeem him and solidify his reputation as a serious writer; thus, the setback felt devastating, even like a betrayal. Initially, Mailer had made minor concessions to satisfy Rinehart, agreeing to alter a few words in a scene depicting a sexual encounter. But, after some reflection, Mailer reversed course, feeling that compromising would betray his artistic integrity. This defiance led Stanley Rinehart to cancel the book’s release, just three months before it was set to hit the shelves. Rinehart’s decision fueled Mailer’s distrust of publishers and contributed to his developing self-conception as an “outsider” in American letters—a “psychic outlaw” standing in defiance of a society he saw as both prudish and conformist.[2]

This experience intensified his disillusionment, convincing him that the publishing industry was no longer the “gentleman’s occupation” he had once imagined. Instead, he saw it as a business that valued profit and conformity over artistic innovation and free expression. The period Mailer spent struggling to publish The Deer Park ultimately fueled the rebellious, anti-establishment posture he would take up in his writing and public life from the late 1950s onward.

Overcoming Artistic and Personal Struggles

It was amid these professional disappointments that Mailer began Lipton’s Journal in the winter of 1954–55. He used this journal as a form of personal therapy, a space where he could engage in what he called psychoanalytic self-examination, inspired in part by his friend, psychologist Robert Lindner. Mailer saw this journal as a place to work through the immense personal and philosophical pressures he faced while attempting to rediscover and redefine his voice as an artist.

Mailer’s disillusionment fed into his work on Lipton’s Journal, where he explored his frustrations with a society that he saw as stifling individual creativity.

The Role of Marijuana in Self-Exploration

During the period Mailer wrote Lipton’s, marijuana became a tool for intense self-examination, allowing him to access what he called his “instinctual self.”[2] Mailer believed that marijuana liberated him from his “societal self” and freed him from what he saw as the conventional, middle-class identity that stifled his creativity. He saw the drug as a way to suppress the “despised image” of himself—the “sweet clumsy anxious to please Middle-class Jewish boy”[4]—and instead nurture what he called the “psychic outlaw” persona he sought to develop.

Mailer’s process was meticulous, often smoking in the afternoons and especially on weekends, as he found that marijuana opened up a mental space for creativity, contemplation, and radical ideas. He felt that the drug was both a means and an end, enhancing everything from his writing and philosophical musings to his appreciation of jazz and even his physical strength. Under its influence, Mailer was able to engage in what he termed “a journey into myself,”[2] where he analyzed complex emotions and attempted to overcome internal inhibitions.

The effects of marijuana were, in Mailer’s view, largely positive, at least initially. It became his “secret weapon” during a period when he felt vulnerable and directionless. In some entries, he expresses a renewed sense of ambition and clarity, claiming that marijuana allowed him to tap into a deeper layer of consciousness that ordinary perception and reasoning could not reach. His reflections often took on the quality of intense self-affirmation, as he declared his goal to “attempt to be a genius”[5] and align himself with writers he admired, such as Dostoyevsky and Freud.

Yet, marijuana’s effects were not without drawbacks. Mailer’s use of the drug was often intense, compounded by other substances like Seconal (a barbiturate), alcohol, and caffeine. In one of his most vivid entries, dated March 4, 1955, Mailer describes a terrifying vision of a “divided, vertiginous universe,” during which he felt himself teetering on the brink of insanity. He later confessed that the experience left him “smack on the edge of insanity,” understanding that the drug-induced exploration of the mind came with serious risks, including the potential for madness or self-destruction.

This complex relationship with marijuana highlights both Mailer’s desire to push the boundaries of his psyche and the dangers inherent in this approach. His journal reveals a pattern of oscillation between exhilaration and terror, an emblem of his belief that the path to true genius was fraught with peril.

Mailer’s use of marijuana, then, can be seen as both an act of rebellion against societal norms and an effort to dismantle his own limitations as an artist. These experiences paved the way for his later, more public explorations of the “psychic outlaw” persona, which he fully embraces in The White Negro and other works.

Major Themes in Lipton’s

Struggles of the Artist in Society

One of Mailer’s recurring themes in Lipton’s is the artist’s role within an unaccommodating society that suppresses creativity and individuality. He critiques society’s demand for conformity, which he views as stifling to the artistic and intellectual spirit. For Mailer, true artistry often places one at odds with social norms, leading to a life of tension and rebellion.

The Artist’s Inner Conflict: Saint vs. Psychopath

Mailer frequently characterizes the artist as existing between two extremes: the saint, who withdraws from society to seek a higher truth, and the psychopath, who challenges societal values without restraint. This duality reflects Mailer’s belief that the artist must resist conventional morality to find authentic expression, while also grappling with internal conflicts and desires.

Existential Reflections on Mortality, Love, and the Self

Mailer explores existential themes in Lipton’s, including the nature of death, love, and the self. For him, these concepts are intertwined with society’s pressure to conform and repress, and he views genuine self-knowledge as involving both love and confrontation with mortality.

The Crisis of Language and Meaning

Mailer is acutely aware of language’s limitations, particularly as a medium for expressing the raw, visceral truths he seeks to convey. He frequently grapples with how words flatten or distort authentic experience, viewing language as both a tool and a barrier.

Jazz as a Metaphor for the Artist’s Freedom

For Mailer, jazz symbolizes a raw and improvisational freedom that resonates with the artist’s struggle for authenticity. He admires jazz’s ability to evade societal strictures, viewing it as a model for a life lived in defiance of conformity and as a metaphor for the creative process itself.

Toward a Public Persona

By the mid-1950s, Mailer was moving away from traditional narrative fiction and embracing a more polemical, confrontational approach that fused personal philosophy with social critique. Lipton’s served as a testing ground for this new identity, where he experimented with ideas on individualism, rebellion, and the artist’s duty to challenge societal norms. In the journal, Mailer begins to see himself not just as a novelist but as a public figure with a mandate to critique American society. Mailer’s entries in Lipton’s reveal his growing belief that the artist’s role is to critique and destabilize society’s values, a belief that would underpin his future as a public intellectual. His later works position him as an unrelenting critic of complacency and conformity, a figure who embraces the role of provocateur.

By confronting his own struggles and examining the artist’s place in a conformist society, Mailer begins to adopt what he would later term the “psychic outlaw” identity—an intellectual rebel who operates on the fringes of society, challenging its complacency. In this persona, Mailer was not just an observer but an active participant in the battle against homogenizing societal norms. In discussing marijuana’s effect on his perception of time, Mailer uses the experience as a metaphor for transcending societal constraints. This entry reflects his desire to live unbound by conventional norms, a defining trait of his “psychic outlaw” persona:

Lipton’s stands as a crucial step in Mailer’s journey from an introspective writer grappling with personal and societal dilemmas to a bold public intellectual determined to critique and transform American consciousness. Through his journal, Mailer found the space to confront the limitations of his own identity and artistic practice, experimenting with ideas of rebellion, existential freedom, and the artist’s role in society. The entries reveal his early struggle to define a persona that would allow him to question and resist the dominant social values of his time.

By confronting his inner conflicts and testing the boundaries of social and moral thought, Lipton’s allowed Mailer to craft the intellectual framework for his next works: The White Negro and Advertisements for Myself. In these writings, Mailer’s insights from the journal crystallize into a coherent philosophy of the “psychic outlaw”—a figure committed to challenging society’s complacency and exposing its contradictions. This evolution marked his shift toward a more mature and provocative voice, one that would resonate powerfully through the 1960s and beyond.

Ultimately, Lipton’s is more than just a record of Mailer’s thoughts; it is a formative work in which he began to shape the rebellious and reflective voice that would define his career. It reveals the groundwork for his mature identity as both an artist and a public figure—a writer determined to disrupt, confront, and redefine the cultural norms of America.

References

  1. Mailer 2024, p. vii.
  2. 2.0 2.1 2.2 Mailer 2024, p. viii.
  3. 3.0 3.1 Mailer 2024, p. 41.
  4. Mailer 2024, p. 52.
  5. Mailer 2024, p. xi.
  6. Mailer 2024, p. 3.
  7. Mailer 2024, p. 238.
  8. Mailer 2024, pp. 62–63.
  9. Mailer 2024, pp. 10–11.
  10. Mailer 2024, p. 7.
  11. Mailer 2024, pp. 15–16.
  12. Mailer 2024, p. 10.
  13. Mailer 2024, pp. 4–5.
  14. Mailer 2024, p. 20.
  15. Mailer 2024, p. 22.

Bibliography

  • Mailer, Norman (2024). Lennon, J. Michael; Lucas, Gerald R.; Mailer, Susan, eds. Lipton's: A Marijuana Journal, 1954–55. New York: Arcade.