The Executioner's Song | Critical Essay by Joan Didion

This literature criticism consists of approximately 5 pages of analysis & critique of The Executioner's Song.
This section contains 1,296 words
(approx. 5 pages at 300 words per page)
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Critical Essay by Joan Didion

SOURCE: "Let's Do It," in The New York Times Book Review, October 6, 1996, p. 94.

In the following review, Didion offers high praise for The Executioner's Song, which she describes as "an absolutely astonishing book."

It is one of those testimonies to the tenacity of self-regard in the literary life that large numbers of people remain persuaded that Norman Mailer is no better than their reading of him. They condescend to him, they dismiss his most original work in favor of the more literal and predictable rhythms of The Armies of the Night; they regard The Naked and the Dead as a promise later broken and every book since as a quick turn for his creditors, a stalling action, a spangled substitute, tarted up to deceive, for the "big book" he cannot write. In fact he has written this "big book" at least three times now. He wrote it the first time in 1955 with The Deer Park and he wrote it a second time in 1965 with An American Dream and he wrote it a third time in 1967 with Why Are We in Vietnam? and now, with The Executioner's Song, he has probably written it a fourth.

The Executioner's Song did not suggest, in its inception, the book it became. It began as a project put together by Lawrence Schiller, the photographer and producer who several years before had contracted with Mailer to write Marilyn, and it was widely referred to as "the Gary Gilmore book." This "Gary Gilmore book" of Mailer's was understood in a general way to be an account of or a contemplation on the death or the life or the last nine months in the life of Gary Mark Gilmore, those nine months representing the period between the day in April of 1976 when he was released from the United States Penitentiary at Marion, Illinois, and the morning in January of 1977 on which he was executed by having four shots fired into his heart at the Utah State Prison at Point of the Mountain, Utah.

It seemed one of those lives in which the narrative would yield no further meaning. Gary Gilmore had been in and out of prison, mostly in, for 22 of his 36 years. Gary Gilmore had a highly developed kind of con style that caught the national imagination. "Unless it's a joke or something, I want to go ahead and do it," Gary Gilmore said when he refused legal efforts to reverse the jury's verdict of death on felony murder. "Let's do it," Gary Gilmore said in the moments before the hood was lowered and the muzzles of the rifles emerged from the executioner's blind.

What Mailer could make of this apparently intractable material was unclear. It might well have been only another test hole in a field he had drilled before, a few further reflections on murder as an existential act, an appropriation for himself of the book he invented for An American Dream, Stephen Rojack's "The psychology of the Hangman." Instead Mailer wrote a novel, a thousand-page novel in a meticulously limited vocabulary and a voice as flat as the horizon, a novel which takes for its incident and characters real events in the lives of real people.

I think no one but Mailer could have dared this book. The authentic Western voice, the voice heard in The Executioner's Song, is one heard often in life but only rarely in literature, the reason being that to truly know the West is to lack all will to write it down. The very subject of The Executioner's Song is that vast emptiness at the center of the Western experience, a nihilism antithetical not only to literature but to most other forms of human endeavor, a dread so close to zero that human voices fade out, trail off, like skywriting.

In a world in which every road runs into the desert or the Interstate or the Rocky Mountains, people develop a pretty precarious sense of their place in the larger scheme. People get sick for love, think they want to die for love, shoot up the town for love, and then they move away, move on, forget the face. People commit their daughters, and move to Midway Island. People get in their cars at night and drive across two states to get a beer, see about a loan on a pickup, keep from going crazy because crazy people get committed again, and can no longer get in their cars and drive across two states to get a beer.

The Executioner's Song is structured in two long symphonic movements: "Western Voices," or Book One, voices which are most strongly voices of women, and "Eastern Voices," Book Two, voices which are not literally those of Easterners but are largely those of men—the voices of the lawyers, the prosecutors, the reporters, the people who move in the larger world and believe that they can influence events. The "Western" book is a fatalistic drift, a tension, and overwhelming and passive rush toward the inevitable events that will end in Gary Gilmore's death. The "Eastern" book is the release of that tension, the resolution, the playing out of the execution, the active sequence that effectively ends on the January morning when Lawrence Schiller goes up in a six-seat plane and watches as Gary Gilmore's ashes are let loose from a plastic bag to blow over Provo. The bag surprises Schiller. The bag is a bread bag, "with the printing from the bread company clearly on it … a 59-cent loaf of bread."

The women in the "Western" book are surprised by very little. They do not on the whole believe that events can be influenced. A kind of desolate wind seems to blow through the lives of these women in The Executioner's Song, all these women who have dealings with Gary Gilmore from the April night when he lands in town with his black plastic penitentiary shoes until the day in January when he is just ash blowing over Provo. The wind seems to blow away memory, balance. The sensation of falling is constant. Nicole Baker, still trying at 19 to "digest her life, her three marriages, her two kids, and more guys than you wanted to count," plus Gary Gilmore, plus Gary Gilmore's insistence that she meet him beyond the grave, reads a letter from Gary in prison and the words go "in and out of her head like a wind blowing off the top of the world."

These women move in and out of paying attention to events, of noticing their own fate. They seem distracted by bad dreams, by some dim apprehension of this well of dread, this "unhappiness at the bottom of things." Inside Bessie Gilmore's trailer south of the Portland city line, down a fourlane avenue of bars and eateries and discount stores and a gas station with a World War II surplus Boeing bomber fixed above the pumps, there is a sense that Bessie can describe only as "a suction-type feeling." She fears disintegration. She wonders where the houses in which she once lived have gone, she wonders about her husband being gone, her children gone, the 78 cousins she knew in Provo scattered and gone and maybe in the ground. She wonders if, when Gary goes, they would "all descend another step into that pit where they gave up searching for one another." She has no sense of "how much was her fault; and how much was the fault of the ongoing world that ground along like iron-banded wagon wheels in the prairie grass." When I read this, I remembered that the tracks made by the wagon wheels are still visible from the air over Utah, like the footprints made on the moon. This is an absolutely astonishing book.

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This section contains 1,296 words
(approx. 5 pages at 300 words per page)
Buy the Critical Essay by Joan Didion