Harlot's Ghost

( 6 )

Overview

With unprecedented scope and consummate skill, Norman Mailer unfolds a rich and riveting epic of an American spy. Harry Hubbard is the son and godson of CIA legends. His journey to learn the secrets of his society?and his own past?takes him through the Bay of Pigs, the Cuban Missile Crisis, and the ?momentous catastrophe? of the Kennedy assassination. All the while, Hubbard is haunted by women who were loved by both his godfather and President Kennedy. Featuring a tapestry of unforgettable characters both real ...
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Overview

With unprecedented scope and consummate skill, Norman Mailer unfolds a rich and riveting epic of an American spy. Harry Hubbard is the son and godson of CIA legends. His journey to learn the secrets of his society—and his own past—takes him through the Bay of Pigs, the Cuban Missile Crisis, and the “momentous catastrophe” of the Kennedy assassination. All the while, Hubbard is haunted by women who were loved by both his godfather and President Kennedy. Featuring a tapestry of unforgettable characters both real and imagined, Harlot’s Ghost is a panoramic achievement in the tradition of Tolstoy, Melville, and Balzac, a triumph of Mailer’s literary prowess.
 
Praise for Harlot’s Ghost
 
“[Norman Mailer is] the right man to exalt the history of the CIA into something better than history.”—Anthony Burgess, The Washington Post Book World
 
“Elegantly written and filled with almost electric tension . . . When I returned from the world of Harlot’s Ghost to the present I wished to be enveloped again by Mailer’s imagination.”—Robert Wilson, USA Today
 
“Immense, fascinating, and in large part brilliant.”—Salman Rushdie, The Independent on Sunday
 
“A towering creation . . . a fiction as real and as possible as actual history.”The New York Times
 
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
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Editorial Reviews

From the Publisher
Praise for Harlot’s Ghost
 
“[Norman Mailer is] the right man to exalt the history of the CIA into something better than history.”—Anthony Burgess, The Washington Post Book World
 
“Elegantly written and filled with almost electric tension . . . When I returned from the world of Harlot’s Ghost to the present I wished to be enveloped again by Mailer’s imagination.”—Robert Wilson, USA Today
 
“Immense, fascinating, and in large part brilliant.”—Salman Rushdie, The Independent on Sunday
 
“A towering creation . . . a fiction as real and as possible as actual history.”The New York Times
 
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
Publishers Weekly - Publisher's Weekly
Those who quail at the prospect of a 1400-page novel by the author of Ancient Evenings and Tough Guys Don't Dance need have no fear. Mailer's newest effort, a mammoth imagining of the CIA that puts all previous fictions about the Agency in the shade, reads like an express train. Never has he written more swiftly and surely, more vividly and with less existential clutter. A contemporary picaresque yarn, Harlot's Ghost bears more than a slight resemblance to those great 18th-century English novels that chronicle the coming-of-age of a young rogue with good connections. Harry Hubbard is a bright young man whose father and whose mentor, Hugh Montague (also known as Harlot), are both senior CIA figures and induct him into the Agency. Most of the book, after a melodramatic beginning, is one long flashback, Harry's autobiographical account of his early career--partly in his own words, partly in an exchange of letters with Harlot's beautiful, brilliant wife, Kittredge, whom Harry admires from afar and will one day steal. He is seen in training in the '50s under real-life figures like Allen Dulles and Dick Bissell, and with the martini-swigging, pistol-toting William Harvey at his first post in Berlin--where he meets Dix Butler, who becomes in a sense his nemesis. A quiet spell in Montevideo under Howard Hunt follows, then he goes to Washington, where he watches the Bay of Pigs fiasco and the Cuban missile crisis develop--and becomes the lover of President Kennedy's mistress. The book winds down with Kennedy's assassination and a sense of growing despair, only to conclude with a gnomic ``To Be Continued.'' Whether or not there is really to be a sequel, Harlot's Ghost is entirely self-contained, and a bravura performance. In an author's note listing his voluminous sources and the relation of fictional to nonfictional characters, Mailer claims that good fiction ``is more real, more nourishing to our sense of reality, than nonfiction.'' The book is an utterly convincing portrait of that strange, snobbish, macho, autocratic collection of brainy misfits who have played so large and often tragic a role in American history. BOMC main selection; first serial to Rolling Stone. (Oct.)
Library Journal
To call Mailer's CIA novel a spy story would be like calling Moby Dick a whaling story. If you are seeking myriad details about how The Agency really operates, you will find them here, but Mailer has always sought the nuances that give facts their essential meaning, and that is what makes this book so much more than just another CIA expose. For Mailer's true purpose is to define that part of the American psyche that has spawned and sustains the CIA. It is a spirit (and note that this is a book more metaphysical than political) born of militant Christianity and buccaneering rapacity, of noblesse oblige and authoritarian devotion, a spirit believing itself turned in to God without worrying if it's heeding the devil. The dialectic here is Manicheanism more than Marxism, and--shades of Melville--the quest is one in which we may forfeit our souls. An immensely long but never laborious book, one where Mailer works compelling variations on his quintessential themes. Previewed in Prepub Alert, LJ 9/1/90.--Charles Michaud, Turner Free Lib., Randolph, Mass.
Anthony Burgess
We are not in the fairy land of James Bond...but a real tough world enobled by Mailer's literary skill....He was right man to exalt the history of this area into something better than history. -- The Washington Post Book World
John W. Aldridge
The most daring, ambitious and by far the best written of the several very long, daring and ambitious books Norman Mailer has so far produced....Unlike just about every American writer since Henry James, Mailer has managed to grow...with each new book...There is no longer any doubt that he possesses the largest mind and imagination at work in American literature today. -- Chicago Tribune
Kirkus Reviews
The Big One, volume one (yes, 1,408 pages!) of Mailer's long- promised masterpiece, in which he does for the CIA what Melville did for mammals and God, and what Thomas Mann did for the metaphysics of tuberculosis. A small serving of potted plot: Herrick (Harry) Hubbard has been raised in the thickish atmosphere of the CIA, which his Hemingwayesque father, Cal, helped deliver out of WW II's OSS. Harry's godfather is CIA overseer Hugh Tremont Montague, a Christian Einstein of spycraft, who may also be the Devil. Hugh is married to Hadley Kittredge Gardiner (named after Hemingway's first wife, Hadley Richardson, and the great Shakespearean scholar George Kittredge). Harry loves Kittredge and marries her after Hugh breaks his back and causes the death of his son in a climbing accident. All this happens before the novel begins and will be told in detail in volume two. In fact, Kittredge abandons Harry for boorish CIA superman Dix Butler in the novel's overture and Harry hides out in the Bronx to write volume one. All this is framework for the stuff of the story, which tells of Harry's early years in the CIA (1956- 63), during which he is sent to Berlin to work under fabled spymaster William King Harvey, a genius now gone to gin, then to Florida to work on the Bay of Pigs invasion, then into Operation Mongoose, the assassination of Fidel Castro. And during these latter ops, he falls for Modene Murphy (who's modeled on Judith Exner, mistress to Frank Sinatra, Godfather Sam Giancana, and JFK). The novel ends with Harry setting up Castro's murder just as JFK is assassinated. That's it, but it tells you nothing about the sorcery of the telling, with Mailer's novelistic gifts working at fullmastery, his magic with moods, metaphor and touches of color (his Havana harbor rivals Enobarbus's description of Cleopatra's barge), his genius for character and matted plotting, humor, and gripping flights of philosophy (far more lively than The Magic Mountain's) with the CIA seen as "the mind of America." (Book-of-the-Month Split Main Selection for December)
From Barnes & Noble
Here is the novel Mailer was born to write, the culmination of one of America's great literary journeys, and a novel to fulfill the author's lifelong obsession with the mystery of America. The story of one man's development as an American intelligence officer and another's spectacular adventures in duplicity, Harlot's Ghost is also the story of the CIA, which represents--in Mailer's hands--America's postwar church: the keeper of its secrets & the vector of its values.
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Product Details

  • ISBN-13: 9780345379658
  • Publisher: Random House Publishing Group
  • Publication date: 9/1/1992
  • Edition description: First Ballantine Books Trade Paperback E
  • Pages: 1168
  • Sales rank: 421,604
  • Product dimensions: 5.04 (w) x 8.00 (h) x 1.64 (d)

Meet the Author

Norman Mailer
Born in 1923 in Long Branch, New Jersey, and raised in Brooklyn, New York, Norman Mailer was one of the most influential writers of the second half of the twentieth century and a leading public intellectual for nearly sixty years. He is the author of more than thirty books. The Castle in the Forest, his last novel, was his eleventh New York Times bestseller. His first novel, The Naked and the Dead, has never gone out of print. His 1968 nonfiction narrative, The Armies of the Night, won the Pulitzer Prize and the National Book Award. He won a second Pulitzer for The Executioner’s Song and is the only person to have won Pulitzers in both fiction and nonfiction. Five of his books were nominated for National Book Awards, and he won a lifetime achievement award from the National Book Foundation in 2005. Mr. Mailer died in 2007 in New York City.

Biography

One of the most provocative authors of the 20th century, Norman Mailer stood at the forefront of the New Journalism, a form of creative nonfiction that wove autobiography, real events, and political commentary into unconventional novels. In a career that spanned nearly 60 years, he wrote more than 30 books, including The Naked and the Dead; The Armies of the Night,, for which he won a National Book Award and the Pulitzer Prize; The Executioner's Song, for which he won his second Pulitzer Prize; Harlot's Ghost; Oswald's Tale; The Gospel According to the Son; and his last novel, The Castle in the Forest, a chilling fictional portrait of the youthful Adolf Hitler. On November 10, 2007, he died of renal failure, leaving behind an astonishing literary legacy.

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    1. Also Known As:
      Nachem Malech Mailer
      Norman Mailer
    2. Hometown:
      Provincetown, Massachusetts, and New York, New York
    1. Date of Birth:
      January 31, 1923
    2. Place of Birth:
      Long Branch, New Jersey
    1. Date of Death:
      November 10, 2007

Read an Excerpt

OMEGA–1

On a late-winter evening in 1983, while driving through fog along the Maine coast, recollections of old campfires began to drift into the March mist, and I thought of the Abnaki Indians of the Algonquin tribe who dwelt near Bangor a thousand years ago.

In the spring, after the planting of corn, the younger braves and squaws would leave the aged to watch over the crops and the children, and would take their birchbark canoes south for the summer. Down the Penobscot River they would travel to Blue Hill Bay on the western side of Mount Desert where my family’s house, built in part by my great-great-grandfather, Doane Hadlock Hubbard, still stands. It is called the Keep, and I do not know of all else it keeps, but some Indians came ashore to build lean-tos each summer, and a few of their graves are among us, although I do not believe they came to our island to die. Lazing in the rare joys of northern warmth, they must have shucked clams on the flats at low tide and fought and fornicated among the spruce and hemlock when the water was up. What they got drunk on I do not know, unless it was the musk of each other, but many a rocky beach in the first hollow behind the shore sports mounds of ancient clamshells, ground to powder by the centuries, a beach behind the beach to speak of ancient summer frolics. The ghosts of these Indians may no longer pass through our woods, but something of their old sorrows and pleasures joins the air. Mount Desert is more luminous than the rest of Maine.

Even guidebooks for tourists seek to describe this virtue: “The island of Mount Desert, fifteen miles in diameter, rises like a fabled city from the sea. The natives call it Acadia, beautiful and awesome.”

Beautiful and awesome. We have a fjord in the middle of Mount Desert, a spectacular four-mile passage by water between promontories on either side. It is the only true fjord on the Atlantic coast of North America, yet it is but a part of our rock-hewn splendor. Near the shore, peaks rise abruptly a thousand feet to afford sailing craft the illusion of great mountains, and our finest anchorage, Northeast Harbor, is in summer a dazzle of yachts.

Perhaps it is the nearness of our mountains to the sea, but silences are massive here, and summers have an allure not simple to describe. For one thing, we are not an island to attract people who follow the sun. We have almost no sand beach. The shore is pebble and clamshell strand, and twelve-foot tides inundate the rocks. Washed by incoming waves are barnacles and periwinkles, rockweed mussels, Irish moss, red seaweed, dulse. Sand dollars and whelks lie scattered in the throw of the surf. Kelp is everywhere and devil’s-apron often winds around one’s ankles. In the tide pools grow anemone and sponge. Starfish and sea urchins are near your toes. One walks with care over sharp stones. And the water is so cold that swimmers who did not spend childhood vacations in this icy sea can hardly bear it. I have lolled in the wild green above the reefs of the Caribbean and sailed over purple deeps in the Mediterranean, I have seen the inimitable mist of hot summer on the Chesapeake when all hues blend between the sky and the bay. I even like slate-brown rivers that rush through canyons in the West, but I love the piercing blue of Frenchman’s Bay and Blue Hill Bay, and the bottomless blue of the Eastern and Western Way surrounding Mount Desert—indeed, one’s affection for the island even shares the local accent. As decreed by the natives, one spells it Mount Desert, but the pronunciation is Mount Dessert. The view is as fine as sugar frosting to a New Englander’s eyes.

I speak in hyperbole, but then who cannot on recalling such summer beauties as the astonishing color of our rocks at water’s edge. They are apricot, then lavender, and pale green, yet in late afternoon they become purple over the whole, a dark royal violet is the color of the twilight shore seen from the sea. That is our island in August. Beach heather and wild rose grow near the salt marsh grass, and in our meadows white-throated sparrows spring from one decaying stump to another. The old hayfields smell of redtop and timothy, and wildflowers bloom. The northern blue violet and the starflower, the wood sorrel and the checkerberry, painted trillium and wild geranium, golden heather and Indian pipe grow in our bogs and fields and on the sunny slopes of our mountains in the seams between ledges of rock. Down by the marshes are swamp candles and jewelweed. Once, when I was a boy (for I studied the names of wildflowers then) I found the white-vein orchid in some swampy woods; it was greenish-white, and lovely, and as rare as the moon entering eclipse. For all its tourist traffic come July, Mount Desert is still possessed of a tender yet monumental silence.

If one would ask how the monumental can ever be tender, I reply that such words recall us to the beautiful and awesome. So am I tempted, when caution deserts me, to describe my wife, Kittredge. Her white skin becomes luminous in any pale meadow; it also reflects the shadows of the rock. I see Kittredge sitting in such shadows on a summer day, and her eyes have the blue of the sea.

I have also been with her when she can seem as bleak as the March storms that strike this island. Now, in March, the fields are dun, and the snow, half-gone, will be stained in the morning with the stirring of the mud. In March, the afternoons are not golden but gray, and the rocks are rarely burnished by the sun. Certain precipices become as grim as the endless meditations of granite. At winter’s end, Mount Desert is like a miser’s fist; the dull shell of the sky meets a leaden sea. Depression sits over the hills. When my wife is depressed, no color stirs in my own heart, and her skin is not luminous but hooded in pallor. Except for snowy days, when island lights still dance off the frozen rock like candles on a high white cake, I do not like to live in late winter on Mount Desert. The sunless sky weighs over us, and a week can go by when we do not speak. That is loneliness kin to the despair of a convivial drinker who has not poured a glass for days. It is then that ghosts begin to visit the Keep. Our fine dwelling is hospitable to ghosts.

The house sits alone on an island, not ten acres of spread, just a stone’s throw—literally one long throw—off the western shore of Mount Desert. Called Doane, after my great-great-grandfather, it is subject, I suspect, to visitations. While islands, according to my wife, are supposed to be more acceptable to invisible spirits than to such peculiarly apparent manifests as ghosts, I think we break the rule.

Out on Bartlett’s Island, somewhat to the north of us, is the all-but-certified ghost of Snowman Dyer, an eccentric old fisherman. He died on Bartlett’s in 1870 under the roof of his spinster sister. Once, as a young man, he had bartered five lobsters for a small Greek tome that belonged to a classics scholar at Harvard. The work was the Oedipus Rex and it had an interlinear trot. The old fisherman, Snowman Dyer, was intrigued so much by Sophocles’ words in literal translation that he attempted to read the original Greek. Not knowing how to pronounce the alphabet, he contrived nonetheless a sound for each character. As he grew older, he grew bolder, and used to recite aloud from this unique tongue while wandering over the rocks. They say that to spend a night in the dead sister’s house will bring Snowman Dyer’s version of Greek to your ear, and the sounds are no more barbaric than the claps and groans of our weather. A corporate executive from Philadelphia, Bingham Baker, and his family now inhabit the house and seem to thrive on the ghost—at least, all the Bakers look pink-cheeked in church. I do not know if they hear the moan of winter in Snowman Dyer’s voice.

Old Snowman may be the ghost of Bartlett’s Island, but we have another on Doane, and he is not so agreeable. A sea captain named Augustus Farr, he owned and occupied our land two and a half centuries ago. There are allusions to his habits in an old sea-diary I have found in the library at Bar Harbor, and one voyage is cited “durying whych Farr ingaged in practize of piracie” and boarded a French frigate in the Caribbean, took its cargo of Cuban sugar, put the crew to sea in an open boat (except for those who would join him), and beheaded the commodore, who died in naked state because Farr had appropriated his uniform. Then Augustus was so bold in later years as to have himself buried on his northern island—now our island—in the Frenchman’s dress apparel.

I have never seen Augustus Farr, but I may have heard his voice. One night, not long ago, when alone in the Keep, I came out of a dream to find myself conversing with the wall. “No, leave,” I said boldly, “I do not know if you can make amends. Nor do I trust you.” When I recall this dream—if it was a dream—I shiver in a way I cannot repeat at other times. My flesh shifts on my back as if I am wearing a jacket of lizard skin. I hear my own voice again. I am not speaking to the plaster in front of me but to a room I feel able to see on the other side of the wall. There, I visualize a presence in a tattered uniform sitting on an oaken and much-scarred captain’s chair. An odor of corruption is in my nose. Out on the mud flats, or so I hear through the window—I do not dare to look—the sea is boiling. How can waters boil when the tide is out? I am still in my dream but watch a mouse streak along the floor, and feel the ghost of Augustus Farr on the other side of the wall. The hair stiffens on the back of my head as he descends the stairs to the cellar. I hear him going down to the Vault.

Underneath the cellar, it was originally a dugout built by my father after the Second World War when he still owned the Keep. He prided himself on being the first American to take in the consequences of Hiroshima. “Everybody needs a place where he can get under it all,” said my father, Cal Hubbard, two years before he sold our property to his second cousin, Kittredge’s father, Rodman Knowles Gardiner, who in turn gave it over to Kittredge on her first marriage. In the time Rodman Gardiner had it, however, he decided to go my father one further and was the first man, so far as I know, in this part of Maine to have a cinder-block fallout shelter complete with canned goods, bunks, kitchen, ventilation fans, and at the entrance, two corridors set at right angles to one another. What that ninety-degree turn has to do with keeping off nuclear radiation I cannot say, but there were curious fashions in early fallout shelters. It is still there for us; a family embarrassment. Up in Maine you are not supposed to protect your life that much.

I despised the shelter. I let it molder. The foam rubber of the bunk mattresses has gone to powder. The stone floor is covered with nothing less than an old slime. The electric light bulbs, long burned out, are corroded in their sockets.

Let this not give too false an idea of the Keep. The floor of the Vault—so the fallout shelter came inevitably to be named—is ten feet below the main cellar, which is, itself, a large, clean, stone chamber. The main floor and second story and full attic of the Keep are kept in reasonable order by a Maine woman who comes in every day the weather permits when we are there, and once a week when we are gone. It is only the Vault that is left untended. That is my fault. I cannot bear to let anyone go down to it. If I open the door, a mad dank odor comes up from below. It is no rarity for subcellars to be dank, but the odor of madness is another matter.

On the night when I emerged from my dream to encounter Augustus Farr, on that night when I became convinced I was not dreaming and heard him descending the stairs, I got up from bed and attempted to follow. This was not an act of bravery so much as a product of endless conditioning in the special art of converting one’s worst fears to fortitude. My father told me once when I was an adolescent, “If you are afraid, don’t hesitate. Get right into the trouble if that is the honest course.” It was a hypothesis on the art of courage that I had to refine considerably in bureaucratic wars where patience was the card to play, but I knew when fear proved paralyzing that one had sometimes to force a move or let one’s soul pay up. The honest course on encountering a ghost was clear: Follow him.

I tried. My feet as cold as a winter corpse, I started down the stairs. That was no dream. In front of me, doors slammed in a fury. “I will not return until I do,” I thought I heard a voice cry. By the time I descended to the first cellar, my resolve had run out. At the entrance to the Vault a presence as malevolent as any dark creature of the sea seemed to be waiting below. My courage was now not large enough to take my legs down the last ten steps. I stood there unmoving, as if some part of honor would be safeguarded if I did not flee, but stood in place to accept the wrath of whatever it was. I will say it. I lived in the intangible embrace of that malevolence. Then, Augustus—I assume it was Augustus— withdrew into the depths of the Vault and I felt free to retreat. I went back to my bed. I slept as if drugged by the most powerful of tranquilizers. Since that time I have not gone to the Vault nor has Augustus come to me.

Nonetheless, the Keep was altered by his visitation. Possessions get broken now at an alarming rate, and I have seen ashtrays slide off tables. It is never so dramatic as in the films. Rather, it is sly. You cannot say to a certainty that your coat sleeve did not brush the object nor that the old floor does not have a tilt. It could all have happened through natural causes, or just about. Dealing with such phenomena is like trying to ascertain the facts when talking to a consummate liar. Things keep turning into other things. The wind outside our windows seemed quicker than ever to show its cardinal points: sinister, or saintly, soft or shocking. I never listened to the wind so much as after the visit of Augustus Farr, and the sound of oars would come to me although no boatman was visible. Still, I could hear oarlocks groaning, and bells rang out from chapels on the main island where, so far as I knew, no towers stood to hold the bells. I would listen to the gate swinging in a high wind and plaster falling behind the laths. Small beetles with shells as hard as 12-gauge shot came out of the sills. Every time I went through my books in the library, I could swear a few had moved, but of course the cleaning woman often passed through, or Kittredge, or even myself. No matter. Like a chill pool in a warm hall, Farr was about.

Yet, for all this, the Keep was not spoiled. A ghostly presence is not always dire. Kittredge and I, being childless, had space to let in so large a house. Farr was a mighty diversion, not unequal to living with a drunk or a crazy brother. If he remains as a phantom I cannot swear I have seen, still I would speak of ghosts as real. Some ghosts may be real.

embarking a year later, in March of 1984, on an overnight flight from Kennedy Airport, New York, to London, with a connection to Sheremetyevo Airport, Moscow, I kept reading and rereading the dozen pages of typescript that described my former home on Doane Island in Maine. I did not dare to cease. I was in a state of anxiety that gave promise of growing unmanageable. Those dozen pages were the first chapter of what I had come to call the Omega manuscript. I had another, an Alpha manuscript, which once took up twelve inches in a locked file cabinet next to my desk at the Keep, a work that could boast of more than two thousand typewritten pages, but it was formidably indiscreet, and so I had committed its bulk to microfilm, and consigned the original sheets to a shredder. The Alpha manuscript was with me now, all two thousand frames of microfilm on two hundred strips of ten frames each which, laid by sets into glassine sleeves, were packed snugly within an eight-by-eleven-inch manila envelope. I had concealed this slim, even elegant, package, not a quarter of an inch thick, in a recess of a special piece of luggage I had owned for years, said medium-sized suitcase now riding in the cargo hold of the British Airways plane that was taking me on the first leg, New York to London, of my flight to Moscow. I would not see it until I was ready to unpack the bag in Russia.

My other manuscript, however, the Omega, a moderate one hundred and eighty pages, so recently written that I had not converted it to microfilm, still existed as typescript in the attaché case beneath my seat. If I had spent the first hundred minutes of this trip in limbo, which is to say, there in the middle of Economy, dreading my arrival in London, my change of planes, and, most certainly, my eventual terminus in Moscow, I felt unable to explain to myself why I had embarked in the first place. Like an insect rendered immobile by a whiff of poison spray, I sat in my chair tilted back all three inches of rearward slant available to the Economy tourist and read the first fourteen pages of the Omega manuscript one more time. I was in that half-stupor where one’s legs are too massive to move. All the while, nerves jumped like light-up buttons in an electronic game. Nausea was my neighbor.

Due for arrival in London in another few hours, I felt obliged to read the rest of Omega, all of one hundred and sixty-six pages of typescript, after which I would tear up the sheets and flush away as many of them as the limited means of the British Airways crapper on this aircraft would be able to gulp into itself, then save the rest for the sturdier gullets in the men’s room attached to the Transit Lounge at Heathrow. Visualizing the whirl of these shreds and strips of paper revolving into the hound’s gurgle of a near-to-choking bowl came close to carrying me off on the good ship vertigo.

My anxiety was from pain of loss. I had spent my last year working on Omega. It was all I had to show for a twelve-month of inner turmoil. If I had reread Omega a hundred times during the months of advancing its chapters, page by slow and daily page, I would now be reading such work for a last time. I was saying good-bye to a manuscript which, in the past year, had accompanied me through hints and recollections of some of the worst episodes of my life. Soon, in but a few hours more, I would have to dispose of the contents, yes, paragraph ripped through the middle after paragraph, these pages, drawn and quartered, flushed into sewer pipes. If I dared not get drunk, I did order a Scotch from the stewardess, and swallowed it at a gulp while offering a toast to the last of Omega.

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Sort by: Showing 1 – 7 of 6 Customer Reviews
  • Posted September 3, 2013

    No matter how bad a book is, once I start reading it, I'll finis

    No matter how bad a book is, once I start reading it, I'll finish it. After 558 pages of this book, I could no longer continue. Once I began reading the next book on my wish list, I remembered why Ioved reading. 

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  • Anonymous

    Posted December 30, 2002

    Better than Clancy

    Mailer's " Harlot's Ghost " is truly a masterpiece about the C.I.A, and gives terrific insight into the exposition of being in the shoes of an intelligence officer. Harry Hubbard is almost as realistic as anyone, and represents the reader in the story who is interested in knowing how these secret agents live their lives and do the work their country has asked them to fulfill. The novel should have received a Pulitzer Prize for the material the book has presented and the genius of Norman Mailer. The reason why I believe Tom Clancy could not even come close to " Harlot's Ghost " is because Clancy will write a 1400 page book and half of it will only exist so Clancy can demonstrate his so-called military intellect, when the other half of the novel is really the story.

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  • Anonymous

    Posted December 11, 2001

    The first REAL novel about intelligence

    I started 'Harlots Ghost' this past summer, and finally finished the book in December. My god, how to accurately describe the content, and its apparent validity. I have read various books pertaining to intelligence before, but this one takes the cake. And addressing that specific question, I am not your a-typical spy novel connoissuer. I like the real, hard-nosed fiction that is available. And I think that is precicely what attracted me most to this book. Reading it, I got the feeling time and again that this was the final authority on the subject; indeed, there are few people more akin to criticizing others for considering a 'novel,' an authority on a subject more then I. However, it is obvious that Mailor knows exactly what he is doing, has done the necessary research, and is an all-around authority. One thing I feel is essential to point out is the fact that, people might get destracted over the details. Namely, was what Mailor wrote about entirely accurate or not? That is not what Mailor meant. I believe that it is the specific questions, the answer, and the concepts that were addressed in this book, in the broadest of terms. People should get the impression, upon conclusion, that the intelligence community is completely gray, and that we live not it a fairy land, or even in a 'bad start, good ending' land. Everyone is split down the middle, to put it in laymans terms. It is such an intellectually complicated institution, this CIA, and that is the most important concept that the reader can come away with. The fact that it is as human (both super and sub) as anything else. It is reality. And so, I loved the book, for its take on what I would love to believe (obviously) is reality. Absolutely superb. Mailors inherent capabilities with regard to the intellectual mediems that these people engage in is, by all acounts, unparalleled. It is just so fantastic. The best thing about the book is just that. Written in a style that gives the reader a peak, nay, a vision, into how these lives are lived, why these choices are made, it satisfies the reader only when chapter after chapter are devoured. One will have a peak into the psychology of humans in this book as much as if one were reading a text. To give the book one slight criticism, I feel that Mailor is so good sometimes, he things that perhaps he is a little above some editing. The book lacked a certain sense of proportion with regard to the timeline. But make no mistake about it, it might be my misinterpretation on the matter the proves that the longevity of certain parts of the book is, in fact, part of what makes the book a complete book indeed. Perhaps it sacrilige to say that, I don't know. I was hoping for a continuation into the late 60's and 70's in the book, but apparently, that is to come in a much anticipated sequel. I cannot wait. And so I say, if you have made choices that leave you in the greater shaddow with regard to various philosophical comprehensions, read this book. It will fuel your interests, and is also filled with action, a good story line, and some fascinating perspectives on time periods and various historical figures. I think that, if anything, the book seems to want to quell the rumors that life is simple.

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    Posted August 6, 2011

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    Posted January 20, 2010

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    Posted April 1, 2010

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    Posted August 19, 2011

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Sort by: Showing 1 – 7 of 6 Customer Reviews

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