The Armies of The Night - Background

Background

The book deals ostensibly with the March on the Pentagon (the October 1967 anti-Vietnam War rally in Washington DC). While Mailer dips into familiar territory in his fiction—self-portrait—the outlandish, third person account of himself along with self-descriptions such as a Novelist/Historian, anti-star/hero are made far more complex by the narrative's overall generic identification as a nonfiction novel. Two years before Armies was published In Cold Blood by Truman Capote, who had just been called by George Plimpton (among others) the "inventor" of the nonfiction novel, claimed that the genre should exclude any mention of its subjectivity and refrain from the first person. While to some extent satirizing Capote's model, Mailer's role in center stage is hardly self-glamorizing as the narrative recounts the events leading up to the March as well as his subsequent arrest and night in jail. The first section, "History as a Novel," begins "From the outset, let us bring you news of your protagonist," with an account made by Time about: "Washington's scruffy Ambassador Theater, normally a pad for psychedelic frolics, was the scene of an unscheduled scatological solo last week in support of the peace demonstrations. Its anti-star was author Norman Mailer, who proved even less prepared to explain Why Are We In Vietnam? than his current novel bearing that title." After citing the entire article, Mailer then closes "1: Pen Pals" with "Now we may leave Time in order to find out what happened." What creates the difference between Mailer's example and Capote's is not only the autobiography of Armies, but the irony which guides the narrator towards the same objective of empiricism as that of In Cold Blood. The non-conformity which Mailer exhibits to Capote's criterion was the beginning of a feud that never resolved between the authors, and was ended with Capote's death in 1984.

The year of its publication, 1968, Mailer would begin work on another project, Miami and the Siege of Chicago, after witnessing the Republican and Democratic National Conventions that year. Mailer's recounting, though quite different in terms of his self-portrait, takes on a comparable rhetorical approach to evoking what he saw as historical underpinnings.