Abstract
There may be no better example of the way the world has changed around Norman Mailer than the recent critical esteem showered on Mikal Gilmore's memoir, Shot in the Heart. A winner of the National Book Critics Circle Award and much praised in the popular press, Gilmore's book returns to the territory covered by Mailer's most impressive work, The Executioner's Song. Like Mailer's "true life" novel, Gilmore's memoir recounts the events that led up to two brutal murders committed by his brother Gary, the eventual execution of his brother, and the effects of those killings on the people touched by their wake. 1 But Shot in the Heart treats those matters so differently from The Executioner's Song that it throws Mailer's work into stark relief by comparison.
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