Product Description

"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 and become richer in wisdom with each new book....There can no longer be any doubt that he possesses the largest mind and imagination at work in American literature today."
CHICAGO TRIBUNE
Narrated by Harry Hubbard, a second-generation CIA man, HARLOT'S GHOST looks into the depths of the American soul and the soul of Hugh Tremont Montague, code name Harlot, a CIA man obsessed. And Harry is about to discover how far the madness will go and what it means to the Agency and the country....
A Main Selection of the Book-of-the-Month Club

Product Details

• Amazon Sales Rank: #476379 in Books
• Published on: 1992-09-01
• Released on: 1992-09-01
• Original language: English
• Number of items: 1
• Binding: Paperback
• 1168 pages

From Publishers 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.
Copyright 1991 Reed Business Information, Inc.

From 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.
Copyright 1991 Reed Business Information, Inc.

From 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 full mastery, 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) -- Copyright ©1991, Kirkus Associates, LP. All rights reserved.

Customer Reviews

Impressive epic story of the CIA
This sprawling 1,000+ page epic about two generations of CIA officers is difficult to characterize: part history, part period piece, and part fiction. Mailier mixes the comings and goings of historical figures and real events with a well-developed cast of fictional characters in a way that reminds the reader of E.L.Doctorow's masterpiece Ragtime.

Harlot's Ghost impresses as an authentic and comprehensive glimpse inside the inner workings of the CIA. The book's strongest message is that this infamous organization of spooks and bogey-men is no more than the sum of it's parts - the officers and agents - and by giving us a view of their motivations and desires we understand a bit more about how and why the CIA does what it does.

The protagonist, Harry Hubbard, is a second generation CIA officer who bounces around the globe from assignment to assignment, managing to land in each hotspot long enough for us to see the Agency's role through his eyes as events unfold - from Cold War Berlin to the Bay of Pigs and the Cuban Missile Crisis.

Enjoyable though this novel is, not everything works. Hovering as a backdrop to all the action is the idea of deceit and duality: East vs. West, intelligence vs. counterintelligence, information vs. misinformation, the means vs. the ends, idealism vs. pragmatism. This theme is captured by the theory of Alpha and Omega - a theory developed by Kitterdge Montague, CIA research psychologist and love interest of Harry Hubbard. The theory, in brief, states that there are two fully formed and competing personalities trapped within every individual, and that the key to human nature is to understanding the relationship between these two personalities. In an early scene a soon-to-be-wed Kittredge offers an elegant explanation of this theory while flirting with Hubbard. The problem is that over the next thousand pages the same theory pops up every ten pages or so, until the reader feels beaten over the head with this particular bit of symbolism. Enough already. We get it.

But overall, this is an immensely enjoyable novel. Mailer creates realistic three-dimensional characters that mingle seamlessly with real historical figures and actual events. Mailer has taken on a hugely ambitious task and manages to pull it off. This is not only a definitive view of the CIA, but an excellent piece of literature as well. Through Hubbard's first person accounts, thoughts, and letters the reader experiences an amazing range of events and environments - from seedy Berlin safe-houses to luxurious Uruguayan villas to combat on the Cuban beachhead.

The book's thousand pages notwithstanding, there are huge questions which Mailer leaves unanswered. Harlot's Ghost would have benefited from a more aggressive editor, but my final analysis is that I'll be the first in line to slog through the sequel to learn the resolution to the questions that the book's "to be continued" ending leaves. Highly recommended.

Note: In the final pages Mailer includes a glossary of names, code-names, events, and places. Very useful for keeping track of the acronyms, aliases, and code-words. I didn't discover the glossary until I was a third through the book; don't make the same mistake.

A Long Time Getting There....
There is a pretty good 600 to 700 page novel in here. Unfortunately, this opus is 1300 plus pages so you can guess that I found a lot of excess in Harlot's Ghost. Frankly, there are reams of it, and a lot of it is pretty tough sledding to get through.

Before his passing, Norman Mailer cited Harlot's Ghost as one of the 5 or so novels he was proudest of and considered his best work. I can understand his pride because he had obviously done a prodigious amount of research for the novel and throughout the book you have the sense that he got a lot of the spycraft and the inner workings of the CIA right. He also caught the very WASPy air of the early CIA and its founders and practioners, and he recreated the Cold War mindset quite well. As I said, there is a very good book within this encyclopedic epic.

But there is an awful lot of rubbish too. I found all the frabba jabba about the Alpha and Omega theory to be silly. I found pages upon pages of elaboration that neither moved the story along nor offered any pertinent insights or interest. I found the object of our hero's romantic affection, Kitteridge, not very interesting, and many of their letters (which form a substantial part of the book) overdone, and overly precious.

The book finally picks up interest in the last quarter with its sometimes gossipy-but-accurate, anecdote-laden recitation of the Bay of Pigs fiasco, the Kennedy brothers, Castro, and the CIA characters involved. Having just read the history of the CIA in Legacy of Ashes, I thought Mailer fleshed all of this out quite well and entertainingly.

I am glad I finally forced myself to persevere in working through this monster, for in the end I found it a worthwhile read, although I wonder if some of my satisfaction is simply the fact that I finished the damn thing; but no, there was much that was quite good. I just found the jewel that is in there is buried amongst a ton of well-researched, but often extraneous and boring detail. Detail became filler. No, it wasn't the length of the book (I've read War in Peace twice and never felt that a single page could be cut), it was just an awful lot of the book spent a tremendous amount of verbiage to little effect.

Undeterred however, I am about to tackle Mailer's Ancient Evenings which looks to be another long haul. I'll let you know.

A partly-failed book, better than most successes.
No final review can be given of Harlot's Ghost since it is apparently only the first part of a continuing novel. Like The Deer Park and Ancient Evenings, this novel is alternately brilliant and frustrating. It is full of great writing (the mountain climbing sequences, for instance) yet also full of long passages that feel strangely lifeless and obligatory (the sections involving JFK are surprisingly muffled and unsuccessful). Mailer's style almost always revives when he has extended scenes to play out, but too much of the book passes in summary form, with drab overviews of months and years filling page after page. The epistolary sections between the narrator and his future wife also fall rather flat, and there are so many of them that they feel a bit lazy, as if Mailer were giving himself a rest from sustaining the usual level of the narrative. At the same time, the tentative and somewhat bland tone of much of this book seems to be deliberate, a set-up for the not-yet-published second half of the story. The narrator is still a young man when this volume of Harlot's Ghost ends, and there are strong suggestions that his general conservatism and dullness will give way to something more complex and interesting later. As far as I know, Mailer has given no precise idea of what form the novel's continuation will take, but this volume at least promises that a potential masterpiece is possible. If anyone knows more about the continuation and when it might appear, please tell me.