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In the beginning, Mailer spins publicity for convict and murderer Jack Abbott, helps get Abbott's prison book published and Abbott paroled. The con with the prose style of a Doberman (all speed and teeth) obeys his muse again. Six weeks after parole, Abbott kills a man in New York City's East Village. ... It was common to hear New Yorkers say that he should be tried as an accessory to murder. Mailer barged around giving interviews and suing a newspaper for libel, looking truculent and stricken.
In one way it was unfair: Mailer had had the courage to sponsor a talented pariah, and then something in Abbott's transition from prison went disastrously wrong. Mailer was personally aggrieved and pained, not only for Abbott but for Abbott's victim. It is true that certain writers adopt convicts: criminals, sinister, romantic and stupid as sharks, become the executive arms of intellectuals' violent fantasies. For some reason, intellectuals rarely understand that they are being conned: convicts are geniuses of ingratiation. Still, Mailer after all was not promoting a killer but a prose stylist and what he judged to be a salvageable human being. He miscalculated: he overrated the writer in Abbott and underestimated the murderer.
--
Lance Morrow in "The Poetic License to Kill" in TIME magazine (1 February 1982)

 

Norman Mailer

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We have experienced the truth of this prophecy, for England has become the habitation of outsiders and the dominion of foreigners. Today, no Englishman is earl, bishop, or abbott, and newcomers gnaw away at the riches and very innards of England; nor is there any hope for an end of this misery.

 

William of Malmesbury

 

That's pure bunk. I adored Fred. We were good friends. Our only problem is that we never aspired to be any kind of a team. We didn't want to be Abbott and Costello. We thought of ourselves as individuals. We didn't intend to be another Frick and Frack. [smiling, after a pause] But it happened anyway, didn't it? And I'll be forever grateful it did.

 

Ginger Rogers

 

No one in the history of the written word, not even William MacGonagall, or Spike Milligan or D. H. Lawrence, is so wide open to damaging quotation. Try this, more or less at random: 'A murderer in the moment of his murder could feel a sense of beauty and perfection as complete as the transport of a saint.' Or this: Film is a phenomenon whose resemblance to death has been ignored for too long. His italics.
On every page Mailer will come up with a formulation both grandiose and crass. This is expected of him. It is also expected of the reviewer to introduce a lingering 'yet' or 'however' at some point, and say that 'somehow' Mailer's 'fearless honesty' redeems his notorious excesses. He isn't frightened of sounding outrageous; he isn't frightened of making a fool of himself; and, above all, he isn't frightened of being boring. Well, fear has its uses. Perhaps he ought to be a little less frightened of being frightened.

 

Martin Amis

 

"Well, there was a guy, a blacksmith, in Abbott, and he and my granddad both had blacksmith's jobs. I hung around there a lot. And he had a family band. He just let me play because he knew I wanted to work and needed the work. So, I played a guitar in a big polka band with a lot of horns and everything. So, fortunately, no one ever heard me, because I wasn't that great. But I was nine or 10 years old and making eight to 10 dollars a night. So, it was easier than picking cotton."

 

Willie Nelson

 

One night, we had a dinner party for the express purpose of introducing Mailer to Neil Gaiman. Neil, as was his habit, was so charming that Norman wanted to read The Sandman. He liked the series enough to provide a cover blurb for the next trade paperback collection. Neil later reported that bookstore buyers told him that the Mailer quote persuaded them to stock graphic novels. And the rest, as they say, is history.

 

Norman Mailer