Those little black squares

[Richard Romeo]

>
>
>While it would be a distortion to say that the rise of the
>movies as a parallel and competing art form has been
>the cause, the signature effects of postmodern fiction
>--
>recursive language games; self-conscious, unreliable
>and multiple narrative voices; Möbius-strip skeins of
>allusion and parody, sincerity and irony -- seem almost flagrant
>in their defiance of cinematic appropriation.
>
>         The giants of postmodernism -- William Gaddis,
>Thomas Pynchon, Don DeLillo -- have erected pyramids of
>prose so intricate in their conceits and so saturated with
>references as to defy replication altogether. 
>-------------------------------------
What is very interesting about these comments is that film is very important 
to folks like Pynchon, DeLillo, and, I would add Coover, only because I am 
most familiar with all his work.  In fact, Coover has said he is trying to 
construct a true film aesthetic as novel through his Lucky Pierre 
stories--so, though these writings mimic film  very closely, it is true that 
such could not be reproduced as film.  Many popular novels today seem to be 
written with film in mind in that they are easily transferrable to that 
medium.  What's ironic is that the best writing that duplicates film cannot 
be so transferred to the medium it is mimicing. Or so I think.

Rich
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