Pynchon and fascism

[Vincent A. Maeder]

Yes, it does perpetuate the blurred line, but then the line between
fiction and prose and essay and poetry becomes more and more blurred
everyday.  I think a lot of the context comes from the percipient's
philosophical basis for being in the world.  

Applying this to the Foreward and a portion of the discussion, Pynchon's
use of these devices in his essay does not limit the piece nor reduce
its talent; rather the use of these devices enhances the effects of the
essay upon the reader.  

Now, I would continue here by discussing what in the text caused me to
have the emotional and psychological reaction I had which you could
compare to your experience and your perception of what in the text
caused your experience.  We could then create a map of what similarities
in our experience cohere into an insight into the artist's process that
created these effects... unfortunately without the Foreward at my side
and the pressing deadlines of work and this strange dizziness...

V.

-----Original Message-----
From: Malignd
<<Vincent Wrote: POV is also present in nonfiction or essayist
literature as well.  For example, there is a
difference in the POV of a work by Sartre versus
Plato, yet they are both "prose".  In other words,
simply because a piece is not fiction does not mean it
cannot contain traditional fictional components of
circumlocution, hyperbole, satire, deception and that
ultimate POV, the unreliable narrator/POV, amongst
others.>>

>This is true, but I think it states things in a
confused order that perpetuates the blurring of
fiction with non-fiction or the idea that all writing
is fiction (or whatever).  It's not so much the case
that other sorts of prose contain "traditional
fictional components"; rather that all types of prose
makes use of these components, fiction one among them.<

 



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