Can Pynchon write (yet)?

[D.]

Well, it is plausible, but the context here, to me, is
why a writer like Pynchon (or Joyce or Gaddis or
Faulkner or whoever) picks a particular mode to write
in when it's knowingly going to confound readers'
expectations.  I don't have that answer and Grant in
that paragraph doesn't either.  I dug one other quote
that spans across many decades and a huge pond that
seems to be in the same zone here:


   After all, the world is not a stage -- not to me:
nor a theatre: nor a show-house of any sort. And art,
especially novels, are not little theatres where the
reader sits aloft and watches... and sighs,
commiserates, condones and smiles. That's what you
want a book to be: because it leaves you so safe and
superior, with your two-dollar ticket to the show. And
that's what my books are not and never will be.
Whoever reads me will be in the thick of the
scrimmage, and if he doesn't like it -- if he wants a
safe seat in the audience -- let him read someone
else.

			--D.H. Lawrence



   As far as Pynchon goes none of us have the answers,
but suffice it to say that I give him the benefit of
the doubt and license artistically to create his
characters and to structure his texts as he sees fit. 


D.         

--- Daniel Julius <daniel.julius at gmail.com> wrote:


> And to D, I want to ask: do you think readers
> started looking for
> well-rounded characters and "sustained narrative
> progress" because they were
> used to seeing it from almost all authors, or did
> almost all authors include
> these in their novels because they were supplying
> the audience with what
> they would want to read themselves?  Why were plots
> ever introduced in the
> first place?  Probably 'cause people's lives are
> chaotic, and they wanted
> structure, however fictional, wherever they could
> get it.  Does this sound
> plausible to you?



 
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