IVIV Hope Harlingen: (spoilers)

[rich]

this is about the Belgian artist James Ensor but it sorta parallels
Pynchon's career in a way

Van Gogh and Gauguin died at relatively young ages, and while Munch
and Ensor both lived to be old men, they died young in a certain sense
also. They were clearly depleted by the work they expended in their
prime. Ensor's most innovative pictures were made by the time he was
thirty. By some point in the 1890s, and certainly by the early 1900s,
he began to be less and less bombarded by his inner demons, and his
later pictures, represented by a single room at the exhibition, became
drier in texture and more obvious in their satire. In his last
decades, he was given one honor after another (by many of the very
institutions he had ridiculed as a young man). But in his studio—like
Munch in his own later decades—he did little more than revisit, with
increasingly less force, themes that dated to the 1880s and 1890s.

http://www.nybooks.com/articles/23036

rich

On 9/11/09, kelber at mindspring.com <kelber at mindspring.com> wrote:
> I guess I'd be "the glass is half full of some crap I can take or leave"
> type.
>
> Laura
>
> -----Original Message-----
>>From: Robin Landseadel <robinlandseadel at comcast.net>
>>Sent: Sep 11, 2009 3:11 PM
>>To: pynchon-l at waste.org
>>Subject: Re: IVIV Hope Harlingen: (spoilers)
>>
>>On Sep 11, 2009, at 11:29 AM, Tore Rye Andersen wrote:
>>
>>> Well said. Being unable or unwilling to see the tenderness in
>>> Pynchon's
>>> novels is not merely a matter of being a glass-is-only-half-full
>>> type of
>>> reader. It's more a matter of being a glass-is-fucking-broken-and-the-
>>> shards-are-stuck-in-my-feet type of reader.
>>
>>I'm a "hand back the empty glass while begging: "more, please?" " type
>>of reader.
>>
>
>