Meet the New Boss (Pynchon's THEY or The Firm is Dead)

[Page]

If there is an amateur reader still left in the world--or anybody who just 
reads and runs--I ask him or her, with untellable affection and gratitude, 
to split the dedication of this book four ways with my wife and children.

     --J.D. Salinger. Dedication,  _Raise High the Roof Beam, Carpenters and 
Seymour, an Introduction_


On Fri, Aug 27, 2010 at 5:36 PM, alice wellington 
<alicewellintown at gmail.com> wrote:


if you want great dialogue you've come to the wrong movie. Pynchon
doesn't excell at dialogue; that's just one of the reasond why certain
readers and critics complain about his characters and his use of
characterization; his characters don't look, talk, act, feel/think
like real people. So, if your looking for such charaters, read _A Fine
Balance_ by Mistry not _Midnight Children_ by Rushdie or _Moby-Dick_
by Melville or any novel by Pynchon. Pynchon's characters talk like
college professors, cartoons, mouthpieces, circus performers, Tube
addicted parodies of TV cops on speed and paranoia...etc., but not
like real people. Can P do a Pulp Fiction ironic depth with crazy song
and a car chase? Sure. Can he write like Mistry, like Stienbeck, like
Jane Austen? Hell no. Robin, you don't want me to get all pedantic on
your ass, but you don't know shit about literature. Your wasting your
time. maybe you should sut up.

On Fri, Aug 27, 2010 at 4:51 PM, David Morris <fqmorris at gmail.com> wrote:
> Realism (which includes any resemblance to "real" dialogue) never has
> been (ever) Pynchon's strength. His strength has always been ideas,
> concepts, constructs.
>
> On Fri, Aug 27, 2010 at 3:26 PM, Robin Landseadel
> <robinlandseadel at comcast.net> wrote:
>>
>> Take all the exception you like, there's things I really love in 
>> Pynchon's writing that don't really start flourishing until Vineland, 
>> dialog in particular.
>>
>> "Self-criticism's an amazing technique, it shouldn't work but it does."
>



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