A-and here's another one

[Kai Frederik Lorentzen]

http://www.amazon.com/The-Maximalist-Novel-Pynchons-Gravitys/dp/1623562910

"The maximalist novel has a very strong symbolic and morphological 
identity. Ercolino sets out ten particular elements which define and 
structure it as a complex literary form: length, an encyclopedic mode, 
dissonant chorality, diegetic exuberance, completeness, narrratorial 
omniscience, paranoid imagination, inter-semiocity, ethical commitment, 
and hybrid realism. These ten characteristics are common to all of the 
seven works that centre his discussion: /Gravity's Rainbow/ by Thomas 
Pynchon, /Infinite Jest /by David Foster Wallace, /Underworld /by Don 
DeLillo, /White Teeth /by Zadie Smith, /The Corrections /by Jonathan 
Franzen, /2666 /by Roberto Bolaño, and /2005 dopo Cristo/ by the Babette 
Factory."

As I've said on similar occasions: I just don't see how "The 
Corrections" fit into this. "Paranoid imagination"? "Inter-semiocity"? 
Hard to find in that novel. And although there are different points of 
view, you cannot really call this "dissonant chorality". Further more, 
I'd like to know in what way one could ascribe "completeness" to 
Franzen's book. Because of the parts that take place abroad?! What I see 
is a relatively simple family novel. What does this have to do with the 
artistic richness of "Gravity's Rainbow", "Infinite Jest", or "2666"? 
But yes, Franzen has a lot of "ethical commitment" ...

Sorry folks, up to now I haven't been able to undo the hangover which 
followed that novel.

On 15.06.2014 09:22, Krafft, John M. wrote:
> Stefano Ercolino. The Maximalist Novel: From Thomas Pynchon's
> Gravity's Rainbow to Roberto Bolano's 2666. Bloomsbury Academic (June
> 19), 2014.
>
> jmk
> -
> Pynchon-l / http://www.waste.org/mail/?list=pynchon-l
>
>

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Pynchon-l / http://www.waste.org/mail/?list=pynchon-l