A-and here's another one

[Mark Kohut]

I second those observations. 

Sent from my iPad

On Jun 15, 2014, at 3:24 AM, Kai Frederik Lorentzen <lorentzen at hotmail.de> wrote:

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