Odds of another Pynchon novel

[Jerome Park]

Well, it's obvious that I know nothing about marketing fiction, or anything
tangible for that matter.  So we return to speculate about the 17 years.
The 17 year gap between GR and VL, plus the radical shift in style and
distance, so we have not Slothrop's film saturated quest, but a TV
saturated girl living in a California with her family, in Reagan's 1984 and
her quest for her her 1960s radical  mother. Closer to GR than early
critiques of the novel argue, and definitely not as Pynchon-Lite as it
seem, but clearly not M&D or AtD, then two "lite" detectives.

Not marketing or audience but something caused that silence and the shift.
WHo knows?

On Thu, Jun 18, 2015 at 11:08 AM, <msacha1121 at gmail.com> wrote:

> Then there are those writers who have no predetermined sense of an
> audience at all, if we're to believe what they say about it. The reader an
> unknown, and unthought-of element as far as the process of writing is
> concerned. Some even write "for the drawer," and are published only after
> death, if at all. Since we have no statement from Pynchon on the matter,
> I'd like to express simple gratitude that he wants someone to read what he
> writes. GR, M&D, VL and BE all sit on the same shelves. We make of them
> what we will.
>
> > On Jun 18, 2015, at 8:10 AM, Mark Kohut <mark.kohut at gmail.com> wrote:
> >
> > I disagree as previously stated. Please tell me one major writer, one
> Nobel
> > level, NBA winning, Pulitzer-refused writer who says his or her novels
> are
> > "for different audiences"....
> >
> > Almost all writers write their best for all the readers they hope to
> > reach, I suggest.
> >
> > Mark
> >
> >> On Thu, Jun 18, 2015 at 7:58 AM, Jerome Park <jeromepark3141 at gmail.com>
> wrote:
> >> Agreed. So what can we make of this? The California books plus Bleeding
> >> Edge, or what we might call the shorter works, are written in a very
> >> different style, and, if we apply my simple rhetorical triangle, and the
> >> idea of distance, we can speculate that the shorter works, sometimes
> called
> >> Pynchon-Lite or whatever, were composed for a different audience, dare
> I say
> >> market?
> >>
> >> On Wed, Jun 17, 2015 at 1:51 PM, Thomas Eckhardt
> >> <thomas.eckhardt at uni-bonn.de> wrote:
> >>>
> >>> Religious and mythical vs. political forces? The
> >>> political/economical/technological aspect has always been part of it
> ("I
> >>> need my night's blood, my funding (...)"). But yes, the shorter novels
> are
> >>> more overtly political and the "Gnostic" aspect is toned down. THEY
> are more
> >>> concretely identified with government agency -- or, more to the point,
> the
> >>> agency of hidden forces within and outside the government (e.g. the
> cabals
> >>> who brought us Paperclip, Iran-Contra and Latin American death squads).
> >>>
> >>>
> >>>
> >>>> Am 16.06.2015 um 00:56 schrieb Jerome Park:
> >>>>
> >>>> They are tools that can be discarded. But what are the forces that use
> >>>> them? Brock has his funding cut, not by anything mysterious,
> insidious,
> >>>> or monstrous, but by  government agency. Windust is a tool of
> government
> >>>> agency and its cumbersome and often ineffectual ventures with
> >>>> multinational business and agency.
> >>>>
> >>>> In contrast, in GR, the monstrous and insidious forces are invisible
> and
> >>>> mysterious, beyond the comprehension of, let alone, the reach of any
> >>>> coordinated counter cultural resistance.  The force is, for lack of a
> >>>> better term, as Dwight Eddins so artfully and elequantly describes
> it, a
> >>>> Gnostic Force. This force is born from Pynchon's readings of Adams and
> >>>> is the driving force or theme that makes V. a masterpiece first novel.
> >>
> >>
> > -
> > Pynchon-l / http://www.waste.org/mail/?list=pynchon-l
>
-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://waste.org/pipermail/pynchon-l/attachments/20150619/f23183ce/attachment.html>