one great short story writer, they say, who has complex plots it seems

[ish mailian]

 For those interested in P's development, the SL Introduction is
useful and necessary but at the same time, nearly useless because it
tells almost nothing about the giant step in his development that is
evident in GR and in the major works.

https://en.wikipedia.org/wiki/Giant_Steps

On Fri, Feb 26, 2016 at 4:52 PM, Mark Kohut <mark.kohut at gmail.com> wrote:
> By the bye, the plot of The Secret Integration is pretty complex, no wonder
> he
> thinks of the concept re stories. The characters, the scenes and the
> flashback
> and present tenseness...and that surprise.
>
> On Fri, Feb 26, 2016 at 4:50 PM, Mark Kohut <mark.kohut at gmail.com> wrote:
>>
>> Ish,
>>
>> I was going to write my version of that insight on the morrow. Yes.
>> Just finished The Secret Integration, love it for the first time
>> (half-dismissed it because hastily stupid the first reading)
>> and I'm looking for your rewording of what thoughts I get down.
>>
>> Mark
>>
>> On Fri, Feb 26, 2016 at 4:40 PM, ish mailian <ishmailian at gmail.com> wrote:
>>>
>>> The fact that P never published a short story he'd written after these
>>> Slow Learners may suggests that the short story is not a length that
>>> he excels in. The failure of "The Crying of Lot 49", a short on
>>> steroids, supports this conjecture. But who knows? Maybe he's got a
>>> book full of shorts that will dazzle us. I doubt it though. Pynchon's
>>> shorts are not weak merely because of the juvenile attitudes and the
>>> college boy craft of fiction, they simply can't let Pynchon do what he
>>> does best: write hysterical high modernism.
>>>
>>> On Fri, Feb 26, 2016 at 6:39 AM, Mark Kohut <mark.kohut at gmail.com> wrote:
>>> > When one---I---think more clearly of complexly plotted short story
>>> > writers, and esp for UNDER THE ROSE day, I see why TRP's comparison
>>> > with Le Carre is less weird than my stupidity.
>>> >
>>> > On Fri, Feb 26, 2016 at 6:11 AM, Jochen Stremmel <jstremmel at gmail.com>
>>> > wrote:
>>> >>
>>> >> Alice Munro came to mind as well.
>>> >>
>>> >> 2016-02-26 11:51 GMT+01:00 Mark Kohut <mark.kohut at gmail.com>:
>>> >>>
>>> >>> One restriction she had little time for, however, was sticking to a
>>> >>> single point of view. Almost all her stories are written in the third
>>> >>> person, and almost all of them access the thoughts of multiple
>>> >>> characters.
>>> >>> Sometimes she flicks briefly into the thoughts of an incidental
>>> >>> character
>>> >>> (in The Letter Writers it is a nosy neighbour who intrudes on Emily’s
>>> >>> lunch), while elsewhere she cycles more methodically through a
>>> >>> story’s cast,
>>> >>> building a scene from multiple perspectives. Oasis of Gaiety (1951),
>>> >>> about a
>>> >>> boozy afternoon party, is a bravura example.
>>> >>>
>>> >>>
>>> >>
>>> >
>>> -
>>> Pynchon-l / http://www.waste.org/mail/?listpynchon-l
>>
>>
>
-
Pynchon-l / http://www.waste.org/mail/?list=pynchon-l