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

[Mark Kohut]

His mind, his confidence, his self-understanding of his ambition just
'grew into it"?

Brain scientists and psychologists who are nowhere as deep as McGilchrist,
are always saying---in general we are at our greatest intellectual, esp
creative best around late twenties, early thirties.....

I often wonder if he did not read The Recognitions until after he had
finished
V and the early stories and THAT showed him a long, broad canvas full of
some themes he resonated with and he felt he could get down in his unique
way.

On Sat, Feb 27, 2016 at 8:00 AM, ish mailian <ishmailian at gmail.com> wrote:

>  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/?listpynchon-l
>
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