American
novelists
of
the absurd |
American novelists
of the absurd...while they sometimes exagerate "reality," sledom feel the
need to distort it beyond recognition. In fact, they usually don't imitate
"life" at all, but other novels, other forms, other styles. ..."make the
artifice part of your point" (Barth qut in Harris)
|
novel/reality |
"If you are a novelist
of a certain type of temperament, then what you really want to do is re-invent
the world...
God wasn't too bad a novel, except he was a Realist...This
implulse
to imagine alternatives to the world can become a driving
impulse for writers. I confess that it is for me. So that really what you
want to do is re-invent philosophy and the rest--make up your own whole
history of the world." (Barth qut in Morrell
36)
|
from
his novels |
1. "`"`"`"Speak!"
Menelaus cried to Helen on the bridal bed,' I reminded Helen in her Trojan
bedroom," I confessed to Eidothea on the beach,' I declared to Proteus
in the cavemouth," I vouchsafed to Helen on the ship," I told Peisistratus
at least in my Spartan hall," I say to whoever and where- I am. And
Helen answered:
"`"`"`"Love!"`"`"`"
("Menelaiad," Lost in the Funhouse, p. 150)
2. [This book] is a floating
opera, friend, fraught with curiosities, melodrama, spectacle, instruction,
and entertainment, but it floats willy-nilly on the tide of my vagrant
prose: you'll catch sight of it, lose it, spy it again...
(Floating Opera,
p. 6)
3. ...this account [What
I Did Until the Doctor Came] became the basis of a slight novel called
The End of the Road (1958), which ten years later inspired a film,
same title, as false to the novel as was the novel to your Account and
your Account to the actual Horner-Morgan-Morgan triangle as it might have
been observed from either other vertex. (LETTER, p. 19)
|
on
self-conscious novel |
1. "[one way to
come to terms with the difference between art and life] is to define fiction
as a kind of true representation of the distortion we all make of life.
In other words, it's a representation of a distortion; not a representation
of life....Art is artifice, after all."
2. If you happen to
be Vladimir Nabokov, you might address that felt ultimacy by writing Pale
Fire.... If you were Borges you might write Labyrinths: fictions by a learned
librarian in the form of footnotes, as he describes them, to imaginary
or hypothetical books. And I'll add that
if you were the author of this paper, you'd have written something like
SWF or GGB: novels which imitate the form of the Novel, by an author who
imitates the role of Author. The imitation...is something
new and may be quite serious and passionate despite its farcical aspect.
("Literature of Exhaustion," p. 72.)
3. With varying results,
they [the critics on postmodernism] maintain, postmodernist writers write
a fiction that is more and more about itself and its process, less and
less about objective reality and life in the world. ...
In my view, the proper program
for postmodernism is neither a mere extension of the modernist program
as described above, nor a mere intensification of certain aspect of modernism,
nor on the contrary a wholesale subversion or repudiation of either modernism
or what I's calling premodernism: "tradional" bourgeois realism. ...
A worthy program for postmodernist
fiction, I believe, is the synthesis or transcension
of these antitheses ("Lit. of Replenishment" 200-203).
|
From
his novels |
4. Oh God
comma I abhor self-consciousness. ("Title," Lost in the Funhouse,
p. 110.)
5. Another story about a
writer writing a story! Another regressus in infinitum! Who
doesn't prefer art that at least overly imitates something other than its
own processes? That doesn't continually proclaim "Don't forget I'm
an aftifice!"? That takes for granted its mimetic nature instead
of asserting it in order (not so slyly after all) to deny it, or vice-versa?
("Life Story," Lost in the Funhouse, p. 114)
|
Nihilism |
1. [Man] is by mindless
lust engendered and by mindless wrench expelled, from the Eden of the womb
to the motley, mindless world. He is Chance's fool, the toy of aimless
Nature...
Here we sit upon a blind
rock hurtling through a vacuum, racing to the grave. 'Tis our fate
to search,...,and do we seek our soul, what we find is a peice of that
same black cosmos whence we sprang and through which we fall: the infinite
wind of space...One must needs make and seize his soul, and then cleave
fast to't, or go babbling in the corner...One must assert, assert, assert,
or go screaming mad" (SWF, pp. 372, 373)
(373)
2. [Burlingame], "I am Suitor
of Totality, Embracer of Contradictories, Husband to all Creation, the
Cosmic Lover!" (SWF, 536)
3. My heart, reader! My heart!
You must comprehend quickly, if you are to comprehend at all, that those
masks were not assumed to hide my face, but to hide my heart from my mind,
and my mind from my heart. Understand it now, because I may not live
to end the chapter! (FO, p. 219)
|
American
Dream |
1. There is a freedom
there [Maryland] that's both a blessing and a curse. ... 'Tis philosophic
liberty I speak of, that comes from want of history. It makes every
man an orphan like myself, that freedom, and can as well demoralize as
elevate. ( The Sot-Weed Factors, p. 181)
2. ...the crime
of innocence,...There's the true Original Sin our sould are born in: not
that Adam learned, but that he had to learn--in short, that he was innocent."
(SWF, p.801)
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