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/lit/ - Literature

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11383327 No.11383327 [Reply] [Original]

>*Says a lot of shit that goes over your head in your path*

>> No.11383335

>>11383327
wat ru dum lol

>> No.11383336

theres a reason he calls this one a potboiler lad

>> No.11383338

>>11383335
yes

>> No.11384257

>>11383327
dude just use the reader's wikia with all the references, besides that it's literally his easiest and shortest book

>> No.11384276

>>11384257
V. is easier desu
yeah it's longer, has more characters, more intersecting plots etc. but the prose is easier

>> No.11384299

>>11383327
This book is a shitfest of originality, his prose is fucking autistic but lovable, I need to reread the pages so I can get what is happening, sometimes it looks like everything is happening too fast while the prose is focusing on random things, this is the anatomy of prose shitposting
My first Pynchon book and I'm loving it

>> No.11384303

>>11384299
:)

>> No.11384307

>>11383327
i thought this book was merely ok but it has lingered in the back of my head like no other. very ominous. a success in that regard i guess

>> No.11384338
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11384338

>>11384276
>V. is easier desu
Not really. Though Pynchon made The Crying of Lot 49 intentionally heavier and more complicated than it should be due to its actual complexity, the story follows --or seems to follow-- a linear narrative, rather than jumping from one timeline to another, without giving any clues about what's really going on or who or what is even V.

How experienced are you with Pynchon, anyways? I've only read V. and The Crying of Lot 49. Is it really much harder from here?

>> No.11384492

>>11384338
the only two that i'd say are easier than V. and 49 are Inherent Vice and Bleeding Edge. i havent read Vineland, so it may also be easier.
honestly, if you want, just jump into M&D or GR. i dont see a real problem with that.

>rather than jumping from one timeline to another, without giving any clues about what's really going on or who or what is even V.
I dont know, the structure of V. isn't that hard to understand, at least for me. the first two chapters, iirc, are rather linear, following ben, then you get the first stencilized historical flashback (which itself is rather wonky with its perspective changes), then you alternate between 50s NYC (which are just the hijinks of the whole sick crew, and are really easy— that arent any challenges prose wise here) and stencil's dossier vignette things. it follows a pretty standardized pattern, a groove thats easy to get into. you're given a couple of possible candidatez for V. (the dyke, vheissu, valletta, others im forgetting) and that's it. meanwhile tcol49 swerves in and out of rambling pomo abstract prose for paragraphs, abruptly spends around a dozen pages describing a play, mucho gets a bunch of pages for his lsd rant, and ultimately oedipa breaks down and nothing gets resolved. it's far more jarring and hard to follow imho.

>> No.11384513

>>11384276
>but the prose is easier
wtf are u talking about have you actually finished V?

do you not remember the chapter that slides between a guy with fever in a ship and his weird fever dreams with very little signification

or that stencils dad chapter?

>> No.11384537

>>11384513
yeah retard
proportional to its size V. is still less difficult to get through

amazing how brainlets like u still struggle with it

>> No.11384542

>>11384537
im not saying i struggled with it im saying lot 49 was like chewing fucking popcorn, i had to look up what maxwells demon was but the prose was incredibly simple compared to V

>> No.11384569

>>11384542
lol dont they explain what maxwells demon is in the book
i think ur just dumb, up until the end (i'll grant u) and especially in the NYC chapters V. has p much NO difficult prose sections, while tcol49 is consistently a little bit stream of consciousness-ish. consider that its recommended for pynch first timers which imo is a mistake, they really should do it chronologically by publishing date
also V. sorta conditions u to understand and be cool with pynchon's discursive flashbacks, tangents etc. by having the first one be a relatively simple story about the guy that bites waitresses or whatever, so u can get whats going on when the harder chapter-wide flashbacks come
tcol49 doesnt do that

>> No.11384590

>>11384569
give an example of a tricky bit in tcol49? i really dont remember any.

>> No.11384591

How come this one flows so smoothly and the first 10 pages of GR read like he’s trying to force out a shit?

>> No.11384600

>>11384590
when oedipa is walking in the dark to the telephone booth in san narciso and shes starting to lose trust in her sanity and theres a part about how the REAL conspiracy is the fragmentation of the american condition or whatever

>> No.11384884

>>11384492
Thanks, anon