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Maximalist Novel : From Thomas Pynchon's Gravity's Rainbow to Roberto Bolano's 2666 by Stefano Ercolino (2015, Trade Paperback)
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About this product
Product Identifiers
PublisherBloomsbury Academic & Professional
ISBN-101501314297
ISBN-139781501314292
eBay Product ID (ePID)211889762
Product Key Features
Number of Pages208 Pages
LanguageEnglish
Publication NameMaximalist Novel : from Thomas Pynchon's Gravity's Rainbow to Roberto Bolano's 2666
SubjectStyle Manuals, General, American / General
Publication Year2015
TypeTextbook
AuthorStefano Ercolino
Subject AreaLiterary Criticism, Language Arts & Disciplines
FormatTrade Paperback
Dimensions
Item Height0.4 in
Item Weight10.1 Oz
Item Length9 in
Item Width6 in
Additional Product Features
Intended AudienceCollege Audience
ReviewsErcolino situates his contribution in response to three competing paradigms for thinking about long narrative works: Tom LeClair's 'systems novel', Franco Moretti's 'world text', and Frederick Karl's 'Mega-Novel'. Moretti's Modern Epic looms perhaps the largest among these three, and one of The Maximalist Novel 's greatest strengths is in the way it extends Moretti's classic analysis to incorporate the developments in epic form ushered in by postwar writers. [...] [T]his book makes a valuable contribution to novel theory and should be of interest to readers intent on understanding how the big, ambitious novels of the late twentieth and early twenty-first century work., ... much of what is stimulating here derives from Ercolino's willingness to make bold pronouncements. The Maximalist Novel is pitched between morphology and cultural history; Ercolino wants both to establish the formal features of his proposed genre and to make large claims for its meaning ... The Maximalist Novel offers a thought-provoking overview of its object, and an excellent spur to further research., Up to the present, we have had three major attempts to define the chaotic seeming extravaganzas that take the form of doorstop-sized books. Tom LeClair, Frederick R. Karl, and Franco Moretti have laid out conflicting definitions, and Stefano Ercolino offers a splendid, different, and nuanced approach to such challenging texts as David Foster Wallace'sInfinite Jest and Roberto Bolaño's 2666 . He identifies characteristics present to greater or lesser extent in all of the seven novels he discusses, and then analyzes how these characteristics function. Length, encyclopedic mode, dissonant chorality, and diegetic exuberance strain the novelistic conventions and readers' capacities to absorb, while completeness, narratorial omniscience, and paranoid imagination, all help contain or modify the centrifugal impulses. He sees these novels as dynamic balances in which chaotic drives are co-present with cosmic structuring. Where people like Edward Mendelson argued that the point of creating an encyclopedic work was to be encyclopedic for its own sake, Ercolino insists that encyclopedism is a tool, not a goal, even as multiplicity of plots and voices is not in itself a goal but part of the larger dynamic within the organization. In addition to those characteristics, he also discusses inter-semiocity, ethical commitment, and hybrid realism as contributors to these attempts to create totalizing representations of our world. Ercolino writes lucidly, and keeps his chapters short and focused. Particularly interesting is his argument that the maximalist novel is a strong hybrid between novel and epic. Ercolino's study is a good place to start if you want help making sense of a maximalist novel., By the 'maximalist novel,' Ercolino means works that possess 'strong morphological and symbolic identity' and are defined by length, encyclopedic mode, dissonant chorality, diegetic exuberance, completeness, narratorial omniscience, paranoid imagination, intersemiocity, ethical commitment, and hybrid realism. Though Ercolino's world is 'hermeneutic frameworks' and 'intersemiocity,' some of his insights are more democratic - not reserved for those with their fingers on the theoretic pulse of Barth and Lyotard [...] Ambitious, systematic, and rigorous, Ercolino excels at close readings of the novels. Summing Up: Recommended. Graduate students, researchers, faculty., Up to the present, we have had three major attempts to define the chaotic seeming extravaganzas that take the form of doorstop-sized books. Tom LeClair, Frederick R. Karl, and Franco Moretti have laid out conflicting definitions, and Stefano Ercolino offers a splendid, different, and nuanced approach to such challenging texts as David Foster Wallace's Infinite Jest and Roberto Bolaño's 2666 . He identifies characteristics present to greater or lesser extent in all of the seven novels he discusses, and then analyzes how these characteristics function. Length, encyclopedic mode, dissonant chorality, and diegetic exuberance strain the novelistic conventions and readers' capacities to absorb, while completeness, narratorial omniscience, and paranoid imagination, all help contain or modify the centrifugal impulses. He sees these novels as dynamic balances in which chaotic drives are co-present with cosmic structuring. Where people like Edward Mendelson argued that the point of creating an encyclopedic work was to be encyclopedic for its own sake, Ercolino insists that encyclopedism is a tool, not a goal, even as multiplicity of plots and voices is not in itself a goal but part of the larger dynamic within the organization. In addition to those characteristics, he also discusses inter-semiocity, ethical commitment, and hybrid realism as contributors to these attempts to create totalizing representations of our world. Ercolino writes lucidly, and keeps his chapters short and focused. Particularly interesting is his argument that the maximalist novel is a strong hybrid between novel and epic. Ercolino's study is a good place to start if you want help making sense of a maximalist novel., The Maximalist Novel offers a thought-provoking overview of its object, and an excellent spur to further research., Ercolino situates his contribution in response to three competing paradigms for thinking about long narrative works: Tom LeClair's 'systems novel', Franco Moretti's 'world text', and Frederick Karl's 'Mega-Novel'. Moretti's Modern Epic looms perhaps the largest among these three, and one of The Maximalist Novel 's greatest strengths is in the way it extends Moretti's classic analysis to incorporate the developments in epic form ushered in by postwar writers ... [T]his book makes a valuable contribution to novel theory and should be of interest to readers intent on understanding how the big, ambitious novels of the late twentieth and early twenty-first century work.
TitleLeadingThe
Dewey Edition23
IllustratedYes
Dewey Decimal809.9113
Table Of ContentList of Figures Acknowledgements The Maximalist Novel Introduction. Maximalist Paradigms 1. "Art of Excess": The Systems Novel 2. "A Paradoxical Form": The Mega-Novel 3. "In the Eyes of the World": The Modern Epic Part One Chapter I. Length Chapter II. Encyclopedic Mode 1. An "Encyclopedic Novel"? 2. An Encyclopedic "Genre"? 3. The Encyclopedic Mode Chapter III. Dissonant Chorality 1. Chorality 2. Polyphony Minimalism/Maximalism Chapter IV. Diegetic Exuberance Chapter V. Completeness 1. Structural Practices of the Maximalist Novel 1.1 Circular Geometries 1.2 Temporal Architectures 1.3 Conceptual Structures 1.3.1 Leitmotiv 1.3.2 Myth 1.3.3 Intertextual Forms Chapter VI. Narratorial Omniscience Chapter VII. Paranoid Imagination Internal Dialectic. Chaos-Function/Cosmos-Function Part Two Chapter VIII. Intersemioticity Chapter IX. Ethical Commitment 1. "Chemically Troubled Times": Representing Addiction Chapter X. Hybrid Realism Bibliography Index
SynopsisThe Maximalist Novel sets out to define a new genre of contemporary fiction that developed in the United States from the early 1970s, and then gained popularity in Europe in the early twenty-first century. The maximalist novel has a very strong symbolic and morphological identity. Ercolino sets out ten particular elements which define and structure it as a complex literary form: length, an encyclopedic mode, dissonant chorality, diegetic exuberance, completeness, narrratorial omniscience, paranoid imagination, inter-semiocity, ethical commitment, and hybrid realism. These ten characteristics are common to all of the seven works that centre his discussion: Gravity's Rainbow by Thomas Pynchon, Infinite Jest by David Foster Wallace, Underworld by Don DeLillo, White Teeth by Zadie Smith, The Corrections by Jonathan Franzen, 2666 by Roberto Bola o, and 2005 dopo Cristo by the Babette Factory. Though the ten features are not all present in the same way or form in every single text, they are all decisive in defining the genre of the maximalist novel, insofar as they are systematically co-present. Taken singularly, they can be easily found both in modernist and postmodern novels, which are not maximalist. Nevertheless, it is precisely their co-presence, as well as their reciprocal articulation, which make them fundamental in demarcating the maximalist novel as a genre., The Maximalist Novel sets out to define a new genre of contemporary fiction that developed in the United States from the early 1970s, and then gained popularity in Europe in the early twenty-first century. The maximalist novel has a very strong symbolic and morphological identity. Ercolino sets out ten particular elements which define and structure it as a complex literary form: length, an encyclopedic mode, dissonant chorality, diegetic exuberance, completeness, narrratorial omniscience, paranoid imagination, inter-semiocity, ethical commitment, and hybrid realism. These ten characteristics are common to all of the seven works that centre his discussion: Gravity's Rainbow by Thomas Pynchon, Infinite Jest by David Foster Wallace, Underworld by Don DeLillo, White Teeth by Zadie Smith, The Corrections by Jonathan Franzen, 2666 by Roberto Bolaño, and 2005 dopo Cristo by the Babette Factory. Though the ten features are not all present in the same way or form in every single text, they are all decisive in defining the genre of the maximalist novel, insofar as they are systematically co-present. Taken singularly, they can be easily found both in modernist and postmodern novels, which are not maximalist. Nevertheless, it is precisely their co-presence, as well as their reciprocal articulation, which make them fundamental in demarcating the maximalist novel as a genre., The Maximalist Novel sets out to define a new genre of contemporary fiction that developed in the United States from the early 1970s, and then gained popularity in Europe in the early twenty-first century. ..The maximalist novel has a very strong symbolic and morphological identity. Ercolino sets out ten particular elements which define and structure it as a complex literary form: length, an encyclopedic mode, dissonant chorality, diegetic exuberance, completeness, narrratorial omniscience, paranoid imagination, inter-semiocity, ethical commitment, and hybrid realism. These ten characteristics are common to all of the seven works that centre his discussion: Gravity's Rainbow by Thomas Pynchon, Infinite Jest by David Foster Wallace, Underworld by Don DeLillo, White Teeth by Zadie Smith, The Corrections by Jonathan Franzen, 2666 by Roberto Bola.o, and 2005 dopo Cristo by the Babette Factory. ..Though the ten features are not all present in the same way or form in every single text, they are all decisive in defining the genre of the maximalist novel, insofar as they are systematically co-present. Taken singularly, they can be easily found both in modernist and postmodern novels, which are not maximalist. Nevertheless, it is precisely their co-presence, as well as their reciprocal articulation, which make them fundamental in demarcating the maximalist novel as a genre.
LC Classification NumberPN98.P67
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