Even though he is now considered as a juvenile hack by the masses of /lit/ as of late, just thought I would mention that I read chapter eleven of V last night entitled: "Confessions of Fausto Maijstral" and it was such a stunning example of how beautiful of a writer Pynchon can be when he wishes. Diary entries of a man living on a southern Italian island constantly being bombed, yet there was such a melancholy wonder to the prose. I read it late at night in bed and god damn if it wasn't some fucking comfy, rain-on-a-tin-roof-during-summer style writing.
Although people seem to love him for his absurd wackiness and tangled structure, I don't seem to see enough people discussing how wonderful of a writer in the classical sense he can be when he wishes. If he ever stepped away from his usual writing style and wrote poetry or more straight-forward prose in some harrowing tale of love and loss, I'm sure he would blow people away and write some magnificent pieces.
I realized this right around Chapter Nine, l think it was? Mondaugen's Story, whichever chapter that was.
Before reading V., I had read Lot 49 and Inherent Vice, both of which were enjoyable, albeit in a juvenile way, as you said yourself. Pynchon is a great writer, I wish the meme mentality hadn't turned on him.
>Not swindling the reader into thinking the book is about Serious and Important things makes someone a juvenile writer.
I thought this site was 18+.
Funny story (kinda): the first two times I read V., I skipped this chapter because it started out so slow and I was (surprisingly) more invested in what happened to the Whole Sick Crew than in the nihilistic noodlings of a maltese bum. It wasn't until my second read-through that I noticed some themes carried over (Malta, Maijstral, WWI, plural identity) that I pushed through the initial philosophical dreck and read what amounts to the secret cheat chamber of the book. That stuff about the street of the 20th Century is good stuff though.
The whole "new movement" thing is everyone is tired of pomo. Pomo doesn't allow itself to be criticized, so there's no where else to go. It renders itself meaningless. And it's not that that viewpoint isn't valid, it's just that people are tired of it.
Now people are writing against pomo or trying to say they're against pomo even if they have a lot of pomo aspects (whether they are or they aren't is another discussion altogether). This thing going around (I hate the term New Sincerity, by the way) doesn't mean everything is serious and meaningful. It means some things are. Some things aren't. But "you just don't get it" isn't a good enough reason.
It's trying to be a blend of Modernism and Pomo, but I think it's more of a blend of Realism/Romanticism and Modernism. But I don't think there was much difference between Modernism and Pomo, anyway, but that, too, is another discussion altogether.