Remember back in the 50s when they'd record like Elvis singing YOU AIN'T NOTHIN BUT A HOUND DOG and then they'd turn the record over and reverse it and it was all NYERP NYERP NYERP NYERP NYERP and people were all like, "That is actually the voice of Satan coming from that song."
When you leave Amarilloooooooo / turn out the liiiiiiiiiight....
I'm playing with hard drives since I'm bored. One of them is a 2006-vintage 500 GB Seagate 7200.10, and damn this thing sounds chunky. I remember when practically all voice-coil drives sounded like that. :o
So. Since almost everyone has disappeared, I'm going to ramble. Feel free to skip
One time, when I was 15, I was at some sort of get-together of relatives that I was forced to go to. Of course that kind of thing bored me, so I took out some paper and began writing some notes for a fantasy novel I was working on. A cousin of mine read these notes and, having no knowledge of what I was writing or of fantasy in general, pronounced that she was completely mystified by it.
I thought, although I didn't know why, that this was pretty cool. I got a total WTF reaction out of someone.
Many years later, today in fact, I was thinking about Pynchon's Gravity's Rainbow and its similarly (to me) mystifying and mesmerizing style. The thing about Pynchon's style, the thing that makes it so attractive to me, is that it is the very embodiment of the paranoia he writes about. It's full of long, dense passages, beautifully written, which suggest that profound things are happening just off-camera - conspiracies going back to the dawn of time, perhaps - but which you can't quite figure out. It suggests all kinds of vague possibilities. Its suggestion of mystery is almost religious in flavor...
Of course, this is a bit depressing to me, because it means that someone has already achieved what could have been a very attractive project for me. That style reached its apex years before I was even born.
That hardly matters. That same style predates Thomas Pynchon as well, the reason you probably don't know any of those writers is that most of them are French.
Don't spend your creative career worrying about whether someone "beat" you to an idea. You're not Pynchon. You will, consciously or not, have your own unique take on that idea, and that's what makes it worth pursuing. Hell, Pynchon is probably just putting his own spin on someone else's writing style.
(I cant' name any, tbh. But I recall reading that, so I know they exist. A book whose translated title is something akin to Watching the Watchers comes to mind too)
There was a lot of experimental writing in French in the mid-20th century. But I'm not aware that any of them had quite the style I'm describing. I could be wrong.
No, the point is that Lazuli probably gleaned a brief, passing knowledge of the subject, having clearly not explored it in-depth; thus, he is not necessarily correct.
It's rare that anyone is necessarily correct about anything.
I have an awesome new hoodie. My calc teacher had it laying on a shelf all year, and when I came into school today to drop stuff off I checked the lost 'n found and it was there!
i wish to come up with a song lyric for this signature, but no song lyrics are coming to mind
well known examples of postmodern literature, in chronological order, include:
The Cannibal (1949) by John Hawkes The Recognitions (1955) by William Gaddis Naked Lunch (1959) by William Burroughs The Sot-Weed Factor (1960) by John Barth Catch-22 (1961) by Joseph Heller The Lime Twig (1961) by John Hawkes Mother Night (1961) by Kurt Vonnegut Pale Fire (1962) by Vladimir Nabokov The Man in the High Castle (1962) by Philip K. Dick V. (1963) by Thomas Pynchon Hopscotch (1963) by Julio Cortázar The Crying of Lot 49 (1966) by Thomas Pynchon Lost in the Funhouse (1968) by John Barth Slaughterhouse-Five (1969) by Kurt Vonnegut The French Lieutenant's Woman (1969) by John Fowles Ada or Ardor: A Family Chronicle (1969) by Vladimir Nabokov Moscow-Petushki (1970) by Venedikt Erofeev The Atrocity Exhibition (1970) by J. G. Ballard Fear and Loathing in Las Vegas (1971) by Hunter S. Thompson Invisible Cities (1972) by Italo Calvino Chimera (1972) by John Barth
Everything is influenced by what came before. Epics have been written since ancient times. GR itself is influenced by Ulysses, among other works. It just took the idea in a slightly different direction.
i wish to come up with a song lyric for this signature, but no song lyrics are coming to mind
How about "Everything has a precedent except for the creation of the universe, and even that may have precedent, depending upon what theory of the creation of the universe is actually true"
Entire papers have been written on what did or did not influence given writers. I'm sure if you Googled it you'd find one on Pynchon's precursors. Hell, his Wikipedia article has a list of such people, the only reason I'm not copying it is because it's not cited properly so I don't know how accurate it is.
Comments
^If anyone ever asks me again why I want to (eventually) quit the internet, it's all right there
^except you. And you are leaving now. Good night
but i didn't leave
also night gator
One time, when I was 15, I was at some sort of get-together of relatives that I was forced to go to. Of course that kind of thing bored me, so I took out some paper and began writing some notes for a fantasy novel I was working on. A cousin of mine read these notes and, having no knowledge of what I was writing or of fantasy in general, pronounced that she was completely mystified by it.
I thought, although I didn't know why, that this was pretty cool. I got a total WTF reaction out of someone.
Many years later, today in fact, I was thinking about Pynchon's Gravity's Rainbow and its similarly (to me) mystifying and mesmerizing style. The thing about Pynchon's style, the thing that makes it so attractive to me, is that it is the very embodiment of the paranoia he writes about. It's full of long, dense passages, beautifully written, which suggest that profound things are happening just off-camera - conspiracies going back to the dawn of time, perhaps - but which you can't quite figure out. It suggests all kinds of vague possibilities. Its suggestion of mystery is almost religious in flavor...
Of course, this is a bit depressing to me, because it means that someone has already achieved what could have been a very attractive project for me. That style reached its apex years before I was even born.
Alas, I am always late to the party.
^Natch
FRENCH PEOPLE
(I cant' name any, tbh. But I recall reading that, so I know they exist. A book whose translated title is something akin to Watching the Watchers comes to mind too)
Am I honestly expected to have full knowledge of something I read about on Wikipedia once?
My name is not Nornagest. :|
Your point is that I shouldn't talk about anything I don't know everything about?
Cuz that seems like a rather silly point.
It's rare that anyone is necessarily correct about anything.
I'm not entirely sure what your point is here.
I'm referring to a specific style that I described above - that sort of paranoiac, great-things-are-happening-in-the-periphery tone that Pynchon has.
well known examples of postmodern literature, in chronological order, include:
The Cannibal (1949) by John Hawkes
The Recognitions (1955) by William Gaddis
Naked Lunch (1959) by William Burroughs
The Sot-Weed Factor (1960) by John Barth
Catch-22 (1961) by Joseph Heller
The Lime Twig (1961) by John Hawkes
Mother Night (1961) by Kurt Vonnegut
Pale Fire (1962) by Vladimir Nabokov
The Man in the High Castle (1962) by Philip K. Dick
V. (1963) by Thomas Pynchon
Hopscotch (1963) by Julio Cortázar
The Crying of Lot 49 (1966) by Thomas Pynchon
Lost in the Funhouse (1968) by John Barth
Slaughterhouse-Five (1969) by Kurt Vonnegut
The French Lieutenant's Woman (1969) by John Fowles
Ada or Ardor: A Family Chronicle (1969) by Vladimir Nabokov
Moscow-Petushki (1970) by Venedikt Erofeev
The Atrocity Exhibition (1970) by J. G. Ballard
Fear and Loathing in Las Vegas (1971) by Hunter S. Thompson
Invisible Cities (1972) by Italo Calvino
Chimera (1972) by John Barth
well that was easy
Entire papers have been written on what did or did not influence given writers. I'm sure if you Googled it you'd find one on Pynchon's precursors. Hell, his Wikipedia article has a list of such people, the only reason I'm not copying it is because it's not cited properly so I don't know how accurate it is.
Catch-22 is a very funny book until the part where it stops being funny and starts being oh god why.
That's about all I have to say about Catch-22