By Gilbert Sorrentino
A boyhood good friend of the overdue Hubert Selby, Jr., instructor of Jeffrey Eugenides and two-time PEN/Faulkner Award finalist, Gilbert Sorrentino is an elder statesman of yankee literature who maintains to transgress creative boundaries.
In Lunar Follies, a bitingly satiric, innovative travel of gallery, museum and function paintings exhibitions, Sorrentino skewers the pretensions of the modern artwork international and its flailing makes an attempt at relevance in a society whose attentions have strayed to the immediacy of popular culture. With exact comedic timing and an eye fixed towards lascivious element, Sorrentino is the correct consultant via this deliciously absurd world.
Gilbert Sorrentino has released over 20 books of fiction and poetry, together with the tale assortment, The Moon in Its Flight, and the hot novel, Little Casino, which used to be shortlisted for the 2003 PEN/Faulkner Award. After twenty years at the college at Stanford collage, he now lives in his local Brooklyn, long island.
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Simply put, in Faulkner’s work, eternity seems always imminent, if not quite immanent, and characters, actions, objects continually transcend themselves. ’’ And most notably, this passage of cosmic reconciliation toward the end of the story: . . he had not stopped, he had only paused, quitting the knoll which was no abode of the dead because there was no death, not Lion and not Sam: not held fast in earth but free in earth and not in earth but of earth, myriad yet undiffused of every myriad part, leaf and twig and particle, air and sun and rain and dew and night, acorn oak and leaf and acorn again, dark and dawn and dark 16 Privations of Postmodernism: Faulkner as Exemplar and dawn again in their immutable progression and, being myriad, one: and Old Ben too, Old Ben too.
I want to launch this musing on postmodern Yoknapatawpha, however, by citing a fourth novelist from the that postmodernist group identified above, John Barth. Before moving into the arena of borderline postmodern practices—as glimpsed in Faulkner, Wright, and Ellison—let’s start with the real thing (slipping past postmodernism’s horror at the notion of any ‘‘real thing’’). ’’4 In a sense only. Here we have a salient version of the postmodern subject: a fictional role I perform, a linguistic phrase that stands in for me (who I would be if my name really identified me).
David Daiches, ‘Theodicy, Poetry, and Tradition,’’ in Spiritual Problems in Contemporary Literature, ed. Stanley Romaine Hopper (New York: Harper and Brothers, 1952), 92. 5. , ed. James B. Meriwether (New York: Random House, 1965), 120. 6. William Faulkner, Faulkner at Nagano, ed. Robert A. ,1956), 23–4. 7. Ralph Waldo Emerson, Emerson in His Journals, ed. Joel Porte (Cambridge: Harvard University Press, 1982), 43. 8. William James, Pragmatism (New York: Meridian Books, 1955), 61. 9. George Steiner, Real Presences (Chicago: Chicago University Press, 1989), 229.