Outside of the dreary rubbish that is churned out by god knows how many hacks of varying degrees of talent, the novel is, it seems to me, a very special and rarefied kind of literary form, and was, for a brief moment only, wide-ranging in its sociocultural influence. For the most part, it has always been an acquired taste and it asks a good deal from its audience. Our great contemporary problem is in separating that which is really serious from that which is either frivolously and fashionably "radical" and that which is a kind of literary analogy to the Letterman show. It's not that there is pop culture around, it's that so few people can see the difference between it and high culture, if you will. Morton Feldman is not Stephen Sondheim. The latter is a wonderful what-he-is, but he is not what-he-is-not. To pretend that he is is to insult Feldman and embarrass Sondheim, to enact a process of homogenization that is something like pretending that David Mamet, say, breathes the same air as Samuel Beckett. People used to understand that there is, at any given time, a handful of superb writers or painters or whatever--and then there are all the rest. Nothing wrong with that. But it now makes people very uncomfortable, very edgy, as if the very idea of a Matisse or a Charles Ives or a Thelonious Monk is an affront to the notion of "ain't everything just great!" We have the spectacle of perfectly nice, respectable, harmless writers, etc., being accorded the status of important artists...Essentially the serious novelist should do what s/he can do and simply forgo the idea of a substantial audience.
Gilbert SorrentinoTags: art literature criticism novel differences pop-culture analysis post-modern mulligan-stew
Q: What literary complexities do you find most interesting? That is, what do you like most to "solve," so to speak, as a novelist?
A: One wishes to create characters who will speak directly to the minds of comparative literature professors and intelligent book reviewers.
Rapacity plus taste is a formidable combination, since it so often passes for intelligence. One pities the artist in a world of such predators, all of whom are deeply engaged in the arts too.
Gilbert SorrentinoTags: snobbery phoniness poseurs fakes fakirs inauthenticity
I like to synthesize; I hate analysis. I don’t like to take a subject and break it down into parts; I like to take disparate parts and put them all together and see what happens. I believe the old saw that the whole is more than the sum of its parts. Of course, it may also be less. But it’s the parts that interest me; it’s not the whole.
Gilbert SorrentinoTags: writing structure fragments
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