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I’ve very much been enjoying my recent Reviewing=Slump. But I wanna duck in here and drop a few quick thoughts.Karl’s title is adequate descriptor :: American (sic! ==USAian.) Fiction (mostly novels ; several short storyings). 1940-1980 (a very productive era ; according to Karl’s thesis, the era when Modernism (finally!) arrived in the USofA (with the prior generation bragging only of Faulkner and Dos Passos)). Comprehensive [this guy has read everything, if ‘everything’ is understood as more than you can imagine a single person having read (aside maybe from Bloom)]. History (this is a story of the stories ; why a metafiction reader like me likes to read the histories and the criticisms of what I most like to read). Critical Evaluation (nothing gets a free pass, all has its flaws ; the downside of which is that it is much easier to focus on those short comings than to sense how great a given work really is (easy to dis on Pynchon for the juvenile materials he insists on including, etc etc)). So, yeah, that last part about the critical evaluation is pretty thorough ; there is not much Karl says that gets one’s juices really ramped up and leading one to add to that must=read shelf. But if you look, you’ll find them.Karl is on the right side of the window=pane. He wants to see the window glass (Pynchon, Gaddis, McElroy, Barth (esp. LETTERS), etc) and not just what’s in the garden (Bellow, Updike, Roth, Mailer, la la la la). But he writes about both streams, the popular ones and the ones more interested in what a novel can do. So, you see why I find him so sympathetic.Despite his omnivorous reading -- and he is a great (simply phenomenal) reader ; reading another greatreader is reason enough to read this volume [also, you’ll just want to have it on hand as a reference] -- some writers get left out. No Marguerite Young. No D. Keith Mano. Gore Vidal gets only two footnote’d discussions and maybe here’s why :: (view spoiler)[”The wittiest critic is Gore Vidal, who refers to such fiction as ‘American Plastic,’ including Barth, Barthelme, Gass, Pynchon, all of whom he considers to be deep ‘into R and D (Research and Development) as opposed to the old-fashioned R and R (Rest and Recuperation).’ Vidal’s instincts may all be to the good, but he is so intent on eliminating the kind of fiction which threatens his own that he condemns before understanding. His essay on Italo Calvino shows how he can enter into a great talent alien to his own; so that his assaults on the modern and new would seem to be focused mainly on American models. plus ça change. (363n) (hide spoiler)]

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