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His thirteen novels range from controlled, sublime, and stark studies in character to relentlessly, sometimes infuriatingly, inventive and parodic compositions. In one essay he describes the writers with whom he shares his "genetic coding": They agreed with my own artistic necessities, which are: an obsessive concern with formal structure, a dislike of the replication of experience, a love of digression and embroidery, a great pleasure in false or ambiguous information, a desire to invent problems that only the invention of new forms can solve, and a joy in making mountains out of molehills.

The menagerie of characters in Mulligan Stew and Pack Of Lies , taken from his own novels and those of other authors offers one kind of synthesis between the actual and the imagined, even if some characters are cognizant that they have been stolen from other fictions. Some of his novels are structured according to organizing principles external to the works, from the correspondence of the 78 chapters in Crystal Vision to the cards in a Tarot deck, to the 59 vignettes in Under The Shadow suggested by H.

In what way can these three narratives be said to constitute a trilogy? From his earliest works, Sorrentino has always posed his own questions about literature by appealing not to the ideas it might convey but to the collocation of styles in which it expresses itself. His story "A Beehive Arranged On Humane Principles," which appeared in Conjunctions in , is comprised entirely of interrogative sentences.

The first book in Pack Of Lies , Odd Number , is the most explicitly "questioning," composed of three sets of questions asked by an anonymous inquisitor.

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The first two question and answer sessions are captured first in a disorientingly typeset transcript and then in reverse order in an exhaustive tell-all-style account. By the time of the third and more concise interrogation, even the most patient and intelligent reader remains no less bewildered. As this chronicle of questionable artistic creations and irresponsible amorous and adulterous encounters unfolds, it is revealed that Sheila Henry has been killed just after leaving a gathering known as The Party.

The histories of the women introduced in these uncertain scenarios from the first book a possibly living Sheila Henry included are the subject of the second volume, Rose Theatre , the most restrained and least satisfying of the books in the trilogy. Misterioso , the final, longest and, as the title suggests, most "occult" novel, traces the "events, occurrences, adventures, conversations and dramas - bathetic and otherwise" of characters including demons encountered throughout the trilogy on a single day and indexes them in an architectonic alphabetical arrangement.

But a book like Misterioso or any book by Sorrentino is obsessively literary, fascinated not by history, but by the history of literature. Or, as one character tells another in Misterioso , "Bibliophilia leads one to strange places. Characters come across less as stereotypes than as figures of textuality gone awry, many of whom are themselves writers, most of whom are demonstrably - and much of the best comedy in Sorrentino is in these demonstrations - bad.

Among their literary inheritances, both novels borrow heavily from the construction of the mystery novel, as even Ernest Larsen detected in his highly negative Village Voice review of Mulligan Stew memorably titled "Colonel Mustard in the Study with the Smith-Corona. In the middle of all the lists and facts, all the lies and borrowings, there will sometimes be a perfect revelation.

In the manner of those two great twentieth-century trilogies of Samuel Beckett and William Burroughs, Pack Of Lies does not merely perpetuate the continuation of the narrative and character relations from book to book but interrogates the nature of the perspectives by which these characters are depicted and these stories are assembled. In the course of this questioning, Sorrentino progressively demolishes not only our grasp on their characters but our need for the answers.

Printed on tan colored pages in the original Grove edition, they read something like variants on the same movie trailer to catch our attention before the beginning of the film. The effect is altered in the Dalkey Archive edition which prints these pages without "colorization" for probable monetary reasons and the opening correspondence feels more like a pre-credits opening scene than a coming attractions sequence. For the reader, the question is not where the body is buried but from where the bodies of text have been exhumed - and absolutely no style is above suspicion. Which leads to still another question: How to draw such an impossibly extended ventriloquistic performance to a close?

Although his use of comedy obviates - or ridicules - the desire to use literature, Sorrentino cannot always repress the irresistible urge to cut off a fictional riff before it becomes too central to our understanding of the novel being read. One of the most distinctive forms of expression for Sorrentino is the list.

Before lists became an ubiquitous postmodernist shorthand, Sorrentino had already established himself as a great "maker of maddening lists, lister of maddening names" to cop a phrase from Mulligan Stew. Toward the end of Odd Number , the narrator inquires: What is the importance of this catalogue to my investigation?

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If the catalogue, or any catalogue or list, is understood to be a system, its entropy is the measure of the unavailability of its energy for conversion into useful work. The ideal catalogue tends toward maximum entropy. Stick it in your ear. As a structure that incites its readers to focus on nothing but the arrangement and integration of words, the list might also be a means for Sorrentino, also the author of eight books of poetry, to combine his novelistic and poetic predilections. In the second essay, "Writing and Writers: Disjecta Membra," published in between the publication of the second and third books of Pack Of Lies , Sorrentino expands upon his idea of the list by positing the idea of a list of questions about a character without corresponding answers as a "kind of system of negative narrational energy.

Perelman at his most manic. This is a novel with all the stops pulled out, Gilbert Sorrentino's masterpiece. Mulligan Stew is the end of the self-reflexive novel: Sorrentino brains the genre against the walls of prose. As we watch, we become accomplices, laughing at the murder—because it is a ritual, comic suicide—with a mixture of horror and relief. It's as though Sorrentino, broom and dustpan in hand, has swept into one large steamer trunk—or one pot of Mulligan stew—all the literary leftovers from the past quarter-century.

In great abundance, it [demonstrates] Sorrentino's collection of modernist techniques and devices as well as his special gift, the ability to blend them in the service of lucidity rather than mystification. Set on the New Jersey coast near the end of the Great Depression, the novel concerns four characters: a divorcee, Marie Recco; her ten-year-old son, Billy; her controlling father, John McGrath; and Tom Thebus, the unsavory salesman they meet on their vacation. Cowley called it "a novel told from four different points of view that construct four distinct realities from the events of thirty-six hours at a New Jersey boardinghouse.

Cowley observed that, although the novel is without sentimentality or melodrama, Sorrentino "portrays mundane failures of human love and intelligence and characters whose lack of insight or care leaves them participants in their own degradation. It "is disciplined in length and form, modest in ambition, and downright decorous in tone," he stated.


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After rejecting the possibility that Sorrentino may again be writing parody, Rubins believed that the novel is really about five characters—the four fictional characters and Sorrentino himself. This novel is set in the Brooklyn neighborhood introduced in Steelwork, and some of the same characters reappear.

A contributor to the Center for Book Culture concluded, "Through formal inventiveness, Sorrentino liberates these characters from the confines of realism and gives us their world—zany, vulgar, hilarious, and exuberant. Blue Pastoral, portrays another family on a cross-country trip from New York to San Francisco, as in The Sky Changes, but this time the story revolves around "Blue" Serge Gavotte, "a modern-day Candide who quits his job, mounts a piano atop a broken-down pushcart and sets off with his wife and child on a visionary quest A parody of the pastoral form, this novel is "arguably [Sorrentino's] finest comic achievement to date," said Cowley.

Its dominant voice "is an imitation of English Renaissance prose peppered with Brooklyn colloquialisms, an incongruous mix that sits yet more incongruously with the tale it relates," Cowley wrote. Library Journal critic Michael Rogers called the novel "a hive of Joycean wordplay. Part One of Odd Number consists of a series of questions asked first of a reticent character and then of an unreliable one in an attempt to discover exactly what happened in the original novel. Part Two gives a conversational account of the events, but Part Three produces evidence contradicting the first two parts, "virtually unmaking the novel which has been read," explained Klinkowitz in Contemporary Novelists.

Rose Theatre employs a range of narrative styles that change from one chapter to the next, as the female characters from Odd Number attempt to correct misinformation from that novel, which invites further uncertainties and need for clarification, since fiction itself cannot be verified.

The fifteen chapters in Rose Theatre are named for an inventory of props found in London's Rose Theatre in Misterioso, set in a supermarket, concludes the trilogy with an encyclopedic, alphabetical listing of "all the people, places and objects from the two earlier novels," Larry McCaffery wrote in the Los Angeles Times Book Review, accompanied by a cast of demons and flight attendants. Using the supermarket's magazine rack to generate "a trashery of ludicrous and perverse exploits and ads well suited to the actions of the novel's large cast," according to the Center for Book Culture, Misterioso goes no farther toward finding the truth than the first two novels in the trilogy.

This third novel takes its title from a song by Thelonious Monk, the great jazz pianist and composer, whom Sorrentino admired. In his review of Misterioso, McCaffery stated that it is "rich in voice, devastating in its satiric impulses and startling in its formal ingenuity A literary game which not only imitates, parodies, satirizes and elaborates upon the fantasies, pleasures, surprises, and disappointments of American life, it also most tellingly invents specific possibilities of which American life is incapable.

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Frank noted in the Washington Post Book World, "and probably wrong, to put a label like 'satire' on this odd piece of fiction. Built from fifty-nine separate but ultimately coherent vignettes, each with a simple noun for a title, the novel is all at once surreal, humorous, and Freudian. A Publishers Weekly contributor called it a rare "intellectual page-turner. Cowley wrote in the Dictionary of Literary Biography that the novel's coherence "is that of a collage rather than of a narrative, but cross-references between the vignettes create a shadowy, intense yet blurred impression of events.

Red Mulvaney, in his early twenties in Steelwork, is a boy of twelve in Red the Fiend, living with his mother and his sadistic grandmother, with his estranged father nearby. The novel chronicles the year , which brings about Red's change from a suffering masochist to a bully who learns to quell his own fears by inflicting pain on others. A Publishers Weekly contributor found Sorrentino's characters in Red the Fiend "grim, gray and mutilated. He compared the novel to Blue Pastoral. The plot involves three teenage boys—two brothers, Nort and Dick Shannon, and their friend Bud Merkel—who go in search of gold in the Gila Desert, accompanied by two leathery old guides.

This seemingly typical Old West tale also has two "bad guys," Del Pinzo and his Indian companion Zapto, who want the gold for themselves.

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Sorrentino's story is told entirely in interrogative sentences that must be answered by the reader. Little Casino, published in , focuses on postwar golden-age Brooklyn residents, from tough immigrant boys to painted women. It is built on fifty-two narratives making a whole that "zooms across time and geography on a dizzy journey of names, memories and tangents," commented a Publishers Weekly contributor.

Multiple plots, stream-of-consciousness writing, and detours into subplots and the language itself make Little Casino a bit hard to follow as a whole, said the reviewer, but the individual chapters "are easily digestible morsels of delicious prose. His novels overflow with elaborate literary contrivances and games, and the titles he gives them But there's nothing dry or ingrown about his writing. His novels have the kind of physical charge and excitement more often associated with jazz and improvisational comedy than with literature.

Poems by Gilbert Sorrentino. Appeared in Poetry Magazine.

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