The Maximalist Novel sets out to define a new genre of contemporary
fiction. It is an aesthetically hybrid genre, which developed in
the United States from the early 1970s, and then gained popularity
in Europe in the early twenty-first century. Ercolino's aim is to
stake out a new conceptual territory, which will contribute to a
re-shaping of both the traditional view of postmodern literature
and the understanding of the development of the novel in the second
half of the twentieth century. The maximalist novel has a very
strong symbolic and morphological identity. Ercolino sets out ten
particular elements which define and structure it as a complex
literary form: length, an encyclopedic mode, dissonant chorality,
diegetic exuberance, completeness, narrratorial omniscience,
paranoid imagination, inter-semiocity, ethical commitment, and
hybrid realism.These ten characteristics are common to all of the
seven works upon which the hypothesis of the maximalist novel is
based: Gravity's Rainbow by Thomas Pynchon, Infinite Jest by David
Foster Wallace, Underworld by Don DeLillo, White Teeth by Zadie
Smith, The Corrections by Jonathan Franzen, 2666 by Roberto Bolano,
and 2005 dopo Cristo by the Babette Factory. Though the ten
features are not all present in the same way or form in every
single text, they are all decisive in defining the genre of the
maximalist novel, insofar as they are systematically co-present.
Taken singularly, they can be easily found both in modernist and
postmodern novels, which are not maximalist. Nevertheless, it is
precisely their co-presence, as well as their reciprocal
articulation, which make them fundamental in demarcating the
maximalist novel as a genre.
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