![]() ![]() ![]() These nouns tended to have a colloquial and/or idiomatic bent to them: “the telephone rings at night, its signal or ‘ring'” “be resolved or ‘worked-through'”. The maximalist inner-monologue was generally in extraordinarily lengthy explanations, which is not a new trick of DFW’s, but what was new about the style was the constant offering of multiple definitions for most descriptive nouns Randall used. So, now I will speculate in order of these things appearance in my reading. There are a few things that stood out to me about Oblivion (which are probably the same things that stood out to everyone else), in order of occurrence to me those were: the maximalist inner-monologue of Randall Napier, in a way reminiscent of one of the stories in Brief Interviews in which the main character constantly set off his words with quotations the latent sexual attraction Randall felt towards his son, revealed in the last scene of the dream sequence that constitutes almost the entire story and the final scene in the story, which was utterly confusing and therefore unnerving in the goosebumpy sense. I’m also going to try this without having read any criticism on the piece, which I’m sure would help this interpretation a tremendous amount. This may be because our posts are supposed to pertain to information from last class’s readings, but if that’s the case then those post-ers of Good Old Neon are just as much sinners as I am. I’m going to take a stab at interpreting Oblivion–the story–, since surprisingly nobody has yet on the blog. ![]()
0 Comments
Leave a Reply. |