Thomas Berger
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DCLOYCESMITH:
Since the topic of authors that should be included has come up again (in "The Americans" thread), just curious: has anyone ever seriously considered Thomas Berger for inclusion in the LOA?
Known for this satires, he's definitely a writer whose work needs preserving. And although he was never the recipient of any Big Literary Awards (more's the pity), like Pynchon, one of his books (THE FEUD) was recommended for a Pulitzer Prize, but (as they did with GRAVITY'S RAINBOW, or even MAINSTREET back in the 1920s), the "board of directors" overturned the decision.
LITTLE BIG MAN -- a pseudo-western farce -- was his break-out success (apparently it was even taught in schools, shortly after publication), and was one of four of his books turned into films.
After military service during WWII, he sort of dropped out and attended a writer's school, rubbing elbows with Kerouac. William Styron and Mario Puzo. He wrote four novels about a guy named Reinhart who was the polar opposite (and thus, more interesting) of Updikes Rabbit. He also wrote novels that made use of genre tropes: horror (KILLING TIME), science fiction (BEING INVISIBLE), and detective novels (WHO IS TEDDY VILLANOVA?).
And he reworked old myths and stories in other novels: ARTHUR REX (Camelot), ROBERT CREWS (Robinson Crusoe) and ORRIE'S STORY (Oresteia).
He once said that after nailing down "the style" he was able to get to work and complete a novel, which likely explains the variety of subjects and subject matter and genres throughout his oeuvre. But one recurrent thing is his satire and dark humor. NEIGHBORS deals with, naturally, the neighbors from hell; ditto for THE HOUSEGUEST, which satirizes that subject. REGIMENT OF WOMEN reworked some themes from Greek literature to satirize women's lib. And THE FEUD takes the Hatfields and McCoys to a whole new level.
He wrote a few books of short stories, and some plays, as well, but his novels are what brought him fame and acclaim during his lifetime.
Since the topic of authors that should be included has come up again (in "The Americans" thread), just curious: has anyone ever seriously considered Thomas Berger for inclusion in the LOA?
Known for this satires, he's definitely a writer whose work needs preserving. And although he was never the recipient of any Big Literary Awards (more's the pity), like Pynchon, one of his books (THE FEUD) was recommended for a Pulitzer Prize, but (as they did with GRAVITY'S RAINBOW, or even MAINSTREET back in the 1920s), the "board of directors" overturned the decision.
LITTLE BIG MAN -- a pseudo-western farce -- was his break-out success (apparently it was even taught in schools, shortly after publication), and was one of four of his books turned into films.
After military service during WWII, he sort of dropped out and attended a writer's school, rubbing elbows with Kerouac. William Styron and Mario Puzo. He wrote four novels about a guy named Reinhart who was the polar opposite (and thus, more interesting) of Updikes Rabbit. He also wrote novels that made use of genre tropes: horror (KILLING TIME), science fiction (BEING INVISIBLE), and detective novels (WHO IS TEDDY VILLANOVA?).
And he reworked old myths and stories in other novels: ARTHUR REX (Camelot), ROBERT CREWS (Robinson Crusoe) and ORRIE'S STORY (Oresteia).
He once said that after nailing down "the style" he was able to get to work and complete a novel, which likely explains the variety of subjects and subject matter and genres throughout his oeuvre. But one recurrent thing is his satire and dark humor. NEIGHBORS deals with, naturally, the neighbors from hell; ditto for THE HOUSEGUEST, which satirizes that subject. REGIMENT OF WOMEN reworked some themes from Greek literature to satirize women's lib. And THE FEUD takes the Hatfields and McCoys to a whole new level.
He wrote a few books of short stories, and some plays, as well, but his novels are what brought him fame and acclaim during his lifetime.
