...David J. Letzler Gravity’s Rainbow , Domination, and Freedom , by Herman Luc and Weisenburger Steven , University of Georgia Press . 224 pages. Copyright © Hofstra University 2014 Review Thomas Pynchon, High Theory, and the Legacy of the Long Sixties Gravity’s Rainbow...

...Jeffrey Severs Drawing on archival sources, I argue that the 1962 Seattle World’s Fair (also known as Century 21) was an important source for Thomas Pynchon’s surreal depictions of the Raketen-Stadt in Gravity’s Rainbow . Accounts of the influence of Seattle on Pynchon have been limited to his work...

...Marie Franco Offering a queer reading of Gravity’s Rainbow , this project reevaluates the sexual politics and narrative poetics at work in Thomas Pynchon’s paradigmatic postmodernist novel. Moving beyond a thematic reading of sexuality, the article articulates the unacknowledged theoretical...

...Michael O’Bryan Thomas Pynchon’s Vineland (1990) met with a lukewarm critical reception. Critics fond of the novelist’s postmodern theatrics rejected its political didacticism, whereas politically didactic critical opponents of postmodernism rejected its lingering individualism...

... to calculate, this Advent, as the Distance to a Star. — Rev. Wicks Cherrycoke (Mason & Dixon 6) T h e story goes that Thomas Pynchon was heavily involved in the graphic design o f his 1997 novel Mason & Dixon, inside and out. In par­ ticular, he is said...

... that pursue the separation of fact and value as philosophically “modern” and thus apply “postmodern” to works that foreground the project of morally and aesthetically reconciling the two terms. LeMahieu frames his four central authors—O’Connor, John Barth, Saul Bellow, and Thomas Pynchon, usually read...

... through physics: the imagination of nuclear-powered apocalypse and the sense of an imminent existential ending finally made possible by the advance of modern science. In a brisk rereading of works by some of the usual postmodern suspects—John Barth, Thomas Pynchon, Robert Coover, Tim O’Brien, Don...

... prominent postmodern writers and their legacies, and the second connecting the urge to triumphalist history to narratives of trauma. The first part, which occupies the first three chapters of the book, examines Thomas Pynchon’s Mason & Dixon, Philip Roth’s American Pastoral, and Toni...

... crossed by Thomas Pynchon’s The Crying of Lot 49, by many accounts the text that marks the frontier between modernism and postmodernism. Peak Pynchon, of course, is closely identified with postmodernism; he is gen- erally regarded, I think justifiably, as its paradigmatic figure. If his Lot 49...

... o f Ridley Scott’s Blade Runner, freeways, suburbs, shopping malls: these have become touchstones for some o f the most influential reflections on the subject o f American— and often global— postm odernism .1 Thomas Pynchon w rote of the alienating, dystopian elements of postm...

... (1991) or Morrison’s Beloved (1987), that is, they should be concerned not with making and finding mean­ ing but rather with reinforcing identity. But this is not the case. Many literary writers who wrote widely read works of the 1990s—Morrison, Philip Roth, Thomas Pynchon, Don DeLillo, Tim...

... to say about Jorge Luis Borges than any o f B arth’s contemporaries. Perhaps most tellingly, Thomas Pynchon gets only three entries in Klein’s index, compared to Bellow’s 28. Similarly, Tony Tanner’s classic 1971 study o f contemporary American fiction City of Words gives authors like...

...). To do so, Breu turns to a corpus of twentieth-century literature that he describes as “the late-capitalist literature of materiality”—William Burroughs’s Naked Lunch (1959), Thomas Pynchon’s V . (1963), J. G. Ballard’s Crash (1973), Dodie Bellamy’s The Letters of Mina Harker (1998), and Leslie...

... a determinedly revisionist and historicist perspective on many of the ca- nonical postmodernist texts to which she alludes. Novels such as Thomas Pynchon’s The Crying of Lot 49 (1966) and Don DeLillo’s White Noise (1985), now monuments in the American postmodern landscape, have produced a spate of recent...

... that the alternative staged by Portnoy’s Complaint is representative o f the similar kinds o f attitudes staked out by writers like Thomas Pynchon or John Barth or many o f their contemporaries, it suggests that near the core o f m uch postm odern fiction lies not only the revolt against formalism...

.... Belletto argues that Thomas Pynchon’s V. (1963) “stages the structural similarities between designing chance in fiction and the denial of chance by those modern political systems” (37) that create statewide fictional narratives. To illustrate this point, Belletto offers a reading of Benny Profane...

... it as a joke. As with much of the fiction Bachner examines, Pale Fire testifies to the existence of violence at the same time as it argues for (by performing) the near impossibility of representing it. In Bachner’s reading, Thomas Pynchon’s The Crying of Lot 49 demonstrates this conundrum even more...

...- scratching structural parallel. Many readers will also sense that The Program Era occasionally trims the full picture to fit its thesis. For example, the towering technomodern- ist and famous recluse Thomas Pynchon has never been affiliated with a writing program on any level. Nabokov taught him...

...—the dispersal and dis- appearance of Thomas Pynchon’s nominal protagonist Tyrone Slothrop in Gravity’s Rainbow (1973), for instance—as paralleling the putative de- personalization of organization men. The postmodern incorporation of genre elements, I further suggest, construes genre as a form...

... avant-garde achieves critical mass, the revolutionary politics of feminism, black separatism, and antiwar protest escalate, and Thomas Pynchon publishes The Crying of Lot 49 , “the text that marks the frontier between modernism and postmodernism” (62). He then describes a “peak” (64) phase from...