Difference between revisions of "Reviews of Vineland"
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The tone of ''Vineland'' is softer, more conciliatory than in past works. There is a hopeful sense of coming together that contrasts with the apocalyptic Gravity's Rainbow. Could the years be mellowing Pynchon? No matter, his talents remain sharp, and it's good to hear from the master of the absurd again." | The tone of ''Vineland'' is softer, more conciliatory than in past works. There is a hopeful sense of coming together that contrasts with the apocalyptic Gravity's Rainbow. Could the years be mellowing Pynchon? No matter, his talents remain sharp, and it's good to hear from the master of the absurd again." | ||
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| + | Summer, 1990 - [[Yale Review - "State and Vine"|'''"State and Vine" in the ''Yale Review''''']] - Richard Powers: "All fallen and even abused children, like Frenesi, with her "shadows of her shoulder blades, like healed stumps of wings ritually amputated once long ago," will, for better or worse, never escape the need for parenting, for a bedtime story. Yes, narrative may be a form of paranoia, a frightened systems-building to counter or create conspiracies, real and imagined. But narrative can be more: in Vineland it is an interrogation of power, a flexing of imagination and observation, an urgent verbal gag straining to redeem what innocence is left us by the State. In this, its only weapon, as always, is continuous telling and retelling. Whatever other astonishments and innovations have landed him securely in American readers' imaginations, Pynchon remains above all a story-spinner, winning another few moments for the mind's eye. So tell us another one, Pop, before it gets too dark." | ||
Revision as of 22:23, 9 December 2007
01/14/90 - New York Times by Salmon Rushdie: "Vineland, Mr. Pynchon's mythical piece of northern California, is, of course, also Vinland, the country discovered by the Viking Leif Ericsson long before Columbus. It is Vineland the Good; that is to say, this crazed patch of California stands for America itself. And it is here, to Vineland, that one of America's great writers has, after long wanderings down his uncharted roads, come triumphantly home."
03/23/90 - The Tech - Mark Webster: "The Tube is ubiquitous. Life is defined, framed, imitated, and irradiated by the Tube. Movie and TV show titles have dates next to them as if they were references for the story. Pynchon can pack more historical, literary, scientific, and entertainment references into a single sentence than anyone.
The tone of Vineland is softer, more conciliatory than in past works. There is a hopeful sense of coming together that contrasts with the apocalyptic Gravity's Rainbow. Could the years be mellowing Pynchon? No matter, his talents remain sharp, and it's good to hear from the master of the absurd again."
Summer, 1990 - "State and Vine" in the Yale Review - Richard Powers: "All fallen and even abused children, like Frenesi, with her "shadows of her shoulder blades, like healed stumps of wings ritually amputated once long ago," will, for better or worse, never escape the need for parenting, for a bedtime story. Yes, narrative may be a form of paranoia, a frightened systems-building to counter or create conspiracies, real and imagined. But narrative can be more: in Vineland it is an interrogation of power, a flexing of imagination and observation, an urgent verbal gag straining to redeem what innocence is left us by the State. In this, its only weapon, as always, is continuous telling and retelling. Whatever other astonishments and innovations have landed him securely in American readers' imaginations, Pynchon remains above all a story-spinner, winning another few moments for the mind's eye. So tell us another one, Pop, before it gets too dark."
