Speaking of Reza, did anyone read about this graphic novel thing he was supposed to be doing? I'd totally forgotten about it until the other day when I received this email from Amazon.That person was arguing about Pynchon with Reza Negarestani a while back.
Now, is it just me or does that feel like a bit of a piss-take? I know there was supposed to be some kind of delay cos it was like a kickstarter or something, but as I understood it the situation was simply that a few quid in advance were necessary to nudge it over the line so the publisher could bosh them all out and wing them on their way to us the happy readers. In my mind, even with that complication I thought that I could reasonably expect to be happily reading it in six months or so... I really don't think that the wait was supposed to be for more than two years. How can it possibly take that long? For argument's sake, let's play a little game and say that at the time of my order, he had had nothing more than a title, there would still have been plenty of time for him to come up with an actual book to go along with it, then to write it out long-hand, get it printed in his local newsagent and deliver it to me personally, travelling only under his own steam and using only methods of transport that have been available for at least a thousand years.Delivery estimate update for your Amazon.com order #112-1560217-9458655
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Chronosis 1 (Urbanomic / K-Pulp)
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After much work and waiting, my PhD thesis is now available online. The topic of the thesis is Thomas Pynchon and the posthuman Gothic, with chapters on the themes of terror and horror in The Crying of Lot 49; the Gothic spaces and times of Mason & Dixon; the strange blend of posthuman Luddism of Pynchon’s nonfiction; and the ambivalent cybergothic of Bleeding Edge. An archived copy may be accessed here (or via this backup). The abstract may also be read below:
Long recognised as one of the preeminent writers of literary postmodernism, Thomas Pynchon’s reputation appears set in stone. Yet, I argue, beneath the postmodern appearance of Pynchon’s writing lies a much older form: the Gothic. This thesis contends that Pynchon participates in several broad conventions of the Gothic genre by way of his dramatisation of anxieties surrounding the place of humanity and rationality within inhuman environments. This reading of Pynchon’s Gothicism places his work within the contemporary subgenre of the posthuman Gothic, primarily due to his preoccupation with humanity’s integration into machines, and also by way of the accompanying concerns with the loss of bodily integrity, psychological autonomy, and spiritual agency.
By examining Pynchon as a specifically posthuman Gothic writer I wish to show that the course of human history imagined in his novels does not lead solely to apocalypse or extinction—as critical commentary on his early fiction tends to suggest—but toward a transformation of humanity by its technical and ecological surroundings. Beyond this re-reading of Pynchon’s work, this thesis also attempts to theorise the posthuman Gothic as being more than simply a rehashing of Gothic tropes with sputtering robots instead of cackling villains: in short, I suggest that the structural anxieties of the inside and outside identified by Eve Kosofsky Sedgwick as hallmarks of the Gothic are isomorphic to the structures of the posthuman subject which is similarly invaded and confined by its environments.
From within this framework of the posthuman and the Gothic, I argue that Pynchon’s various aesthetic and political commitments may be drawn into focus, as the seemingly archaic forms of the Gothic re-emerge once again to name an emerging posthumanity haunted by its recent human past while descending into a monstrous future.
I thought that was his worst for a long time then reread it recently and loved it. The structure's nuts; stories nested in stories nested in stories.anyway i've decided vineland is his best.
and most importantly, funny as fuckI thought that was his worst for a long time then reread it recently and loved it. The structure's nuts; stories nested in stories nested in stories.
'Once he would have proclaimed, “Because in this country nobody in power gives a shit about any human life but their own. This forces us to be humane—to attack what matters more than life to the regime and those it serves, their money and their property.” But these days he was saying, “It’s wrong because if you pick up a rifle, the Man picks up a machine gun, by the time you find some machine gun he’s all set up to shoot rockets, begin to see a pattern?” Between these two replies, something had happened to him. He was still preaching humane revolution, but seemed darkly exhausted, unhopeful, snapping at everybody, then apologizing. If anybody caught this change, it was much too late to make a difference.'