This summer the National Book Foundation has been posting reader reactions to each of the 77 fiction winners from its 60-year history. Along with Casey Hicks (whose overview is great—Byron the Bulb!), I wrote a short bit about Thomas Pynchon’s Gravity’s Rainbow, which went online today. (Perfect timing with Inherent Vice releasing yesterday.) I can’t say for certain, but I wouldn’t be surprised if my piece is the first time both The O.C. and Paris Hilton are mentioned on the National Book Foundation blog . . . Here’s the opening:
“A screaming comes across the sky.”
This is arguably one of twentieth-century literature’s most recognizable opening lines. A “Call me Ishmael” for the paranoids, the pot smokers, the conspiracy theorists who see patterns in everything. “No, this is not a disentanglement from, but a progressive knotting into . . .”
I first read Gravity’s Rainbow the summer after graduating from college and was instantly convinced that this was THE BOOK OF ALL BOOKS. Everything is here—high level musings on philosophy, physics, chemistry, psychology, séances and the beyond; outrageous names (lots of outrageous names: Pig Bodine, Teddy Bloat, Pirate Prentice, Captain Dominus Blicero), songs, and a surreal trip down a toilet; information about “Them,” V-2 rockets, and absolute fear. High culture and pop references. History and trivia. And out of all that comes a the obsessive feeling that all these pieces might add up to something of Monumental Importance, or might just be a fun way to kill a few months . . .
It’s almost impossible to even summarize this novel, which features more than 400 different characters and dozens of plot threads. I mean, this is a novel that starts with a top-secret military group studying data on how each of Tyrone Slothrop’s sexual encounters takes place at a location that is hit by a V-2 rocket days later. Is this just coincidence? Or is it a result of experiments done on Baby Tyrone by Laszlo Jamf involving a mysterious substance called Imipolex G? And what the hell is the significance of the “00000” rocket and the S-Gerät component?
Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .
Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .
Heiner Resseck, the protagonist in Monika Held’s thought-provoking, first novel, This Place Holds No Fear, intentionally re-lives his past every hour of every day. His memories are his treasures, more dear than the present or future. What wonderful past eclipses. . .
If you’ve ever worked in a corporate office, you’ve likely heard the phrase, “Perception is reality.” To Björn, the office worker who narrates Jonas Karlsson’s novel The Room, the reality is simple: there’s a door near the bathroom that leads. . .
I recently listened to Three Percent Podcast #99, which had guest speaker Julia Berner-Tobin from Feminist Press. In addition to the usual amusement of finally hearing both sides of the podcast (normally I just hear parts of Chad’s side. . .
Let’s not deceive ourselves, man is nothing very special. In fact, there are so many of us that our governments don’t know what to do with us at all. Six billion humans on the planet and only six or seven. . .
“Rambling Jack—what’s that?”
“A novel. Novella, I guess.”
“Yeah, it looks short. What is it, a hundred pages?”
“Sorta. It’s a duel language book, so really, only about… 50 pages total.”
“And this—what. . .
Many authors are compared to Roberto Bolaño. However, very few authors have the privilege of having a Roberto Bolaño quote on the cover of their work; and at that, one which states, “Good readers will find something that can be. . .
In Josep Maria de Sagarra’s Private Life, a man harangues his friend about literature while walking through Barcelona at night:
When a novel states a fact that ties into another fact and another and another, as the chain goes on. . .
César Aira dishes up an imaginative parable on how identity shapes our sense of belonging with Dinner, his latest release in English. Aira’s narrator (who, appropriately, remains nameless) is a self-pitying, bitter man—in his late fifties, living again with. . .