Thomas Pynchon: Allusive Parables of Power by John Dugdale

By John Dugdale

Written by means of the writer of "William Dean Howells, Indian Summer", "Herman Melville, the arrogance guy, White Jacket", "William Dean Howells, a threat of latest Fortunes" and "File on Shepherd", this can be a severe learn on Thomas Pynchon.

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By John Dugdale

Written by means of the writer of "William Dean Howells, Indian Summer", "Herman Melville, the arrogance guy, White Jacket", "William Dean Howells, a threat of latest Fortunes" and "File on Shepherd", this can be a severe learn on Thomas Pynchon.

Show description

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Sample text

Siegel's final decision to leave the party to Irving Loon is presented as the Jewish mensch consenting to being overridden by the Catholic Machiavel (212): And the other, gentle part of him sang kaddishes for the dead and mourned over the Jesuit's happiness, realizing however that this kind of penance was as good as any other; it was just unfortunate that Irving Loon would be the only one partaking of any body and blood, divine or otherwise. It took no more than five seconds for the two sides to agree that there was really only one course to take.

This seems to be merely one of several incidents through which the story assembles a picture of a chaotic party. But the words refer back in the text to Lupescu's image of an unbottled genie, and forward to the damnation of the white guests in the ending. They hint at a bloodstained white culture, and at the idea of blood resulting when something Italian- Machiavel, Roman Catholicin Siegel is released from repression. The manipulation of superficially contingent detail, and the unadvertised density of symbolic suggestions and cross-references, are reminiscent of Dubliners.

15 Siegel listens to confessions for the same reason that Clamence confesses, to remain outside the whole process, judge rather than judged. Whereas Clamence speaks words in which others find themselves-'The portrait I hold out to my contemporaries becomes a mirror' 16 - Siegel unwillingly recognises himself in the words he hears, sees himself mirrored in those who confess. At the same time he occupies the position for the reader of MMV that those who confess have for him. College-educated, a composite of Jew, Catholic and WASP elements, of every major neurosis, his story is a mirror held out to his contemporaries, in the expectation that each probable original male reader will find some reflection of himself.

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