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Radical Hope in the Novels of Thomas Pynchon: The Moon and Meteor provides a careful consideration of the author's career, examining the ways in which the subversion of his early novels feeds into the radical optimism of his later works. The book's first half explores the author's use of the image of the Moon as a romanticized ideal that is irreparably corrupted by and corruptly manipulated by forces of worldly power. The second half takes up the meteor as an image of impending violence that has yet to be full realized, finding in the unlikely possibility of that violence being somehow averted, a reckless sort of hope. This foolhardy but nonetheless real hope to escape from violent, oppressive structures and forge a real ethical obligation to the other marks the development of these paired metaphors, and through them Pynchon introduces the possibility, however slight, that literature, with its powerfully intimate relationship with consciousness, may at least sustain that hope.
“[Pynchon's] funniest and arguably his most accessible novel.” —The New York Times Book Review “Raunchy, funny, digressive, brilliant.” —USA Today “Rich and sweeping, wild and thrilling.” —The Boston Globe Spanning the era between the Chicago World's Fair of 1893 and the years just after World War I, and constantly moving between locations across the globe (and to a few places not strictly speaking on the map at all), Against the Day unfolds with a phantasmagoria of characters that includes anarchists, balloonists, drug enthusiasts, mathematicians, mad scientists, shamans, spies, and hired guns. As an era of uncertainty comes crashing down around their ears and an unpredictable future commences, these folks are mostly just trying to pursue their lives. Sometimes they manage to catch up; sometimes it's their lives that pursue them.
"Brilliantly written...a joy to read...Bleeding Edge is totally gonzo, totally wonderful. It really is good to have Thomas Pynchon around, doing what he does best." - Michael Dirda, The Washington Post "Exemplary...dazzling and ludicrous." - Jonathan Lethem, The New York Times Book Review It is 2001 in New York City, in the lull between the collapse of the dot-com boom and the terrible events of September 11th. Maxine Tarnow runs a fine little fraud investigation business on the Upper West Side. All is ticking over nice and normal, until she starts looking into the finances of a computer-security firm and its billionaire geek CEO. She soon finds herself mixed up with a drug runner in an art deco motorboat, a professional nose obsessed with Hitler’s aftershave, a neoliberal enforcer with footwear issues, and an array of bloggers, hackers, code monkeys, and entrepreneurs, some of whom begin to show up mysteriously dead. Foul play, of course. Will perpetrators be revealed, forget about brought to justice? Will Maxine have to take the handgun out of her purse? Will Jerry Seinfeld make an unscheduled guest appearance? Will accounts secular and karmic be brought into balance? Hey. Who wants to know?
‘Fizzes with intellectual curiosity. Kane writes engagingly and with a humility difficult to find among idea-entrepreneurs’ James Harkin, Independent We all think we know what play is. Play is what we do as children, what we do outside of work, what we do for no other reason than for pleasure. But this is only half of the truth. The Play Ethic explores the real meaning of play and shows how a more playful society would revolutionize and liberate our daily lives. Using wide and varied sources – from the Enlightenment to Eminem, Socrates to Chaos theory, Kierkegaard to Karaoke – The Play Ethic shows how play is fundamental to both society and to the individual, and how the work ethic that has dominated the last three centuries is ill-equipped to deal with the modern world. With verve, wit and intelligence, Pat Kane takes us on a tour of the playful world arguing that without it business, the arts, politics, education, even our family and spiritual lives are fundamentally impoverished. The Play Ethic seeks to change the way you look at your daily life, how you interact with others, how you view the world. It is a guidebook to new, exciting – and unsettling – times. Shocking, controversial, yet magnificently argued, The Play Ethic is a book no one who works, or has ever worked, can afford to be without. ‘Kane's Manifesto for a Different Way of Living is a brave attempt to inject a little playfulness . . . into the dull grind of the working stiff’ Iain Finlayson, The Times
"Quite simply, one of those books that will make this world - our world, our daily chemical-preservative, plastic-wrapped bread - a little more tolerable, a little more human." - Frank McConnell, Los Angeles Times Book Review “Later than usual one summer morning in 1984 . . .” On California’s fog-hung North Coast, the enchanted redwood groves of Vineland County harbor a wild assortment of sixties survivors and refugees from the “Nixonian Reaction,” still struggling with the consequences of their past lives. Aging hippie freak Zoyd Wheeler is revving up for his annual act of televised insanity when news reaches that his old nemesis, sinister federal agent Brock Vond, has come storming into Vineland at the head of a heavily armed Justice Department strike force. Zoyd instantly disappears underground, but not before dispatching his teenage daughter Prairie on a dark odyssey into her secret, unspeakable past. . . . Freely combining disparate elements from American popular culture—spy thrillers, ninja potboilers, TV soap operas, sci-fi fantasies—Vineland emerges as what Salman Rushdie has called in The New York Times Book Review “that rarest of birds: a major political novel about what America has been doing to itself, to its children, all these many years.”
Thomas Pynchon in Context guides students, scholars and other readers through the global scope and prolific imagination of Pynchon's challenging, canonical work, providing the most up-to-date and authoritative scholarly analyses of his writing. This book is divided into three parts. The first, 'Times and Places', sets out the history and geographical contexts both for the setting of Pynchon's novels and his own life. The second, 'Culture, Politics and Society', examines twenty important and recurring themes which most clearly define Pynchon's writing - ranging from ideas in philosophy and the sciences to humor and pop culture. The final part, 'Approaches and Readings', outlines and assesses ways to read and understand Pynchon. Consisting of Forty-four essays written by some of the world's leading scholars, this volume outlines the most important contexts for understanding Pynchon's writing and helps readers interpret and reference his literary work.
When Daniel's mother dies, he is brought under the protection of the AMO: the Alliance of Magicians and Outlaws. It is an introduction to a world of revenge, revolution and mind-bending chemicals, where anarchists, alchemists and high-stake gamblers co-exist. It is a place in which magic and murder are the norm. So begins an extraordinary quest for knowledge and understanding in this unforgettable outlaw classic.
A postmodern masterpiece about fraud and forgery by one of the most distinctive, accomplished novelists of the last century. The Recognitions is a sweeping depiction of a world in which everything that anyone recognizes as beautiful or true or good emerges as anything but: our world. The book is a masquerade, moving from New England to New York to Madrid, from the art world to the underworld, but it centers on the story of Wyatt Gwyon, the son of a New England minister, who forsakes religion to devote himself to painting, only to despair of his inspiration. In expiation, he will paint nothing but flawless copies of his revered old masters—copies, however, that find their way into the hands of a sinister financial wizard by the name of Recktall Brown, who of course sells them as the real thing. Dismissed uncomprehendingly by reviewers on publication in 1955 and ignored by the literary world for decades after, The Recognitions is now established as one of the great American novels, immensely ambitious and entirely unique, a book of wild, Boschian inspiration and outrageous comedy that is also profoundly serious and sad.
Thomas Pynchon’s fiction has been considered masculinist, misogynist, phallocentric, and pornographic: its formal experimentation, irony, and ambiguity have been taken both to complicate such judgments and to be parts of the problem. To the present day, deep critical divisions persist as to whether Pynchon’s representations of women are sexist, feminist, or reflective of a more general misanthropy, whether his writing of sex is boorishly pornographic or effectually transgressive, whether queer identities are celebrated or mocked, and whether his departures from realist convention express masculinist elitism or critique the gendering of genre. Thomas Pynchon, Sex, and Gender reframes these debates. As the first book-length investigation of Pynchon’s writing to put the topics of sex and gender at its core, it moves beyond binary debates about whether to see Pynchon as liberatory or conservative, instead examining how his preoccupation with sex and gender conditions his fiction’s whole worldview. The essays it contains, which cumulatively address all of Pynchon’s novels from V. (1963) to Bleeding Edge (2013), investigate such topics as the imbrication of gender and power, sexual abuse and the writing of sex, the gendering of violence, and the shifting representation of the family. Providing a wealth of new approaches to the centrality of sex and gender in Pynchon’s work, the collection opens up new avenues for Pynchon studies as a whole.