Template:Pynchon Bio

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Thomas Ruggles Pynchon, Jr. (born May 8, 1937) is an American writer based in New York City. He is noted for his dense and complex works of fiction. Hailing from Long Island, Pynchon spent two years in the United States Navy and earned an English degree from Cornell University. After publishing several short stories in the late 1950s and early 1960s, he began composing the novels for which he is best known today: V. (1963), The Crying of Lot 49 (1966), Gravity's Rainbow (1973), Vineland (1990), Mason & Dixon (1997), Against the Day (2006), Inherent Vice (2009), and Bleeding Edge (2013).

Pynchon is regarded by many readers and critics as one of the finest contemporary authors. He is a MacArthur Fellow and a recipient of the National Book Award, and is regularly cited as a contender for the Nobel Prize in Literature. Both his fiction and non-fiction writings encompass a vast array of subject matter, styles and themes, including (but not limited to) the fields of history, science and mathematics. Pynchon is also known for his avoidance of personal publicity: very few photographs of him have ever been published, and rumors about his location and identity have been circulated since the 1960s.

Biography

Thomas Pynchon was born in 1937 in Glen Cove, Long Island, New York, one of three children of Thomas Ruggles Pynchon, Sr. (1907-1995) and Katherine Frances Bennett (1909-1996). His earliest American ancestor, William Pynchon, emigrated to the Massachusetts Bay Colony with the Winthrop Fleet in 1630, and thereafter a long line of Pynchon descendants found wealth and repute on American soil. Pynchon's family background and aspects of his ancestry have provided source material for his fictions, particularly in the Slothrop family histories related in "The Secret Integration" (1964) and Gravity's Rainbow.

For those curious about the latest biographical details, "On the Thomas Pynchon Trail: From the Long Island of His Boyhood to the ‘Yupper West Side’ of His New Novel" fills in some holes without betraying any confidences or really private information.

Childhood and education

Pynchon attended Oyster Bay High School, where he was awarded "student of the year" and contributed short fictional pieces to his school newspaper: "Voice of the Hamster",[1] "The Boys",[2] and "Ye Legend of Sir Stupid and the Purple Knight".[3] These works featured many of the themes and literary devices he would use throughout his career: silly names, rampant drug use, and paranoia. After graduating in 1953 at the age of 16, he studied engineering physics at Cornell University, but left at the end of his second year to serve in the U.S. Navy. In 1957, Pynchon returned to Cornell to pursue a degree in English. His first published story, "The Small Rain", appeared in the Cornell Writer in May 1959, and narrates an actual experience of a friend who had served in the army; subsequently, however, episodes and characters throughout Pynchon's fiction draw freely upon his own experiences in the navy.

While at Cornell, Pynchon became a friend of Richard Fariña, and both briefly led what Pynchon has called a "micro-cult" around Oakley Hall's 1958 novel Warlock. (He later reminisced about his college days in the introduction he wrote in 1983 for Fariña's novel Been Down So Long It Looks Like Up to Me, first published in 1966.) Pynchon also reportedly attended lectures given by Vladimir Nabokov, who then taught literature at Cornell. While Nabokov later said that he had no memory of Pynchon (although Nabokov's wife, Vera, who graded her husband's class papers, commented that she remembered his distinctive handwriting; his later handwriting appears unexceptional), other teachers at Cornell, like the novelist James McConkey, recall him as being a gifted and exceptional student. In 1958, Pynchon and Cornell classmate Kirkpatrick Sale wrote part or all of a science-fiction musical, Minstral Island, which portrayed a dystopian future in which IBM rules the world. [1] Pynchon received his BA in June 1959.

V.

After leaving Cornell, Pynchon began to work on his first novel. From February 1960 to September 1962, he was employed as a technical writer at Boeing in Seattle, where he compiled safety articles for the Bomarc Service News,[4] a support newsletter for the BOMARC surface-to-air missile deployed by the U.S. Air Force. Pynchon's experiences at Boeing inspired his depictions of the "Yoyodyne" corporation in V. and The Crying of Lot 49, and both his background in physics and the technical journalism he undertook at Boeing provided much raw material for Gravity's Rainbow. When it was published in 1963, Pynchon's novel V. won a William Faulkner Foundation Award for best first novel of the year.

After resigning from Boeing, Pynchon spent time in New York and Mexico before moving to California, where he was reportedly based for much of the 1960s and early 1970s, most notably in an apartment in Manhattan Beach, in Southern California.[5] Pynchon during this period embraced the lifestyle and values of the hippie counterculture, which he would later make use of in his 1990 novel Vineland.[6] In 1964, his application to study mathematics as a graduate student at the University of California, Berkeley, was turned down.[7] In 1966, he wrote a first-hand report on the aftermath and legacy of the Watts riots in Los Angeles. Entitled "A Journey Into the Mind of Watts," the article was published in the New York Times Magazine.[8]

From the mid-1960s Pynchon has also regularly provided blurbs and introductions for a wide range of novels and non-fiction works. One of the first of these pieces was a brief review of Hall's Warlock which appeared, along with comments by seven other writers on "neglected books", as part of a feature entitled "A Gift of Books" in the December 1965 issue of Holiday.

The Crying of Lot 49

In April 1964, Pynchon wrote to his agent, Candida Donadio, that he was facing a creative crisis, with four novels in progress, and that "If they come out on paper anything like they are inside my head then it will be the literary event of the millennium."[9] In December 1965, Pynchon politely turned down an offer to teach literature at Bennington College, writing that he had resolved, two or three years earlier, to write three novels at once.[10] Pynchon called the decision "a moment of temporary insanity," but noted that he was "too stubborn to let any of them go, let alone all of them."

Pynchon's second novel, The Crying of Lot 49, was published a few months later in 1966. Whether it was one of the three or four novels Pynchon had in progress is unknown, but in a 1965 letter to Donadio, Pynchon had written that he was in the middle of writing a book that he called a "potboiler." When the book grew to 155 pages, he called it, "a short story, but with gland trouble," and hoped that Donadio "can unload it on some poor sucker." This would suggest that Crying of Lot 49 was not one of the four novels Pynchon was writing as of 1964, but no answer is certain.

The Crying of Lot 49 won the Richard and Hilda Rosenthal Foundation Award shortly after publication. Although more concise and linear in its structure than Pynchon's other novels, its labyrinthine plot features an ancient, underground mail service known as "The Tristero" or "Trystero," a parody of a Jacobean revenge drama entitled "The Courier's Tragedy," and a corporate conspiracy involving the bones of World War II American GIs being used as charcoal cigarette filters. It proposes a series of seemingly incredible interconnections between these and other similarly bizarre revelations that confront the novel's protagonist, Oedipa Maas. Like V, the novel contains a wealth of references to science and technology and to obscure historical events, and both books dwell upon the detritus of American society and culture. The Crying of Lot 49 also continues Pynchon's habit of composing parodic song lyrics and punning names, and referencing aspects of popular culture within his prose narrative. In particular, it incorporates several allusions to the Beatles and Nabokov's Lolita.

In 1968, Pynchon was one of 447 signatories to the "Writers and Editors War Tax Protest." Full-page advertisements in The New York Post and The New York Review of Books listed the names of those who had pledged not to pay "the proposed 10% income tax surcharge or any war-designated tax increase," and stated their belief "that American involvement in Vietnam is morally wrong".[11]

Gravity's Rainbow and Pynchon's rise to prominence

Pynchon's most celebrated novel is his third, Gravity's Rainbow, published in 1973. An intricate and allusive fiction which combines and elaborates on many of the themes of his earlier work, including preterition, paranoia, racism, colonialism, conspiracy, synchronicity, and entropy, the novel has spawned a wealth of commentary and critical material, including two reader's guides,[12] books and scholarly articles, on-line concordances and discussions,[13] and art works, and is regarded as one of the archetypal texts of American literary postmodernism. The major portion of Gravity's Rainbow takes place in London and Europe in the final months of the Second World War and the weeks immediately following VE Day, and is narrated for the most part from within the historical moment in which it is set. In this way, Pynchon's text enacts a type of dramatic irony whereby neither the characters nor the various narrative voices are aware of specific historical circumstances, such as the Holocaust, which are, however, very much to the forefront of the reader's understanding of this time in history. Such an approach generates dynamic tension and moments of acute self-consciousness, as both reader and author seem drawn ever deeper into the "plot", in various senses of that term. Encyclopedic in scope, the novel also displays enormous erudition in its treatment of an array of material drawn from the fields of psychology, chemistry, mathematics, history, religion, music, literature and film. Perhaps appropriately for a book so suffused with engineering knowledge, Pynchon reportedly wrote the first draft of Gravity's Rainbow in longhand on engineer's graph paper (aka "quadrille" paper), in California and Mexico City.

Gravity's Rainbow was a joint winner of the 1974 National Book Award for Fiction, along with Isaac Bashevis Singer's A Crown of Feathers and Other Stories. In the same year, the fiction jury unanimously recommended Gravity's Rainbow for the Pulitzer Prize; however, the Pulitzer board vetoed the jury's recommendation, describing the novel as "unreadable", "turgid", "overwritten", and in parts "obscene", and no prize was awarded.[14] In 1975, Pynchon declined the William Dean Howells Medal of the American Academy of Arts and Letters.

Post-Gravity's Rainbow

A collection of Pynchon's early short stories, entitled Slow Learner], was published in 1984, with a lengthy autobiography|autobiographical introduction. In October of the same year, an article entitled "Is It O.K. to Be a Luddite?" was published in the New York Times Book Review. In April 1988, Pynchon contributed an extensive review of Gabriel García Marquéz's novel, Love in the Time of Cholera, to the New York Times, under the title "The Heart's Eternal Vow". Another article, entitled "Nearer, My Couch, to Thee", was published in June 1993 in the New York Times Book Review, as one in a series of articles in which various writers reflected on each of the Seven Deadly Sins. Pynchon's subject was "Sloth".

Vineland

Pynchon's fourth novel, Vineland, was published in 1990. The novel is set in California in the 1980s and 1960s, and describes the relationship between an FBI COINTELPRO agent and a female radical filmmaker. Its strong socio-political undercurrents detail the constant battle between authoritarianism and communalism, and the nexus between resistance and complicity, but with a typically Pynchonian sense of humor.

In 1988, he received a MacArthur Fellowship and, since the early 1990s at least, many observers have mentioned Pynchon as a Nobel Prize contender.[15] Renowned American literary critic Harold Bloom has named him as one of the four major American novelists of his time, along with Don DeLillo, Philip Roth, and Cormac McCarthy.

Mason & Dixon

Pynchon's fifth novel, Mason & Dixon, was published in 1997. Pynchon began writing it as early as January 1975.[16] The meticulously-researched novel is a sprawling saga recounting the lives and careers of the English astronomer, Charles Mason, and his partner, the surveyor Jeremiah Dixon, and the birth of the American Republic. While it received some negative reviews, the great majority of commentators acknowledged it as a welcome return to form, and some, including Bloom, have called it Pynchon's greatest work to date.

After the publication of Mason & Dixon, a user by the online name of Martin Scribler posted a handful of messages on the Pynchon-L mailing list denouncing many members of that group as "dunces all" for discussing their own neuroses over actual literary discussion. Due to the high quality of Martin Scriblers' posts, their message, and the historical significance of his name (alluding to an 18th-century satire of pretentious erudition), many have speculated that Pynchon himself wrote these posts.

Against the Day

A variety of rumors pertaining to the subject matter of Pynchon's next book have circulated over a number of years. Most specific of these were comments made by the former German minister of culture, Michael Naumann, who stated that he assisted Pynchon in his research about "a Russian mathematician [who] studied for David Hilbert in Göttingen", and that the new novel would trace the life and loves of Sofia Kovalevskaya.

In July 2006, a new untitled novel by Pynchon was announced along with a synopsis written by Pynchon himself, which appeared on Amazon.com, stating that the novel's action takes place between the 1893 Chicago World's Fair and the time immediately following World War I. "With a worldwide disaster looming just a few years ahead," Pynchon writes in his Book Description, "it is a time of unrestrained corporate greed, false religiosity, moronic fecklessness, and evil intent in high places. No reference to the present day is intended or should be inferred." He promises cameos by Nikola Tesla, Bela Lugosi and Groucho Marx, as well as "stupid songs" and "strange sexual practices". Subsequently, the title of the new book was reported as Against the Day and a Penguin spokesperson confirmed that the synopsis was Pynchon's.[17]

Against the Day was released November 21, 2006 and is 1,085 pages long in the first edition hardcover. The book was given almost no promotion by Penguin and professional book reviewers were given little time in advance to review the book, presumably in accord with Pynchon's wishes. An edited version of Pynchon's synopsis was used as the jacket flap copy and Kovalevskaya does appear, although as only one of over a hundred characters.

There has been no consensus among professional book reviewers, although many agree that it is by turns brilliant and exhausting (Complete Reviews). An Against the Day wiki was launched on the same day the novel was published to help readers keep track of the numerous characters, events and themes.

Themes and influence

Along with its emphasis on loftier themes such as racism, imperialism and religion, and its cognizance and appropriation of many elements of traditional high culture and literary form, Pynchon's work also demonstrates a strong affinity with the practitioners and artifacts of low culture, including comic books and animated cartoons, pulp fiction, popular films, television programs, cookery, urban myths, conspiracy theories, and folk art. This blurring of the conventional boundary between "High" and "low" culture, sometimes interpreted as a "deconstruction", is seen as one of the defining characteristics of postmodernism.

In particular, Pynchon has revealed himself in his fiction and non-fiction as an aficionado of popular music. Song lyrics and mock musical numbers appear in each of his novels, and, in his autobiographical introduction to the Slow Learner collection of early stories, he reveals a fondness for both jazz and rock and roll. The character McClintic Sphere in V. is a fictional composite of master jazz musicians such as Ornette Coleman, Charlie Parker and Thelonious Monk. In The Crying of Lot 49, the lead singer of "The Paranoids" sports "a Beatle haircut" and sings with an English accent. In the closing pages of Gravity's Rainbow, there is an apocryphal report that Tyrone Slothrop, the novel's protagonist, played kazoo and harmonica as a guest musician on a record released by The Fool in the 1960s (having magically recovered the latter instrument, his "harp", in a German stream in 1945, after losing it down the toilet in 1939 at the Roseland Ballroom in Roxbury, Massachusetts, to the strains of the jazz standard "Cherokee", upon which tune Charlie Parker was simultaneously inventing bebop in New York, as Pynchon describes). In Vineland, both Zoyd Wheeler and Isaiah Two Four are also musicians: Zoyd played keyboards in a '60s surf band called "The Corvairs", while Isaiah played in a punk band called "Billy Barf and the Vomitones". In Mason & Dixon, one of the characters plays on the "Clavier" the varsity drinking song which will later become "The Star-Spangled Banner".

In his Slow Learner introduction, Pynchon acknowledges a debt to the anarchic bandleader Spike Jones, and in 1994, he penned a 3000-word set of liner notes for the album Spiked!, a collection of Jones's recordings released on the short-lived BMG Catalyst label. Pynchon also wrote the liner notes for Nobody's Cool, the second album of indie rock band Lotion, in which he states that "rock and roll remains one of the last honorable callings, and a working band is a miracle of everyday life. Which is basically what these guys do." He is also known to be a fan of Roky Erickson.

In terms of literary influences and affinity, an eclectic catalogue of Pynchonian precursors has been proposed by readers and critics. Beside overt references in the novels to writers as disparate as Henry Adams, Isaac Asimov, Giorgio de Chirico, Ludwig Wittgenstein, Emily Dickinson, Rainer Maria Rilke, Jorge Luis Borges, Ishmael Reed, Ralph Waldo Emerson, Patrick O'Brian, and Umberto Eco, and to an eclectic mix of iconic religious and philosophical sources, credible comparisons with works by Rabelais, Cervantes, Laurence Sterne, Edgar Allan Poe, Nathaniel Hawthorne, Herman Melville, Charles Dickens, Joseph Conrad, Thomas Mann, William Burroughs, Ralph Ellison, Patrick White, and Toni Morrison have also been made. Some commentators have detected similarities with those writers in the Modernist tradition who wrote extremely long novels dealing with large metaphysical or political issues. Examples of such works might include Ulysses by James Joyce, A Passage to India by E.M. Forster, The Apes of God by Wyndham Lewis, The Man Without Qualities by Robert Musil, or The Castle by Franz Kafka. In his "Introduction" to Slow Learner, Pynchon explicitly acknowledges his debt to Beat Generation writers, and expresses his admiration for Jack Kerouac's On the Road in particular; he also reveals his familiarity with literary works by T. S. Eliot, Ernest Hemingway, Henry Miller, Saul Bellow, Herbert Gold, Philip Roth and Norman Mailer, and non-fiction works by Helen Waddell, Norbert Wiener and Isaac Asimov. Other contemporary American authors whose fiction is often categorised alongside Pynchon's include John Hawkes, Kurt Vonnegut, Joseph Heller, Donald Barthelme, John Barth, William Gaddis, Don DeLillo, and Joseph McElroy. Younger contemporary writers who have been touted as heirs apparent to Pynchon include David Foster Wallace, William Vollmann, Richard Powers, David Mitchell, Neal Stephenson, Dave Eggers, Christopher Wunderlee, and "Tommaso Pincio" whose pseudonym is an Italian rendering of Pynchon's name.

Investigations and digressions into the realms of human sexuality, psychology, sociology, mathematics, science, and technology recur throughout Pynchon's works. One of his earliest short stories, "Low-lands" (1960), features a meditation on Heisenberg's uncertainty principle as a metaphor for telling stories about one's own experiences. His next published work, "Entropy" (1960), introduced the concept which was to become synonymous with Pynchon's name (though Pynchon later admitted the "shallowness of [his] understanding" of the subject, and noted that choosing an abstract concept first and trying to construct a narrative around it was "a lousy way to go about writing a story"). Another early story, "Under the Rose" (1961), includes amongst its cast of characters a cyborg set anachronistically in Victorian-era Egypt (a type of writing now called steampunk). This story, significantly reworked by Pynchon, appears as Chapter 3 of V. "The Secret Integration" (1964), Pynchon's last published short story, is a sensitively-handled coming-of-age tale in which a group of young boys face the consequences of the American policy of racial integration. At one point in the story, the boys attempt to understand the new policy by way of the mathematical operation, the only sense of the word with which they are familiar.

The Crying of Lot 49 also alludes to entropy and communication theory, and contains scenes and descriptions which parody or appropriate calculus, Zeno's paradoxes, and the thought experiment known as Maxwell's demon. At the same time, the novel also investigates homosexuality, celibacy and both medically-sanctioned and illicit psychedelic drug use. Gravity's Rainbow describes many varieties of sexual fetishism (including sado-masochism, coprophilia and a borderline case of tentacle rape), and features numerous episodes of drug use, most notably marijuana but also cocaine, naturally occurring hallucinogens, and the mushroom Amanita muscaria. Gravity's Rainbow also derives much from Pynchon's background in mathematics: at one point, the geometry of garter belts is compared with that of cathedral spires, both described as mathematical singularities. His most recent novel, Mason & Dixon, explores the scientific, theological, and sociocultural foundations of the Age of Reason whilst also depicting the relationships between actual historical figures and fictional characters in intricate detail and, like Gravity's Rainbow, is an archetypal example of the genre of historiographical metafiction.

Pynchon's work has been cited as an influence and inspiration by many writers, musicians, artists and filmmakers, including Laurie Anderson, T. Coraghessan Boyle, David Cronenberg, Don DeLillo, Paul Di Filippo, William Gibson, Max P. Häring, Elfriede Jelinek, Adrian Voyd from Sex Ant Toys, Rick Moody, Arturo Perez-Reverte, Richard Powers, Adam Rapp, Salman Rushdie, Zak Smith, Neal Stephenson, Bruce Sterling and the Definitive Jux hip-hop producer/CEO/emcee El-P. Thanks to his influence on Gibson and Stephenson in particular, Pynchon became one of the progenitors of cyberpunk fiction. Though the term "cyberpunk" did not become prevalent until the early 1980s, many readers retroactively include Gravity's Rainbow in the genre, along with other works—e.g., Samuel R. Delany's Nova and many works of Philip K. Dick—which seem, after the fact, to anticipate cyberpunk styles and themes. The encyclopedic nature of Pynchon's novels also led to some attempts to link his work with the short-lived hypertext fiction movement of the 1990s.[18]

Gravity's Rainbow and the more recent Mason & Dixon both feature wildly eccentric characters, episodes of frenzied action and frequent digressions on topics which are seemingly tangential to the central narrative. These characteristics, combined with the novels' imposing lengths, have led critic James Wood to classify Pynchon's work as hysterical realism. Other writers whose work has been labelled as hysterical realism include Rushdie, Stephenson, Wunderlee and Zadie Smith.

Media scrutiny

Relatively little is known about Thomas Pynchon as a private person; he has had few known contacts with journalists for more than forty years. Only a few photos of him are known to exist, nearly all from his high school and college days, and his whereabouts have often remained undisclosed.

A review of V. in the New York Times Book Review described Pynchon as "a recluse" living in Mexico, thereby introducing the media label which has pursued Pynchon throughout his career.[19] Nonetheless, Pynchon's absence from the public spotlight is one of the notable features of his life, and it has generated many rumors and apocryphal anecdotes.

1970s and 1980s

After the publication and success of Gravity's Rainbow, interest mounted in finding out more about the identity of the author. At the 1974 National Book Award ceremony, the president of Viking Press, Tom Guinzberg, arranged for double-talking comedian "Professor" Irwin Corey to accept the prize on Pynchon's behalf.[7] Many of the assembled guests had no idea who Corey was, and, having never seen the author, they assumed that it was Pynchon himself on the stage delivering Corey's trademark torrent of rambling, pseudo-scholarly verbiage.[20] Towards the end of Corey's address a streaker ran through the hall, adding further to the confusion.

An article published in the Soho Weekly News claimed that Pynchon was in fact J. D. Salinger.[21] Pynchon's written response to this theory was simple: "Not bad. Keep trying."[22]

Thereafter, the first piece to provide substantial information about Pynchon's personal life was a biographical account written by a former Cornell University friend, Jules Siegel, and published in Playboy magazine. In his article, Siegel reveals that Pynchon had a complex about his teeth and underwent extensive and painful reconstructive surgery, was nicknamed "Tom" at Cornell and attended Mass diligently, acted as best man at Siegel's wedding, and that he later also had an affair with Siegel's wife. Siegel recalls Pynchon saying he did attend some of Vladimir Nabokov's lectures at Cornell but that he could hardly make out what Nabokov was saying because of his thick Russian accent. Siegel also records Pynchon's comment that "[e]very weirdo in the world is on my wavelength",[23] an observation borne out by the crankiness and zealotry which has attached itself to his name and work in subsequent years, particularly across the Internet.

1990s

Pynchon's avoidance of celebrity and public appearances caused journalists to continue to speculate about his identity and activities, and reinforced his reputation within the media as "reclusive". More astute readers and critics recognized that there were and are perhaps aesthetic (and ideological) motivations behind his choice to remain aloof from public life. For example, the protagonist in Janette Turner Hospital's short story, "For Mr. Voss or Occupant" (1991), explains to her daughter that she is writing

a study of authors who become reclusive. Patrick White, Emily Dickinson, J. D. Salinger, Thomas Pynchon. The way they create solitary characters and personae and then disappear into their fictions.[24]

More recently, book critic Arthur Salm has written that

the man simply chooses not to be a public figure, an attitude that resonates on a frequency so out of phase with that of the prevailing culture that if Pynchon and Paris Hilton were ever to meet—the circumstances, I admit, are beyond imagining—the resulting matter/antimatter explosion would vaporize everything from here to Tau Ceti IV.[25]

Belying this reputation somewhat, Pynchon has published a number of articles and reviews in the mainstream American media, including words of support for Salman Rushdie and his then-wife, Marianne Wiggins, after the fatwa was pronounced against Rushdie by the Iranian leader, Ayatollah Ruhollah Khomeini.[26] In the following year, Rushdie's enthusiastic review of Pynchon's Vineland prompted Pynchon to send him another message hinting that if Rushdie were ever in New York, the two should arrange a meeting. Eventually, the two did meet, and Rushdie found himself surprised by how much Pynchon resembled the mental image Rushdie had formed beforehand.[27]

In the early 1990s, Pynchon married his literary agent, Melanie Jackson — a great-granddaughter of Theodore Roosevelt — and fathered a son, Jackson, in 1991. The disclosure of Pynchon's location in New York, after many years in which he was believed to be dividing his time between Mexico and northern California, led some journalists and photographers to try to track him down. Shortly before the publication of Mason & Dixon in 1997, a CNN camera crew filmed him in Manhattan. Angered by this invasion of his privacy, he rang CNN asking that he not be identified in the footage of the street scenes near his home. When asked about his reclusive nature, he remarked, "My belief is that 'recluse' is a code word generated by journalists ... meaning, 'doesn't like to talk to reporters'." CNN also quoted him as saying, "Let me be unambiguous. I prefer not to be photographed."[28] The next year, a reporter for the Sunday Times managed to snap a photo of him as he was walking with his son.[29]

After several references to Pynchon's work and reputation were made on NBC's The John Larroquette Show, Pynchon (through his agent) reportedly contacted the show's producers to offer suggestions and corrections. When a local Pynchon sighting became a major plot point in a 1994 episode of the show, Pynchon was sent the script for his approval; as well as providing the title of a fictitious work to be used in one episode ("Pandemonium of the Sun"), the novelist apparently vetoed a final scene that called for an extra playing him to be filmed from behind, walking away from shot.[30] Also during the 1990s, Pynchon apparently befriended members of the band Lotion and attended a number of their shows, culminating in the liner notes he contributed for the band's 1995 album Nobody's Cool. The novelist then conducted an interview with the band ("Lunch With Lotion") for Esquire in June 1996 in the lead-up to the publication of Mason & Dixon. More recently, Pynchon provided faxed answers to questions submitted by author David Hajdu and permitted excerpts from his personal correspondence to be quoted in Hajdu's 2001 book, Positively 4th Street: The Lives and Times of Joan Baez, Bob Dylan, Mimi Baez Fariña and Richard Fariña.[31]

Pynchon's attempt to maintain his personal privacy and have his work speak for itself has resulted in a number of outlandish rumors and hoaxes over the years. Indeed, claims that Pynchon was the Unabomber or a sympathizer with the Waco Branch Davidians after the 1993 siege were upstaged in the mid-1990s by the invention of an elaborate rumor insinuating that Pynchon and one "Wanda Tinasky" were the same person. A spate of letters authored under that name had appeared in the late 1980s in the Anderson Valley Advertiser in Anderson Valley, California. The style and content of those letters were said to resemble Pynchon's, and Pynchon's Vineland, published in 1990, also takes place in northern California, so it was suggested that Pynchon may have been in the area at that time, conducting research. A collection of the Tinasky letters was eventually published as a paperback book in 1996; however, Pynchon himself denied having written the letters, and no direct attribution of the letters to Pynchon was ever made. "Literary detective" Donald Foster subsequently showed that the Letters were in fact written by an obscure Beat writer called Tom Hawkins, who had murdered his wife and then committed suicide in 1988. Foster's evidence was conclusive, including finding the typewriter on which the "Tinasky" letters had been written.[32]

In 1998, over 120 letters that Pynchon had written to his longtime agent, Candida Donadio, were donated by the family of private collector, Carter Burden, to the Pierpont Morgan Library in New York City. The letters ranged from 1963 to 1982, thus covering some of the author's most creative and prolific years. Although the Morgan Library originally intended to allow scholars to view the letters, at Pynchon’s request, the Burden family and Morgan Library agreed to seal these letters until after Pynchon's death.

2000s

After 9/11, a supposed "interview" with Pynchon was published in an issue of Playboy Japan, entitled "Most News is Propaganda. Bin Laden May Not Exist." It purported to be a talk with Pynchon on the events of 9/11 and Osama Bin Laden. Its authenticity is uncertain. Rough translation of the Pynchon "interview".

Responding ironically to the image which has been manufactured in the media over the years, during 2004, Pynchon made two cameo appearances on the animated television series The Simpsons. The first occurs in the episode "Diatribe of a Mad Housewife", in which Marge Simpson becomes a novelist. He plays himself, with a paper bag over his head, and provides a blurb for the back cover of Marge's book, speaking in a broad Long Island accent: "Here's your quote: Thomas Pynchon loved this book, almost as much as he loves cameras!" He then starts yelling at passing cars: "Hey, over here, have your picture taken with a reclusive author! Today only, we'll throw in a free autograph! But, wait! There's more!" The second appearance occurs in "All's Fair in Oven War," which was the sixteenth-season premiere. In this appearance, Pynchon's dialogue consists entirely of puns on his novel titles ("These wings are 'V'-licious! I'll put this recipe in 'The Gravity's Rainbow Cookbook', right next to 'The Frying of Latke 49'."). Pynchon makes a third, non-speaking cameo, when he is seen at the fictional WordLoaf convention in the 18th season (2006) episode, "Moe'N'a Lisa." The episode first aired on November 19, 2006, the Sunday before Pynchon's sixth novel, Against the Day, was released, perhaps as part of an increasingly unusual publicity campaign.

In July of 2006, Amazon.com created a page showing an upcoming 992-page, untitled, Thomas Pynchon novel. A description of the soon-to-be published novel appeared on Amazon purporting to be written by Pynchon himself. The description was soon taken down, prompting speculation over its authenticity, but the blurb was soon back up along with the title of Pynchon's new novel, Against the Day.

Shortly before Against the Day was published, Pynchon's prose appeared in the program for "The Daily Show: Ten Fu@#ing Years (The Concert)", a retrospective on Jon Stewart's comedy-news broadcast The Daily Show.[33] Only weeks later, Pynchon sent a one-page, typewritten letter to The Daily Telegraph, defending fellow writer Ian McEwan against plagiarism charges. (McEwan had been accused of copying details from the late Lucilla Andrews's autobiography, No Time for Romance.) His sentiment echoes thoughts on literary theft expressed over two decades earlier in the Slow Learner introduction; the letter concludes,

Memoirs of the Blitz have borne indispensable witness, and helped later generations know something of the tragedy and heroism of those days. For Mr. McEwan to have put details from one of them to further creative use, acknowledging this openly and often, and then explaining it clearly and honorably, surely merits not our scolding, but our gratitude.[34]

Works

As well as fictional works, Pynchon has written essays, introductions, and reviews addressing subjects as diverse as missile security, the Watts Riots, Luddism and the work of Donald Barthelme. Some of his non-fiction pieces have appeared in the New York Times Book Review and The New York Review of Books, and he has contributed blurbs for books and records. His 1984 Introduction to the Slow Learner collection of early stories is significant for its autobiographical candor. He has written introductions to at least two books, including the 1992 collection of Donald Barthelme's stories, The Teachings of Don B. and, more recently, the Penguin Centenary Edition of George Orwell's novel Nineteen Eighty-Four, which was published in 2003.

External Links


This page, though not necessarily others in the Pynchon Wiki, is licensed under the terms of the GNU Free Documentation License 1.2.

Notes and references

This article was originally based on the Wikipedia page Thomas Pynchon, accessed 30 November 2006, last modified 23:00 UTC, 29 November 2006. Principal authors of that page include Wikipedia users Abaca, Anville, Nixdorf and Zafiroblue05. Used under the terms of the GNU FDL 1.2.
  1. ↑ "Voice of the Hamster"
  2. ↑ "The Boys"
  3. ↑ "Ye Legend of Sir Stupid and the Purple"
  4. ↑ Wisnicki 2000-1
  5. ↑ Frost 2003
  6. ↑ Gordon 1994
  7. ↑ 7.0 7.1 Royster 2005
  8. ↑ Pynchon 1966
  9. ↑ Gussow 1998
  10. ↑ McLemee 2006
  11. ↑ New York Review of Books 1968:9
  12. ↑ Fowler 1980; Weisenburger 1988
  13. ↑ Pynchon HyperArts
  14. ↑ Kihss 1974
  15. ↑ See, for example, Grimes 1993, CNN Book News 1999, Ervin 2000
  16. ↑ Gussow
  17. ↑ Patterson 2006b; Italie 2006
  18. ↑ Page 2002; Krämer 2005
  19. ↑ Plimpton 1963: 5
  20. ↑ Corey 1974
  21. ↑ Batchelor 1976
  22. ↑ Reported in Tanner 1982
  23. ↑ Siegel 1977
  24. ↑ Hospital 1995: 361-2
  25. ↑ Salm 2004
  26. ↑ Pynchon 1989
  27. ↑ Hitchens 1997
  28. ↑ CNN 1997
  29. ↑ Bone 1998
  30. ↑ CNN 1997; Glenn 2003
  31. ↑ Warner 2001
  32. ↑ Foster 2000
  33. ↑ Pynchon, Thomas. "The Evolution of The Daily Show". Printed in program notes (16 November 2006).
  34. ↑ Pynchon, Thomas. "Words for Ian McEwan" (6 December 2006)
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