Frases de Thomas Pynchon

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Thomas Pynchon

Fecha de nacimiento: 8. Mayo 1937

Thomas Ruggles Pynchon, Jr. , es un escritor estadounidense, considerado uno de los novelistas más célebres de la actualidad. Se destaca tanto por su narrativa compleja y laberíntica como por su aversión a los medios . Su obra está compuesta de ocho novelas: V. , La subasta del lote 49 , El arco iris de gravedad , Vineland , Mason y Dixon , Contraluz , Vicio propio , Al límite ; y un libro de cuentos titulado Un lento aprendizaje .

Se le considera actualmente como una de las voces más importantes del posmodernismo maximalista. Su novela más destacada, El arco iris de gravedad fue rechazada por el jurado del Premio Pulitzer por considerarla obscena y ganó el National Book Award; ajeno a la polémica, el autor mandó a recoger el premio a un comediante. A la prosa de Pynchon la han catalogado de diversas maneras aunque no le han negado la trascendental importancia que tiene en la literatura de fin de Siglo XX. Es citado periódicamente como candidato al Premio Nobel de Literatura. El crítico Harold Bloom citó a Thomas Pynchon como uno de los más grandes novelistas estadounidenses de su tiempo junto a Don DeLillo, Philip Roth y Cormac McCarthy. Wikipedia

Obras

Inherent Vice
Thomas Pynchon
Lento aprendizaje
Lento aprendizaje
Thomas Pynchon
Against the Day
Thomas Pynchon

Frases Thomas Pynchon

„ay jalisco, no te rejas“

—  Thomas Pynchon, libro Against the Day

Against the Day

„Yo no escribí esas cartas. Ha sido un rumor extendido del que no tenido nada que ver. Siento que se haya extendido en la forma que se ha hecho.“

—  Thomas Pynchon

Sobre los rumores de que había escrito varias cartas a un periódico con el nombre de Wanda Tinasky, en una llamada telefónica a la CNN (5 de junio de 1997).

„¿Por qué las cosas deberían ser fáciles de entender?“

—  Thomas Pynchon

Respuesta de Pynchon a Jules Siegel sobre la complejidad de V., en el artículo "Who Is Thomas Pynchon... And Why Did He Take Off With My Wife?", Playboy (Marzo de 1977)

„Esta es su cita: "A Thomas Pynchon le encantó este libro, casi tanto como ama las cámaras!"
¡Cómo por aquí! ¡Ha tomado una foto con un autor solitario! Sólo hoy, ¡vamos a dar un autógrafo gratis! Pero espere, ¡hay más!“

—  Thomas Pynchon

Interpretándose a sí mismo (representado con una bolsa de papel sobre su cabeza) en un episodio de Los Simpson, Diatriba de un ama de casa loca.

„El mundo tiene la culpa, no porque sea intrínsecamente bueno o malo o nada, sino por lo que es, porque no nos preparamos en nada excepto para llevarse bien con el cuerpo.“

—  Thomas Pynchon

Carta a Jules Siegel, publicado en la revista Cavalier (Agosto de 1965); vuelto a publicar en "Pynchon notes 15" and " "The World is at Fault" http://against-the-day.pynchonwiki.com/wiki/index.php?title=The_World_is_at_Fault at pynchonwiki.com http://pynchonwiki.com/

„Déjeme ser claro. Prefiero no ser fotografiado.“

—  Thomas Pynchon

Llamada telefónica a la CNN como se informó en un artículo de la CNN (5 de junio de 1997). http://cgi.cnn.com/US/9706/05/pynchon/

„They are in love. Fuck the war.“

—  Thomas Pynchon, libro El arco iris de gravedad

Gravity's Rainbow (1973)

„Charlie really has this, like, obsessive death wish!“

—  Thomas Pynchon, libro Inherent Vice

Yes! he, he wants to be caught, processed, put in a can, not just any can, you dig, it has to be StarKist! suicidal brand loyalty, man, deep parable of consumer capitalism, they won't be happy with anything less than drift-netting us all, chopping us up and stacking us on the shelves of Supermarket Amerika, and subconsciously the horrible thing is, is we want them to do it...
Fuente: Inherent Vice (2009), p. 119

„Perhaps history this century, thought Eigenvalue, is rippled with gathers in its fabric such that if we are situated, as Stencil seemed to be, at the bottom of a fold, it's impossible to determine warp, woof, or pattern anywhere else.“

—  Thomas Pynchon, libro V.

Fuente: V. (1963), Chapter Seven, Part I
Contexto: Perhaps history this century, thought Eigenvalue, is rippled with gathers in its fabric such that if we are situated, as Stencil seemed to be, at the bottom of a fold, it's impossible to determine warp, woof, or pattern anywhere else. By virtue, however, of existing in one gather it is assumed there are others, compartmented off into sinuous cycles each of which had come to assume greater importance than the weave itself and destroy any continuity. Thus it is that we are charmed by the funny-looking automobiles of the '30's, the curious fashions of the '20's, the particular moral habits of our grandparents. We produce and attend musical comedies about them and are conned into a false memory, a phony nostalgia about what they were. We are accordingly lost to any sense of continuous tradition. Perhaps if we lived on a crest, things would be different. We could at least see.

„There'd been no escape. What did she so desire to escape from?“

—  Thomas Pynchon, libro The Crying of Lot 49

Fuente: The Crying of Lot 49 (1966), Chapter 1
Contexto: There'd been no escape. What did she so desire to escape from? Such a captive maiden, having plenty of time to think, soon realizes that her tower, its height and architecture, are like her ego only incidental: and what really keeps her where she is is magic, anonymous and malignant, visited upon her from outside and for no reason at all. Having no apparatus except gut fear and female cunning to examine this formless magic, to understand how it works, how to measure its field strength, count its lines of force, she may fall back on superstition, or take up a useful hobby like embroidery, or go mad, or marry a disc jockey. If the tower is everywhere and the knight of deliverance no proof against its magic, what else?

„So much has to be left behind now, so quickly.“

—  Thomas Pynchon, libro El arco iris de gravedad

Gravity's Rainbow (1973)
Contexto: This ascent will be betrayed to Gravity. But the Rocket engine, the deep cry of combustion that jars the soul, promises escape. The victim, in bondage to falling, rises on a promise, a prophecy, of Escape....
Moving now toward the kind of light where at last the apple is apple-colored. The knife cuts through the apple like a knife cutting an apple. Everything is where it is, no clearer than usual, but certainly more present. So much has to be left behind now, so quickly.

„Behind the hieroglyphic streets there would either be a transcendent meaning, or only the earth.“

—  Thomas Pynchon, libro The Crying of Lot 49

Fuente: The Crying of Lot 49 (1966), Chapter 6
Contexto: Who knew? Perhaps she'd be hounded someday as far as joining Tristero itself, if it existed, in its twilight, its aloofness, its waiting. The waiting above all; if not for another set of possibilities to replace those that had conditioned the land to accept any San Narciso among its most tender flesh without a reflex or cry, then at least, at very least, waiting for a symmetry of choices to break down, to go skew. She had heard all about excluded middles; they were bad shit, to be avoided; and how had it ever happened here, with the chances once so good for diversity? For it was now like walking among matrices of a great digital computer, the zeroes and ones twinned above, hanging like balanced mobiles right and left, ahead, thick, maybe endless. Behind the hieroglyphic streets there would either be a transcendent meaning, or only the earth. In the songs Miles, Dean, Serge and Leonard sang was either some fraction of the truth's numinous beauty (as Mucho now believed) or only a power spectrum. <!-- p. 150

„At this rate, Tamara's gonna get here before tonight“

—  Thomas Pynchon, libro El arco iris de gravedad

Gravity's Rainbow (1973)
Contexto: "You." A finger the size of a corncob, an inch from Slothrop's nose.
...
"Look," Slothrop's friend producing a kraft-paper envelope that even in the gloom Slothrop can tell is fat with American Army yellow-seal scrip, "I want you to hold this for me, till I ask for it back. It looks like Italo is going to get here before Tamara, and I'm not sure which one"
"At this rate, Tamara's gonna get here before tonight," Slothrop interjects in a Groucho Marx voice.
"Don't try to undermine my confidence in you," advises the Large One. "You're the man."

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