Frases de Thomas Pynchon

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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/

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/

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.

Llamada telefónica a la CNN (5 de junio de 1997).

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)

V.

Inherent Vice

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).

Slow Learner: Early Stories

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

The Rev^d Wicks Cherrycoke, Christ and History
Fuente: Mason & Dixon (1997), Ch. 35

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.

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?

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.

Pynchon's response to Jules Siegel about the complexity of V, as quoted in "Who Is Thomas Pynchon... And Why Did He Take Off With My Wife?", Playboy (March 1977)

Fuente: Slow Learner: Early Stories

First lines
Fuente: Gravity's Rainbow (1973)

Fuente: Mason & Dixon

Fuente: Gravity's Rainbow

Fuente: The Crying of Lot 49

Fuente: Gravity's Rainbow

Fuente: Gravity's Rainbow

Fuente: Inherent Vice

Fuente: Gravity's Rainbow

Fuente: Gravity's Rainbow

Fuente: Gravity's Rainbow

Fuente: Gravity's Rainbow

Fuente: Inherent Vice

Fuente: The Crying of Lot 49

Fuente: Gravity's Rainbow

Fuente: The Crying of Lot 49

Fuente: Gravity's Rainbow

Fuente: The Crying of Lot 49

Fuente: V.

Fuente: Mason & Dixon

Gravity's Rainbow (1973)

Fuente: Slow Learner: Early Stories