In "Shadow Ticket," Pynchon delivers a classic Pynchonian experience: a sprawling, paranoid, darkly funny detective story set in California in the 1940s.
A lost chapter of *The Tale of Genji*, the world’s first novel, has been discovered in a Japanese home after being held by a family for nearly 300 years. The chapter details a key meeting in the epic tale.
The chapter, titled *Wakamurasaki*, is part of a manuscript transcribed by the poet Fujiwara no Teika in the 11th century. It details the first meeting between Prince Genji and his future wife, Murasaki-no-ue. The manuscript was found in the storage room of a Japanese home, having been in the possession of the Okochi family since 1743. Scholars have confirmed its authenticity based on its blue cover and handwriting matching Teika’s other known chapters. The discovery is significant for researchers of Japanese literature and the chapter is expected to be registered as a cultural property of Japan. *The Tale of Genji* was written 1,000 years ago and offers a glimpse into the lives of Japanese royals, known for its elegant prose and depiction of complex relationships.
Guid
The chapter, titled *Wakamurasaki*, is part of a manuscript transcribed by the poet Fujiwara no Teika in the 11th century. It details the first meeting between Prince Genji and his future wife, Murasaki-no-ue. The manuscript was found in the storage room of a Japanese home, having been in the possession of the Okochi family since 1743. Scholars have confirmed its authenticity based on its blue cover and handwriting matching Teika’s other known chapters. The discovery is significant for researchers of Japanese literature and the chapter is expected to be registered as a cultural property of Japan. *The Tale of Genji* was written 1,000 years ago and offers a glimpse into the lives of Japanese royals, known for its elegant prose and depiction of complex relationships.
Guid
Italo Calvino's 'literature machine' is a prescient vision of the perils and promise of artificial intelligence. This article explores Calvino's thoughts on the future of literature in the age of computers, his embrace of fantasy as a way to represent the modern world, and why his work remains relevant today.
Jonathan Rosenbaum revisits his review of Thomas Pynchon's classic novel "Gravity's Rainbow," originally written for the Village Voice in the 1970s. The review explores how Pynchon's novel encapsulates the post-war fears and paranoia of America, particularly the anxiety surrounding the V-2 rocket and the looming threat of nuclear destruction.
Rosenbaum begins by recalling his first encounter with the novel and the eerie parallels it draws with a childhood horror story. He emphasizes that Pynchon's vision is not merely one of being victims of conspiracies but also of being complicit in creating them. The novel's apocalyptic theme culminates in a movie theater setting where the audience is about to be obliterated by a V-2 rocket, symbolizing the collective dread of the era.
The central symbol of the rocket represents a variety of destructive and creative forces, from the military and technological advances to sexual potency. The novel's structure is compared to a parabola, mirroring the trajectory of a rocket, and the characters' journey from awareness to dissolution.
Slothrop, the main character, initially appears to be a narrative thread but gradually disintegrates, becoming a scattered set of impulses. This fragmentation reflects Pynchon's exploration of entropy and dissolution, themes that contrast sharply with the Faustian power trips and Oedipal searches prevalent in his world.
Rosenbaum discusses the novel's complexity, which includes a vast array of characters and allusions, and acknowledges the challenges it poses to readers. Despite these difficulties, he highlights the novel's redeeming qualities, including its lyrical passages and surreal elements that offer a glimpse into Pynchon's unique vision.
The review concludes by considering the enduring significance of "Gravity's Rainbow," suggesting that it serves as a time capsule for the late 1960s and early 1970s, capturing the prevailing anxieties and fears of that period.
Rosenbaum begins by recalling his first encounter with the novel and the eerie parallels it draws with a childhood horror story. He emphasizes that Pynchon's vision is not merely one of being victims of conspiracies but also of being complicit in creating them. The novel's apocalyptic theme culminates in a movie theater setting where the audience is about to be obliterated by a V-2 rocket, symbolizing the collective dread of the era.
The central symbol of the rocket represents a variety of destructive and creative forces, from the military and technological advances to sexual potency. The novel's structure is compared to a parabola, mirroring the trajectory of a rocket, and the characters' journey from awareness to dissolution.
Slothrop, the main character, initially appears to be a narrative thread but gradually disintegrates, becoming a scattered set of impulses. This fragmentation reflects Pynchon's exploration of entropy and dissolution, themes that contrast sharply with the Faustian power trips and Oedipal searches prevalent in his world.
Rosenbaum discusses the novel's complexity, which includes a vast array of characters and allusions, and acknowledges the challenges it poses to readers. Despite these difficulties, he highlights the novel's redeeming qualities, including its lyrical passages and surreal elements that offer a glimpse into Pynchon's unique vision.
The review concludes by considering the enduring significance of "Gravity's Rainbow," suggesting that it serves as a time capsule for the late 1960s and early 1970s, capturing the prevailing anxieties and fears of that period.
An article by Toni Fitzgerald exploring the top 10 books written by Ursula K. Le Guin, including her notable works from the Earthsea and Hainish Cycle series.
According to the article, her top 10 must-read books include "A Wizard of Earthsea" (1968), "The Left Hand of Darkness" (1969), "The Dispossessed" (1974), "The Lathe of Heaven" (1971), "Tehanu" (1990), "The Word for World Is Forest" (1972), "Always Coming Home" (1985), "The Other Wind" (2001), "Powers" (2007), and "Lavinia" (2008).
According to the article, her top 10 must-read books include "A Wizard of Earthsea" (1968), "The Left Hand of Darkness" (1969), "The Dispossessed" (1974), "The Lathe of Heaven" (1971), "Tehanu" (1990), "The Word for World Is Forest" (1972), "Always Coming Home" (1985), "The Other Wind" (2001), "Powers" (2007), and "Lavinia" (2008).
