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Category: PoMo Month

Remixed notes on 'A Monster's Notes'

Whaleandhismonster

Last week, columnist Ed Park reviewed "A Monster's Notes" by Laurie Sheck. This is his remixed, expanded, deconstructed/reconstructed remake of that review.

I.
“Good idea the repetition. Same thing with ads.” -- Joyce, "Ulysses"

Mary Shelley’s mother, Mary Wollstonecraft, died 10 days after giving birth to her.

“This is ordinary. I was a body coming out of another body that died. That died because of my body.” -- Laurie Sheck, "A Monster’s Notes"

“This was scant said but all cried with one acclaim, nay, by our Virgin Mother, the wife should live and the babe to die.” -- "Ulysses"

I don’t know which file contains my review in the form of notes and which contains my notes for the review in the form of notes.

Bloomsday now. Still writing this.

In the midst of putting together this monster I get an e-mail from R., who writes that our friend J. has to take high-blood pressure medication because she drinks too much coffee, which makes me laugh. But also that J. “had this horrifying story about recently running into a crime scene near her house where a man had been cut into little pieces in a box.”

Continue reading »

Revisiting a decades-old search for Thomas Pynchon

Lettervforpynchon

In the late 1970s, a young journalist named Robert Goolrick got it into his head that he ought to find Thomas Pynchon, and he wrote an article about his strange and slightly obsessive search for a now-defunct magazine called New Times. He's the same Robert Goolrick whose first novel, "A Reliable Wife," debuted to much acclaim earlier this year, which may have helped writer Mark Athitakis, in turn, track him down.

Athitakis has posted Goolrick's entire article online, which has the kinds of turns -- including a visit to a psychic and a dark night observing marginal human behavior -- that appear in Pynchon's novels. And his pursuit of the famous recluse soon took on the mystical shades of the author's work, too:

I knew that the usual roads would not find him, people a lot more clever than I had tried them all, and that, in the end, there was nothing I wanted to ask him; it didn’t matter in the slightest to me how many ice cubes he liked in his drinks,whether or not he snorted the incredibly long lines of cocaine one feels dribbling off the pages of Gravity’s Rainbow, or where he lived now or what secret dark facts he held about his apple-pie boyhood. So I looked for alternate routes, ways not so trampled. I looked, I suppose, for a miracle of belief, that some other thing existed and could be found and touched and finally known....

In Pynchon I had chosen a love that was possible because it had no object, merely an extended longing for a body that could not be found or desired, having no height, no weight, no texture I would ever know....

Now Goolrick, who went on to spend almost 30 years as an adman, says, "I just started out calling people, and finding out what I could find out. I wasn’t really a journalist. I’m not an investigative reporter, so it was kind of abstract from the beginning, and it became more abstract as it went along, as you can tell."

In 1978, he wrote:

Everything began to seem infinitely detailed. The smallest gesture, the least meaningful sign would catch my eye as if it were all happening just for me, had been put in front of only my eyes. Everything in the present, all systems operating simultaneously in the front of the mind, spreading layer after layer of infinitely textured life in front of you. The quiddity of life, these details all we have, the only signposts pointing in any direction, and these blurred and contradictory....

This idea of small incidents taking on greater meaning for the searcher, as though they're at the center of intersecting forces like the vortex of a V, seems to burble around Pynchon.

Picking up a thread from Goolrick's article and interview, I wondered if I could use an online database of public records to see whether Pynchon's father was still around (turns out he died in 1995). The search brought me to a page to links for his immediate family, and when I tried to click through on Tom Jr.'s name -- that's what, Goolrick says, Pynchon's mother called him -- the page didn't load.

It was as if the universe simply couldn't deliver hard information about the author Thomas Pynchon. Or perhaps a clever cabal of programmers had done some scripting to make sure his complete anonymity was preserved. Either way, the not-loading Pynchon page is so Pynchonian that I won't bother to try the search again, lest the results be more routine the next time around. 

Some time after the article was published, Goolrick says, he was at home getting ready to head out for dinner when the phone rang.

I picked it up and said hello, and this guy said, “My name is…” I can’t remember his name. He said, “You don’t know me, but I’m a private investigator in San Francisco. And I happened to read your article about Thomas Pynchon. And he said, “In connection with some other case I’m investigating, I happened to find out where Thomas Pynchon lives. I found out everything about him, and I just thought you might want the information.” I said OK, so he gave me Pynchon’s address, Pynchon’s phone number, Pynchon’s driver’s license number. He was in California, apparently. The conversation went on for a long time. I hung up the phone, went out to dinner, and after a while I thought, “Who was that on the phone?” And it occurred to me that maybe it was Pynchon himself who called.

Not that he could ever know for sure. And preserving that mystery seems to be better than finding the man himself. "I never called or looked up the address. It seems regrettable, all these years later," Goolrick told Athitakis. "But by that time I realized that there was nothing to be gotten out of him. There was nothing for him except his work." 

-- Carolyn Kellogg

Photo credit: fotologic via Flickr

James Joyce and postmodernism: A conflicted catechism

Jamesjoycegravestatue

Jim Ruland, contributor to the Book Review, host of the reading series Vermin on the Mount and author of the short story collection "Big Lonesome," has followed Joyce's footsteps in Dublin.

What’s so special about June 16?
On June 16, 1904, James Joyce met the great love of his life, Nora Barnacle. To honor the occasion, Joyce famously chose June 16 for the date on which nearly all of the action of Ulysses takes place.

Then why don’t they call it Barnacleday? It didn’t stick?
Bloomsday comes from Ulysses’ main character, Leopold Bloom.

Is Bloom Joyce?
No. Bloom is Bloom. Joyce is Joyce. They share certain qualities but they are not the same.

Does Bloom have a love interest?
He does. His wife, Molly.

And does Molly Bloom share certain qualities with Nora Barnacle?

She does, but in a work of fiction it’s always a mistake to conflate a character with a real person.

There you go with the postmodern gobbledygook. Is it any wonder nobody can get through Ulysses?
Plenty of people get through "Ulysses" and Joyce isn’t a postmodernist.

Didn’t I read on Jacket Copy that Joyce is the grandfather of postmodernism?
James Joyce’s work, particularly "Ulysses" and "Finnegans Wake," takes modernism to its limits. Ultramodernism if you will, but still modernism.

Can you define ultramodernism?
In his essay about Joyce’s relationship to postmodernism, Derek Attridge asserts that "the particular manner in which Joyce accumulates details, multiplies structures, and over-determines interpretation achieves something else as well, and something that sets these texts ['Ulysses' and 'Finnegans Wake'] apart from other modernist work." In other words, close but no cigar.

What about Derrida? What did the most postmodern of all the postmodernists say about Joyce?

Not much: "I have the feeling that I haven’t yet begun to read Joyce, and this 'not having begun to read' Joyce is sometimes the most singular and active relationship I have with Joyce. This is why I’ve never dared to write on Joyce."

What does that mean?
Joyce is a modernist, but distinct from other modernists and because one can't be something and post-something simultaneously, he creates crises of classification. It might be helpful to think of Joyce as the twilight of modernism, and postmodernism as the period that followed Joyce. Most scholars put the beginning of postmodernism at 1941, the year that Joyce and Virginia Woolf died.

What a minute. I see what you’re doing. You’re deconstructing the blog post format into a kind of question-and-answer free-for-all. Just like that chapter in Ulysses. That’s so postmodern!

Actually, it isn’t. The rest of the answer... after the jump.

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Welcome to PoMo Month at Jacket Copy

bloomsdayjacques derridajames joycepostmodern

Joycederrida

Is James Joyce the grandfather of postmodernism? Is Jacques Derrida its patron saint? Where are the women in the postmodern landscape? Is postmodernism something dense and unapproachable, or can it be fun? How much have postmodern ideas and techniques infiltrated our present moment, anyway?

These are some of the questions we'll be contemplating -- in the fractured, intermittent way a blog allows questions to be mulled as it also continues doing its everyday blog thing -- over the next 30 days. There will be guest posts and interviews and perhaps a few arguments. We're calling it PoMo Month.

We picked today to begin because, as you know, June 16 is Bloomsday, the day that James Joyce's "Ulysses" takes place. Postmodernism wouldn't have taken form at quite the same time, in quite the same way, without Joyce's challenging narrative, which bends and breaks traditional fictional forms.

Bloomsday is now widely celebrated, with revelers drinking in Dublin, actors reading at New York's symphonyspace, readers rambling in Pittsburgh, a symposium in Buffalo, a chapter on Twitter; even the Vatican is lending an ear. Does any other work of experimental fiction have so much reach? 

It must be a sign of something. Or a signifier.

Maybe Joyce wasn't a harbinger of postmodernism; maybe he was a straight-up modernist. Like many genres, the exact origins are murky, and up for debate. And as for the endings -- did Derrida's death in 2004 coincide with postmodernism's decline? Or is it still going? By embarking on PoMo Month, we're asking: Does it have a future?

-- Carolyn Kellogg

Photos: James Joyce in 1931, left, and Jacques Derrida in 2004, right. Credits: Joyce - File / Derrida - Joel Robine, AFP Photo



 
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