New essays examining the interface between 18th- and 20th-century culture both in Pynchon's novel and in the historical past. Thomas Pynchon's 1997 novel Mason & Dixon marked a deep shift in Pynchon's career and in American letters in general. All of Pynchon's novels had been socially and politically aware, marked by social criticism and a profound questioning of American values. They have carried the labels of satire and black humor, and "Pynchonesque" has come to be associated with erudition, a playful style, anachronisms and puns -- and an interest in scientific theories, popular culture, paranoia, and the "military-industrial complex." In short, Pynchon's novels were the sine qua non of postmodernism; Mason & Dixon went further, using the same style, wit, and erudition to re-create an 18th century when "America" was being formed as both place and idea. Pynchon's focus on the creation of the Mason-Dixon Line and the governmental and scientific entities responsible for it makes a clearer statement than any of his previous novels about the slavery and imperialism at the heart of the Enlightenment, as he levels a dark and hilarious critique at this America. This volume of new essays studies the interface between 18th- and 20th-century cultureboth in Pynchon's novel and in the historical past. It offers fresh thinking about Pynchon's work, as the contributors take up the linkages between the 18th and 20th centuries in studies that are as concerned with culture as withthe literary text itself. Contributors: Mitchum Huehls, Brian Thill, Colin Clarke, Pedro Garcia-Caro, Dennis Lensing, Justin M. Scott Coe, Ian Copestake, Frank Palmeri. Elizabeth Jane Wall Hinds is Professor and Chair of the English Department at SUNY Brockport.

Essays on the contemporary American novelist's most recent work

Mason & Dixon might be Thomas Pynchon’s most human book. Its main characters are richly drawn, and they center the narrative. Yet the novel is also packed with historical allusions and an eighteenth-century vernacular that some readers may find difficult to navigate. A "Mason & Dixon" Companion offers this navigation line by line, unpacking Pynchon’s puns, his many references, and his pet themes. Brett Biebel provides a contextual map, episode-by-episode summaries, and page-by-page annotations explaining allusions, defining obscure vocabulary, and illuminating the book’s major themes. The goal is to help readers work their way through a difficult yet remarkably rewarding novel from one of American literature’s most significant writers. In a voice that’s both relaxed and informed, the Companion illuminates what Harold Bloom called “Pynchon’s late masterpiece.” It crystallizes the prescience of Mason & Dixon, situating the novel within Pynchon’s broader oeuvre, while being fun to read in its own right.

This essential Companion to Thomas Pynchon provides all the necessary tools to unlock the challenging fiction of this postmodern master.

First Published in 2005. While many previous books on Pynchon allude to his fictional engagement with historical events and figures, this book explores Pynchon as a historical novelist and, by extension, historical thinker. The book interprets Pynchon's four major novels V., Gravity's Rainbow, Vineland, and Mason & Dixon through the prism of historical interpretation and representation. In doing so, it argues that Pynchon's innovative narrative techniques express his philosophy of history and historical representation through the form of his texts.

Charles Mason (1728-1786) and Jeremiah Dixon (1733-1779) were the British surveyors best remembered for running the boundary between Pennsylvania and Maryland known as the Mason-Dixon Line. This book provides a fictional account of their story.

Radical Hope in the Novels of Thomas Pynchon: The Moon and Meteor provides a careful consideration of the author's career, examining the ways in which the subversion of his early novels feeds into the radical optimism of his later works. The book's first half explores the author's use of the image of the Moon as a romanticized ideal that is irreparably corrupted by and corruptly manipulated by forces of worldly power. The second half takes up the meteor as an image of impending violence that has yet to be full realized, finding in the unlikely possibility of that violence being somehow averted, a reckless sort of hope. This foolhardy but nonetheless real hope to escape from violent, oppressive structures and forge a real ethical obligation to the other marks the development of these paired metaphors, and through them Pynchon introduces the possibility, however slight, that literature, with its powerfully intimate relationship with consciousness, may at least sustain that hope.

In this bold book, Samuel Cohen asserts the literary and historical importance of the period between the fall of the Berlin wall and that of the Twin Towers in New York. With refreshing clarity, he examines six 1990s novels and two post-9/11 novels that explore the impact of the end of the Cold War: Pynchon's Mason & Dixon, Roth's American Pastoral, Morrison's Paradise, O'Brien's In the Lake of the Woods, Didion's The Last Thing He Wanted, Eugenides's Middlesex, Lethem's Fortress of Solitude, and DeLillo's Underworld. Cohen emphasizes how these works reconnect the past to a present that is ironically keen on denying that connection. Exploring the ways ideas about paradise and pastoral, difference and exclusion, innocence and righteousness, triumph and trauma deform the stories Americans tell themselves about their nation’s past, After the End of History challenges us to reconsider these works in a new light, offering fresh, insightful readings of what are destined to be classic works of literature. At the same time, Cohen enters into the theoretical discussion about postmodern historical understanding. Throwing his hat in the ring with force and style, he confronts not only Francis Fukuyama’s triumphalist response to the fall of the Soviet Union but also the other literary and political “end of history” claims put forth by such theorists as Fredric Jameson and Walter Benn Michaels. In a straightforward, affecting style, After the End of History offers us a new vision for the capabilities and confines of contemporary fiction.

Presents a collection of critical essays on the works of Thomas Pynchon.

Through a close-reading of the work of five prominent American postmodernist writers, this book re-evaluates the role of the past in recent American fiction, outlines the development of the postmodernist historical novel and considers the waning influence of postmodernism in contemporary American literature.