英文摘要 |
Thomas Pynchon’s sprawling, non-linear historical novel Against the Day incorporates a plethora of literary tropes, mannerisms, and styles borrowed from 19th-century popular fiction. In many ways a postmodernist picaresque novel, it is also, I argue, a return to “the Gnostic Pynchon” described by early critics of the author’s work. For in this novel about mathematical cults, anarchist undergrounds, and flying ships, we again see the familiar Manichaean conflicts between Elect and Preterite, between material progress (technology) and spiritual (art) culture, and between Tragedy (dystopia) and Comedy (utopia) found in earlier works like V., The Crying of Lot 49, and Gravity’s Rainbow. Whereas earlier critics discovered in those texts a kind of “Gnostic fatalism” (Bloom 1982, Eddins 1990), this paper basically argues that Against the Day can instead be read as a kind of Gnostic comedy. Drawing on the postmodern situation described by Fredric Jameson in his book The Seeds of Time, it argues that problems associated with the “arrested dialectic” of postmodernity and the “end of history” thesis (Kojève 1934, Fukuyama 1992) are closely aligned with the problem of historical representation we find in writers like Pynchon. Finding ourselves in a post-historical world, 19th-century social and literary history comes alive in a practice of “genre-poaching” (McHale 2011) and millenarian utopianism (Hume 2011) that is directed at exploring a geopolitical historical aesthetic (Cowart 2012). Against the Day’s “poaching” in the adventure and science fiction tropes of the 19th-century returns us to Pynchon’s interest in the issue of solipsism in historical representation in his earliest work. In his first novel, V., this problematic is epitomized in the pearl oyster metaphor which Pynchon borrows from Henry Adams’ “The Dynamo and the Virgin” (1900), but here returns as the key symbol of the Manichaean tropic system in Against the Day. Enclosed, secreted, and polysemous, this “nacreous” essence represents the techno-utopian Comic principle in Pynchon’s refracted vision of 19th-century literary history. |