Pynchon thinks on a different scale from most novelists, to the point where you’d almost want to find another word for the sort of thing he does, since his books differ from most other novels the way a novel differs from a short story, in exponential rather than simply linear fashion. Pynchon’s work has absorbed modernism and what has come after, but in its alternating cycles of jokes and doom, learning and carnality, slapstick and arcana, direct speech and poetic allusiveness, high language and low, it taps into something that goes back to the Elizabethans, who potentially addressed the entire world, made up of individuals with differing interests and capacities. He also thinks big because he is extremely American (like many of his fellow citizens, he is never so American as when traveling abroad). In this way he is reminiscent of the “millionaire ascetic” in Borges’s story “Tlön, Uqbar, Orbis Tertius,” who “declared that in America it was absurd to invent a country, and proposed the invention of a whole planet.” Here, in Against the Day,by his own admission, he has made what “with a minor adjustment or two [is] what the world might be.”
Which is not what the world oughtto be, mind you. Thinking big is not necessarily megalomania, and fiction-writing is not exactly voodoo. Against the Day is a flawed time machine, trying without much luck to find a version of history where iniquity failed to triumph, but in the process coming up with many reasons why it should continue to be resisted.
more from NY Review of Books here.