The opening of Thomas Pynchon’s Bleeding Edge, forthcoming fall 2013.
I’ve been intensely curious about Pynchon’s next novel since learning its setting—nervously, because it overlaps disconcertingly with my manuscript, and with intense curiosity: how will Pynchon, whose work is so artificed, and who uses the epic so artfully to bolster passages of unabashed sentiment, work closer to his present home?
I love the complexity of point of view in the first paragraph, how the reader’s knowledge is assumed, and how the shift from the narrator’s perspective more directly into Maxine’s happens through the expression of resentment of a unspoken sentiment by an absent speaker.
Zig’s “Doesn’t suck”—yeah, we’re ready for that (though, Zig?)
The blurry reflections from apartment windows—I’m so on board for that patience. That’s from someone who knows, loves their neighborhood, its brick and mortar and texture of light.
The cops dealing with bagel deficiencies—I hear a syntactic echo of Harold Brodkey:
The local macrobiotic restaurant was crowded with people dealing macrobiotically with the virility and exoticism factors
Most of all I’m struck by the quotidian-ness that it is so warned against by the cinematic, put-us-in-the-action, what’s-the-conflict school of How To Write (and of course the page has plenty of conflict, or things impending—the first paragraph’s resentment, and the reader’s knowledge of 2001 bearing down. But after a page, are we even to the end of the block?)
For me, it’s the pear trees. I’m sold because the days of white blossoms are so few, and a boy named Zig probably thinks he’s being pretty nine-year-old cool to grant that the moment doesn’t suck.
[via Biblioklept: Gothamist: Penguin [PDF]]