How Do We Know Thomas Pynchon Exists?

 A PYNCHON AUTHORSHIP CONTROVERSY

That's the problem with a reclusive novelist like Thomas Pynchon. He might be non-existent.

The writings may well be the product of an 1963-era IBM System 360 mainframe computer, or a Univac, supplemented today, for the most recent novel, by AI. How would we know to the contrary? 

Or more likely, produced by a committee at CIA Headquarters in Langley.

For "Thomas Pynchon," unlike for all other public figures, there've been no questions, no interviews, no author photos. For sixty years! No accountability. Insular elite literary people, our official intelligentsia-- the most gullible individuals on earth-- are accepting of everything. Change the history of American literature to wipe out or marginalize naturalists and populists? Sure, they'll buy it. A pretend author? Simplicity itself in comparison.

There's long been a Shakespeare Authorship Controversy, with contrarians questioning the evidence and insisting someone other than the man from Stratford wrote the poems and plays.

There are far more grounds for a Pynchon Authorship Controversy.

THE CHIEF CULPRIT

This book review appearing in the New York Times on April 21, 1963, put unknown writer Thomas Pynchon on the cultural map. The review was written by upper-class literary mandarin George Plimpton, known for his gags and practical jokes. A recent essay by Andrew Szanton calls Plimpton a "world-class mischief maker"-- but there was much more to old George than first met the eye. Plimpton's influential literary journal The Paris Review was founded with CIA monies and intended to alter the direction of American culture away from its populist roots. The publication wanted "non-drum beaters and non-axe-grinders," or so proclaimed the first issue. This, in 1953 at the peak of the Cold War, when Ivy League liberal intellectuals sought a middle path between populist radicalism and John Birch Society-style reaction. For those in the upper levels of American society, scions of privilege, much was at stake.

CONTEXT

The real hoax, the actual gag, was wiping out the possibility of truly political, radical, "from the people" writing, of a kind which could connect to the vast American public, and promoting instead a jokey substitute, whose difficult books, published under the name of a WASP blueblood, would appeal to the literary cognoscenti in New England and New York, addressing politics in a satirical fashion, unthreatening, with distinctive style. The ultimate in 1960's hip. Hilarity for one and all. The masses excluded of course.

THE FIRST NOVEL

The first "Thomas Pynchon" novel, curiously enough, V, is about the mystery of identity. The search for an identity. A review of the novel on May 15, 1963 in Time magazine, in the aftermath of Plimpton's, asked: "Who, finally, is V? . . . Who indeed?"

NOTE

I'm sure there's an actual legal Thomas Pynchon somewhere, paid a yearly stipend for the use of his name, though he's clearly not up to playing the role of great writer in public. Oh well. Never easy to pull off.

Meanwhile George Plimpton, wherever he is, enjoys eternal amusement.

Questions About Book Reviewing

ANOTHER STRIKING NEW POP LIT INTERVIEW

Our task at NEW POP LIT is to cover literary issues in a way no one else will cover them. We try to look behind the facade of the acceptable narratives to present you what’s really happening, and what individuals within the book community really think.

See, for instance, our interview with Daily Beast book reviewer Tom LeClair: http://newpoplit.com/2015/08/31/leclair-on-franzen/

LeClair is as outspoken as any book critic can be—calling out “middlebrow cheerleader(s)” who engage in “critical irresponsibility.”

Surely “Big 5” publishing has something of a symbiotic relationship with lit-establishment organizations, publications, and writers. To what extent does this influence the nature of book reviews? Especially when the novel being reviewed is as heavily promoted as is Purity by Jonathan Franzen?

These are questions which need to be asked and answered.

A Cliched Milieu?

In today's New York Times, Janet Maslin makes an unintentionally funny remark in the middle of a review of the novel The Starboard Sea by Amber Dermont. The novel is set in a prep school. Janet Maslin calls prep schools a "cliched fiction-writers milieu." No shit! Do you ever wonder why, Ms. Maslin? Could it possibly be that so many novels chosen to be published by the big New York publishing companies, and designated to be reviewed in the New York Times, are set in prep schools? Is that why they've become a cliche? Either prep schools are all today's fiction writers want to talk about, or possibly, just maybe, the fiction writers chosen for publication attended prep schools. Take your pick.