PE Check123 Difference between revisions of "Bleeding Edge Reviews" - Thomas Pynchon Wiki | Bleeding Edge

Difference between revisions of "Bleeding Edge Reviews"

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Please add any relevant reviews as they come in. Blog reviews are fine as long as they're substantial and more than a few paragraphs.
 
Please add any relevant reviews as they come in. Blog reviews are fine as long as they're substantial and more than a few paragraphs.
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'''09/06/13''' - [http://mobile.slate.com/articles/arts/books/2013/09/thomas_pynchon_s_bleeding_edge_reviewed.html?original_referrer=http%3A%2F%2Fm.facebook.com%2Fl.php%3Fu%3Dhttp%253A%252F%252Fwww.slate.com%252Farticles%252Farts%252Fbooks%252F2013%252F09%252Fthomas_pynchon_s_bleeding_edge_reviewed.html%26h%3DUAQFxkREA%26s%3D1 '''Slate'''] - Troy Patterson.
  
 
'''09/05/13''' - [http://www.theparisreview.org/blog/2013/09/05/pynchonicity/ '''The Paris Review'''] - Gary Lippman: "More than any other recurring Pynchonian concept, paranoia receives nuanced treatment in the novelist’s work. A tendency toward the “p” word would seem to color his personal life as well: although he reputedly lives in plain sight on New York’s Upper West Side, he keeps his private life more private than that of any other major American artist. And, after being a stone Pynchonophile for nearly thirty years, I’ve finally started feeling a bit paranoid myself. It’s not the dot-com “hashslingrz,” Pynchon’s latest fictional conspiracy, that’s freaking me out, but the author himself."  
 
'''09/05/13''' - [http://www.theparisreview.org/blog/2013/09/05/pynchonicity/ '''The Paris Review'''] - Gary Lippman: "More than any other recurring Pynchonian concept, paranoia receives nuanced treatment in the novelist’s work. A tendency toward the “p” word would seem to color his personal life as well: although he reputedly lives in plain sight on New York’s Upper West Side, he keeps his private life more private than that of any other major American artist. And, after being a stone Pynchonophile for nearly thirty years, I’ve finally started feeling a bit paranoid myself. It’s not the dot-com “hashslingrz,” Pynchon’s latest fictional conspiracy, that’s freaking me out, but the author himself."  
 
[http://www.theparisreview.org/blog/2013/09/05/pynchonicity/ Entire review »]
 
[http://www.theparisreview.org/blog/2013/09/05/pynchonicity/ Entire review »]
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'''09/03/13''' - [http://www.berfrois.com/2013/09/really/ '''Berfrois'''] - Albert Rolls. Originally published in [https://www.pynchon.net/owap/article/view/51/136 '''Orbit: Writing Around Pynchon'''].
  
 
'''08/19/13''' - [http://www.publishersweekly.com/978-1-59420-423-4 '''Publishers Weekly'''] - David Kipen: "Published 50 years ago by long-gone J.B. Lippincott & Co., Thomas Pynchon's ''V.'' wasn't just the best first novel ever, it was a blueprint for his entire career. Much as that book yoyo-ed between an international femme fatale and a feckless contemporary klutz, the Pynchon shelf has alternated between globe-trotting, century-spanning bricks like ''Gravity's Rainbow'' (1973), and impish, only slightly historical, California-set bagatelles like ''Inherent Vice'' (2009). Now comes ''Bleeding Edge'', a lovably scruffy comedy of remarriage, half-hidden behind the lopsided Groucho mask of Pynchon's second straight private-eye story. Like Ornette Coleman's riff on ''The Rite of Spring'', it starts out strong, misplaces the melody amid some delightfully surreal noodling, and finally swans away in sweet, lingering diminuendo."  
 
'''08/19/13''' - [http://www.publishersweekly.com/978-1-59420-423-4 '''Publishers Weekly'''] - David Kipen: "Published 50 years ago by long-gone J.B. Lippincott & Co., Thomas Pynchon's ''V.'' wasn't just the best first novel ever, it was a blueprint for his entire career. Much as that book yoyo-ed between an international femme fatale and a feckless contemporary klutz, the Pynchon shelf has alternated between globe-trotting, century-spanning bricks like ''Gravity's Rainbow'' (1973), and impish, only slightly historical, California-set bagatelles like ''Inherent Vice'' (2009). Now comes ''Bleeding Edge'', a lovably scruffy comedy of remarriage, half-hidden behind the lopsided Groucho mask of Pynchon's second straight private-eye story. Like Ornette Coleman's riff on ''The Rite of Spring'', it starts out strong, misplaces the melody amid some delightfully surreal noodling, and finally swans away in sweet, lingering diminuendo."  

Revision as of 17:26, 8 September 2013

Review aggregators

The Complete Review
The New York Times: Reviewing Thomas Pynchon...

Reviews

Please add any relevant reviews as they come in. Blog reviews are fine as long as they're substantial and more than a few paragraphs.

09/06/13 - Slate - Troy Patterson.

09/05/13 - The Paris Review - Gary Lippman: "More than any other recurring Pynchonian concept, paranoia receives nuanced treatment in the novelist’s work. A tendency toward the “p” word would seem to color his personal life as well: although he reputedly lives in plain sight on New York’s Upper West Side, he keeps his private life more private than that of any other major American artist. And, after being a stone Pynchonophile for nearly thirty years, I’ve finally started feeling a bit paranoid myself. It’s not the dot-com “hashslingrz,” Pynchon’s latest fictional conspiracy, that’s freaking me out, but the author himself." Entire review »

09/03/13 - Berfrois - Albert Rolls. Originally published in Orbit: Writing Around Pynchon.

08/19/13 - Publishers Weekly - David Kipen: "Published 50 years ago by long-gone J.B. Lippincott & Co., Thomas Pynchon's V. wasn't just the best first novel ever, it was a blueprint for his entire career. Much as that book yoyo-ed between an international femme fatale and a feckless contemporary klutz, the Pynchon shelf has alternated between globe-trotting, century-spanning bricks like Gravity's Rainbow (1973), and impish, only slightly historical, California-set bagatelles like Inherent Vice (2009). Now comes Bleeding Edge, a lovably scruffy comedy of remarriage, half-hidden behind the lopsided Groucho mask of Pynchon's second straight private-eye story. Like Ornette Coleman's riff on The Rite of Spring, it starts out strong, misplaces the melody amid some delightfully surreal noodling, and finally swans away in sweet, lingering diminuendo." Entire review »

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