Abstract

An ironic engagement with history sets Thomas Pynchon’s Bleeding Edge apart from other 9/11 fictions. Engaging in a shadow polemic on the historiographical responsibilities of the literary artist, Pynchon critiques a burgeoning technology (the Internet) and the economic order it serves. He presents the Deep Web as a virtual unconscious, a “dark archive” beneath the surface Web. In his probing of this digital arkhē, Pynchon escorts the reader into an abyss previously explored by Nietzsche, Freud, and Derrida. Like them, he finds repression, death wish, “archive fever,” and the oblivion from which life emerges and to which it returns.

Additional Information

ISSN
1053-1920
Launched on MUSE
2015-02-05
Open Access
No
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.