Pynchon v. Kakutani.
Not yet a quarter of the way through Against the Day, I guess I’d say I’m in provisional disagreement with Adam Kirsch, Michiko Kakutani, and the other critics who have faulted the book for its thin and cartoonish characters, its ungainly shape and size, its supposedly pointless multiplication of plot lines, its flourishing of scientific and mathematical esoterica. I’ll wait until I’ve read the entire book to get into what I think is behind the impatience many reviewers have shown toward these staple elements of Pynchon’s work. Let me just say for now that, while Kirsch’s review at least makes a good-faith attempt to engage the substance of Pynchon’s novel, Kakutani’s review is an arrant disgrace. I don’t, of course, know the conditions under which she read this book, how unreasonably tight her deadline was and how hasty her reading may have been–but let’s say you were in her place. You’ve read Pynchon’s earlier books, you know the themes he likes to play upon, you’re familiar with his stylistic tendencies, the eccentricities of his humor, etc. Now you have to read this massive new novel and produce a daily-newspaper-sized review in just a few days’ time, or in a week, or at any rate much faster than seems reasonable with an author who has in the past turned out highly intricate fictions of almost overwhelming scope and detail. And let’s throw in that you don’t care how large a potential for unfairness happens to be built into this setup. What would you say about it?
You might say something very much like this:
Thomas Pynchon’s new novel, “Against the Day,” reads like the sort of imitation of a Thomas Pynchon novel that a dogged but ungainly fan of this author’s might have written on quaaludes. It is a humongous, bloated jigsaw puzzle of a story, pretentious without being provocative, elliptical without being illuminating, complicated without being rewardingly complex.
You might, in other words, find yourself reading “Pynchon” rather than Pynchon, and managing to absorb only the most conspicuously “Pynchonesque” characteristics of the narrative. You might be stone dead to any deeper rhythms and meanings–the more especially if you’re in thrall to a 19th-century novelistic standard that prizes an Aristotelian shapeliness, and character-based psychological depth, above all else. You would likely see Pynchon impotently pantomiming his younger and more vital self.
And you might be as wrong and irrelevant as it is possible to be.

