By Basilio Baltasar
In one of his best novels –Against the Day, Penguin Press, 2006– Thomas Pynchon pushes the limits of storytelling. His ambitious naturalism is exhaustive and the power with which he confronts the theme, startling. The poetic eloquence of his characters tirelessly sustains an intriguing vision of History and his dramatic intensity maintains the living physical presence of characters forced to experience the disjunction of redemption or damnation. Anarchist vigilantes, ambushed spies, visionary mathematicians, insatiable magnates, gunmen with the courtesan morals, spiritualists, vagabonds and explorers from a phantasmagorical geography all play out a plot in which no one knows who they really are. However, in the dense existence of this mystical fable, they all feel profoundly moved by the imminence of an apocalyptic collapse.
It is highly likely that the ever-impatient reader will be disconcerted by the arrogance of a story that, at first glance, seems to be a hermetic exercise in narrative complexity. However once we have overcome the capricious habit of our indolence, that laziness so many writers set out to praise, we will catch a glimpse of the meaning cleverly disguised in this revealing work of fiction.
Against the Day, set in the period between the 1893 World’s Fair in Chicago and the outbreak of World War I (a time chosen by the author as a replica of the present), employs the literary resources of all genres. Throughout its pages we find John Steinbeck’s indignant hope from The Grapes of Wrath, the cynical caution of Dashiell Hammett’s Red Harvest, the violent epic of the Western (one can see how the legend of the war against the Indians enveloped the shootout, which was just as foundational, between the trade unions and the detectives at the Pinkerton Agency), the juvenile license of the adventure novel (as if Harry Potter could walk through Yoknapatawpha), the intuition of science fiction, a free-flowing plot and the histrionic authority of an author who always knows where he is going.
Pynchon reminds us of Whitman when he enumerates his premonitions, of William Blake when he reveals the secrets of this world, and of Jules Verne when he instructs us with visionary artifacts. Combining the narrative energy of his forebears, Pynchon tells of the chaotic fury of an age that, while watching its boasting crumble, turns on itself in a desperate attempt to deny the power of this new turn of events. Is this not also a sign of our own times?
We have become accustomed to treating scientists we don’t understand with respect and flippancy; like oracles of inaccessible knowledge or creators of wisdom only they are concerned with. But in Against the Day, the mathematician works for powers interested in something more than just the business of technology. Tesla (the Prometheus of electricity torn apart by Edison, Marconi and Westinghouse), Hamilton (with his quaternions), Maxwell (with his electromagnetic theory), Poincaré (with his conjectures) and Riemann (with his hypothesis), all appear in this novel like sorcerers of a power far removed from the rational optimism of the Enlightenment. The contributions of their intelligence, ecstatic in the face of the unexpected depths of what is Real, have not altered our basic understanding of the Universe (we still prefer to converse with Euclid and Newton). And the truth is that we do not yet possess an adequate arsenal of ideas for their discoveries. If the world we have conquered and dominated seems unpredictable, uncooperative and even hostile, what will we do when we truly understand the abysmal revelations of Science? Will we be able to integrate them into a new common sense? Will we know how to create a new story of the origins of the world, the nature of the soul or the destiny of man? Against the Day is the most ambitious achievement to date in the quest to tell the tale of what occurs in this screeching hinge of History.
Pynchon’s imagination is one of tragic irony whose wisdom is masked by its parody of our anxiety. Against the Day is the fruit of conspiracy driven by powerful premonitions and a prophetic epic that will reveal the meaning of the expectant 21st century. What prevails at the end of this great novel is the emotion each character has faced in the crucial dilemmas of their tortuous path: violence (in any of its sophisticated variations to which civilization has accustomed us) or the nearly indescribable mystery of a spirit that, truly, always blows where it will.
Of the symbolic symphony orchestrated by Pynchon before the eyes of his perplexed readers, one must point out the coda, the ancient stamp of the Tibetan government which the author reproduces on the endpapers of his impetuous novel: a white lion against the backdrop of the jagged peaks of the Himalayas.
Basilio Baltasar, the director of the Fundacion Santillana, is an essayist and journalist.
Published in El País (Spain)

