Abstract
The nature of Thomas Pynchon's fiction has encouraged a serial view of his texts as being sequentially organized by some concatenative V-effect, from the first novel, V. (or "V1 "), then, momentarily omitting <em>The Crying of Lot </em><em>49</em>, to the centrality of V-2 rockets in <em>Gravity's Rainbow, </em>and, nearer us and nearer "home" (its final word), to <em>Vineland </em>as "V3" and a more nostalgic fresco of an allegorized proto-America (<em>Vinland </em>was the name given to the American continent sighted by the Vikings in the tenth century). But each time, a different estrangement takes place, according to a variable V-effect, or Pynchon's version of the Brechtian <em>V[erfremdungs]-Effekt.</em>
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