Abstract
ABSTRACT This essay examines racial representation in both the typescript of Pynchon's V. and the published novel. We focus on revisions of the African-American saxophone player Sphere ostensibly intended to lessen the novel's air of social protest. While Pynchon's later fiction is more radical, Sphere in the typescript and even his much-trimmed version in the published novel appear to illustrate a youthful mix of cautious liberalism and Beat cliché.
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