토마스 핀천의 미국 국가주의에 관한 정치적 무의식--『중력의 무지개』와『메이슨과 딕슨』
The Political Unconscious of American Nationalism revealed in Thomas Pynchon's Gravity’s Rainbow and Mason & Dixon
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Abstract
Thomas Pynchon’s work reflects not only on past European imperial power which influenced American liberalism, but also, self-consciously, on governmental power in the U.S. that has ideologically influenced the constitution of national and/or racial and ethnic identities and thereby individual subjectivities. These concerns are thematized in Gravity’s Rainbow (1963) and Mason & Dixon(1997) subtended, as they are, by the political unconscious of the contemporary culture wars in America. Gravity’s Rainbow clearly sympathizes with the cultural politics of resistance during Second World War. But this sympathy is not directly affirmative; rather it explores the experience of the cultural politics of the 60s and other versions of cultural resistance in the ensuing postmodern decades. The 60s experience involved what it feltlike to engage the possibilities and the limits of the effort to change history. Gravity’s Rainbow explores the euphoric desire for liberation embedded in a cultural discourse that opens up real historical possibility and, at the same time, the paranoia of that same desire as it confronts real historical limits. In Mason & Dixon Pynchon chose the historical landmark of the Mason-Dixon line to map the imaginary boundary of the emerging American Nation in terms of the desire for a clearly delineated cultural identity. For two hundred years the Mason and Dixon line had served as a battleground for violence, from the early colonial boundary disputes to natural disasters to the horrendous violence of the Civil War. Imaginary and arbitrary though this line was, still it captured divisions between North and South, Freeman and slave, American Indian and French colonist in the institutionalizing of the American Nation. The thrust of the argument of this paper, then, is that Pynchon fabricates the ironical possibility of a utopia in order to stake out his cultural politics of resistance. Indeed, his utopian space of resistance might be a site where what Fredric Jameson calls the untranscendable horizon of cognitive mapping of history reveals the limitation of cultural resistance to the "political unconscious" of the American social formation. In the end his aspiration for a utopian radical freedom is not an empty but the dynamic space of a "zero zone."
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