PositiveThe New York Review of BooksIt’s tempting to suppose that Bleeding Edge has been written, in part, as a response to the Pynchonization of consensus reality, a transformation that became irrefutable with the rise of the World Wide Web, with its name like that of a global crime syndicate out of some half-parodic James Coburn spy caper and its infinite interlinks a perfect metaphor for paranoia itself. Having nuzzled up to the subject briefly in Inherent Vice, Pynchon digs deep, here, into the history of the WWW (V. sextupled?), from the DARPAnet Cretaceous of 1969 to the dot-com bust at the turn of the millennium … A good postmodernist, like a 9/11 truther, can afford the luxury of disdain for innocence; a parent is bound to protect it. Bleeding Edge is best understood not as the account of a master of ironized paranoia coming to grips with the cultural paradigm he helped to define but as something much braver and riskier: an attempt to acknowledge, even at the risk of a melodramatic organ chord, that paradigm’s most painful limitation.
RaveThe New York Review of BooksThe paradox in every part and sentence of the post-apocalyptic narrative—evoking even as it denies—is repeated as if fractally by The Road as a whole … All the elements of a science fiction novel of the post-apocalypse are present or at least hinted at...There are bits of satire of a very dark order in the hints that religious extremism caused the holocaust, and in the relentless way McCarthy deprives the foolish reader of the reassurances … The Road is neither parable nor science fiction, however, and fundamentally it marks not a departure but a return to McCarthy’s most brilliant genre work, combined in a manner we have not seen since Blood Meridian: adventure and Gothic horror.