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  <front>
    <journal-meta>
      <journal-id journal-id-type="publisher-id" xml:lang="en">Literature of the Americas</journal-id>
      <journal-title-group>
        <journal-title>Literature of the Americas</journal-title>
      </journal-title-group>
      <issn publication-format="print">2541-7894</issn>
      <issn publication-format="electronic">2542-243X</issn>
      <publisher>
        <publisher-name xml:lang="en">IWL RAS</publisher-name>
      </publisher>
    </journal-meta>
    <article-meta>
      <article-id pub-id-type="doi">https://doi.org/10.22455/2541-7894-2024-17-67-89&nbsp;</article-id>
      <article-categories>
        <subj-group subj-group-type="article-type" xml:lang="en">
          <subject>Research Article</subject>
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          <subject>Articles</subject>
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      <title-group>
        <article-title>Thomas Pynchon’s Inherent Vice as a Menippean Satire</article-title>
      </title-group>
      <contrib-group/>
      <pub-date pub-type="collection">
        <year>2024</year>
      </pub-date>
      <permissions>
        <copyright-statement>Copyright © 2026, IWL RAS</copyright-statement>
        <copyright-year>2026</copyright-year>
      </permissions>
      <abstract>This paper explores Thomas Pynchon’s novel Inherent Vice through the lens of Menippean satire, elucidating in particular its intricate interplay of capitalism, counterculture, and spatial dynamics. Drawing upon Mikhail Bakhtin’s theory of Menippean satire, which highlights the carnivalesque inversion of societal norms and the critique of established power structures, the analysis delves into the manifold manipulations of human and spatial identities within the context of consumer culture. Examining the novel’s portrayal of spatial conflicts, akin to Pynchon’s earlier work V., the paper contends that the streets and locales in Inherent Vice serve as metonymic battlegrounds, emblematic of broader social struggles between hegemonic powers and countercultural resistance. Through a juxtaposition of the forces of capitalism, represented by governmental and corporate entities, and the carnivalistic ethos of the hippie counterculture, the narrative underscores the tensions inherent in the shaping of American space and identity in the early 1970s. Central to the analysis is the characterization of Gordita Beach, a fictitious Californian town, as a dialectical space where divergent social forces converge and clash. Here, the imposition of capitalist ideals by figures like Mickey Wolfmann intersects with the countercultural resistance, creating a liminal terrain where socio-economic boundaries blur and alternate identities proliferate.&#13;
&nbsp;</abstract>
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  </front>
  <back>
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</article>
