“Writing is a form of prayer.” – Kafka in his diaries.
The writing machine in fiction is almost always a metaphor used by authors from Swift through John Barth, Italo Calvino, and William Gibson to explain and display their own techniques, an energized funhouse of self-reflection. I’ve looked at many of these over the decades, since they play on the slippery boundary between reason (mechanics) and irrationality (art) in order to question deep assumptions about how their authors, and their cultures, find and express “truth” in fiction. In this essay, I look at two fictional texts about machines that write directly onto the human body. Both mechanisms work to give their subjects knowledge of realms beyond the ken of sheer mechanics. The first is the Sentencing Machine in Franz Kafka’s “In the Penal Colony” (1914), an excruciating device for torturing and executing condemned prisoners by incising tattoos on their bodies . The second is Thomas Pynchon’s much more benign “Puncutron Machine” in Vineland (1990), an electroshock device for adjusting a subject’s spiritual balance, his karma, and send him “purring into transcendence.” Their comparison shows these two authors’ interest in metaphysics, a territory of twentieth century literature that is curiously under-explored in most criticism. The route to that territory goes from the physical body, through texts written by machines on bodies, to transcendence. Continue reading ““The Hacker We Call God”: Transcendent Writing Machines in Pynchon and Kafka”