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David W. Shetzline (born 1936, Yonkers, New York) is an American author residing in Oakridge, Oregon. Shetzline received his bachelor of arts from Cornell University in 1956 and his masters in literature from the University of Oregon in 1997. His dissertation was entitled “Quantum Dialogues: The Rhetorics of Religion and the Metaphors of Postmodern Science (English, 2000). He served as a paratrooper in the U.S. Army, in addition to being a ditchdigger and a student at Columbia University.〔Books: Memories of Grandeur, ''Time'' (Apr. 12, 1968).〕 He wrote in “the Cornell school” of writing in the 1960s with Thomas Pynchon and Richard Fariña.〔Review, ''Deford'' at http://www.versechorus.com/deford.html, last viewed 06/22/2010.〕 This school of writing has been defined through as having three preoccupations (1) socio-political paranoia, (2) concern with environmental degradation, and (3) awareness of popular culture’s unique impact on the American mind.〔Gene Bluestein, “Tangled Vines, a review of Vineland by Thomas Pynchon,” ''The Progressive'' (54:6)(June 1990) at 42-3; Douglas Cooke, ''Pursuit of the Real, And Escape from Reality'' at http://www.richardandmimi.com/beendown.html#return1, last viewed on 06/15/2010.〕 In addition to Pynchon and Fariña, the Cornell School would also include Mary F. Beal, to whom Shetzline was married. The Cornell School could also be said to include, or be influenced by, Vladimir Nabokov and Kurt Vonnegut. It stands in contrast to older literary traditions of that university, such as the literary traditions represented by E.B. White and Hiram Corson. In 1968, Shetzline signed the “Writers and Editors War Tax Protest” pledge, vowing to refuse tax payments in protest against the Vietnam War.〔“Writers and Editors War Tax Protest” January 30, 1968 ''New York Post''〕 ==Primary Fiction== His first work, ''DeFord'', was published in 1968.〔; William H. Pritchard, 'Review: Fiction Chronicle; DeFord by David Shetzline,' ''The Hudson Review'' (21:2)(Summer, 1968), pp. 364-376〕 ''DeFord'' is dedicated to the memory of Fariña.〔Summary of Richard Fariña's at Cornell at http://www.richardandmimi.com/cornell.html#classmates, last viewed 06/21/2010.〕 Reviewing DeFord, artist Thomas Pynchon wrote, "What makes Shetzline's voice a truly original and important one is the way he uses these interference-patterns to build his novel, combining an amazing talent for seeing and listening with a yarn-spinner's native gift for picking you up, keeping you in the spell of the action, the chase, not letting go of you till you've said, yes, I see; yes, this is how it is."〔Thomas Ruggles Pynchon, Jr., ''Book Endorsements'' at http://www.themodernword.com/pynchon/pynchon_essays_blurbs.html, last viewed 06/19/2010.〕 ''DeFord'' was a seminal contra use of geography as a metaphor.〔Paul Pintarich, "A Fan’s Notes: September Song," ''Oregon Magazine'' (June 2010)(noting Shetzline’s use of direction as a metaphor).〕 ''Heckletooth 3'' followed the next year as ''DeFord'', and was noted as a lead text in the new ecology movement of the 1970s.〔Jeremy Garber, Nonfiction Review: 'Gimme Refuge' by Matt Love, Nestucca Spit Press in the News, ''The Oregonian'' (May 8, 2010).〕 Of ''Heckletooth 3'', ''The Whole Earth Catalog'' wrote, “()here are some writers and books that I only hear about from others. William Eastlake is one. So is David Shetzline, notably for his forest fire novel Heckletooth 3. Ken Kesey went on about it to me years ago. And last week Don Carpenter firmly put the book into my hand. Well they’ve got my agreement. My summer logging the Oregon woods tells me that Shetzline has the work right, the fire and the men right. He especially has the language – Oregon laconic. It’s an introspective action-novel about virtue. I mean, about detail.”〔''The Whole Earth Catalog'' (Summer 1975) at 155.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「David Shetzline」の詳細全文を読む スポンサード リンク
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