August 8, 2008 § 1 Comment
Just finished: Vineland.
In case my scintillating analysis hasn’t convinced you to read (or re-read) Vineland, I’m listing below my ten favorite jokes, digressions, fables, and goofs (the majority of the book, really). Print it out, take it with you to the library, enjoy in air-conditioned splendor. (Plus, if you don’t check it out, the Feds can’t track you and your dangerously socialist borrowing habits!)
In paginated order:
-The first chapter is almost completely detachable, a zany, slapstick, perfect little mini-narrative of lumberjack-themed gay bars, Valley girls, DEA agents, transfenestration, and, of course, the Tube. Read it. Pretend it’s a short story.
-The Marquis de Sod commercial, p. 46-47. Please tell me a California landscaping company has co-opted this schtick by now.
-Takeshi’s adventures at Wawazume Life and Non-Life, p. 142-48. The inevitable Godzilla subplot.
-Sister Rochelle’s alternate version of the Garden of Eden, p. 166. Pretty close to the heart of the book’s sex stuff.
-The crazy preacher on p. 213 who interrupts the weather crew. This whole chapter about the People’s Republic of Rock and Roll is pretty great, actually.
-Weed’s adventures with Dr. Larry Elasmo, p. 225-229. Pynchon does Kafka!
-The Federal Emergency Evacuation Route, p. 248-49. Believable and paranoid.
-Brock on the airplane, p. 277. What the little girl sitting next to him shouts made me laugh harder than anything else in the book, but it’s also more than a throwaway. Great paragraph.
-The Noir Center, p. 326. Bubble Indemnity! (The whole interaction of Prairie and Che is great, actually, and I’m deeply impressed by how Pynchon uses Brent Musberger to make maybe his best point about how TV’s affected us: our desire to “be the one to frame,” to comment on our world and our lives rather than to act, to move.)
-The running gag of biopics starring wildly unusual actors, culminating on p. 370-71. This is a movie that must get made. (Just after this there’s a movie about the ’83-84 NBA playoffs with the Lakers as heroes, the Celtics as villains, but let me remind you that Pynchon’s always commenting on how the Tube distorts events, so I don’t think he’s necessarily a Lakers fan. Please, God, let it not be so.)
Some of the songs are funny, too, and there’s a passage in the last paragraph which might (it’s a very qualified might, even) explain the cartoonish sections of the book (more metafiction, if you choose to read it that way).