Silver and Light

August 4, 2008 § Leave a comment

Now reading: Vineland.

A couple more things about Pynchon’s other world and I’ll move on.

There are two incredible extended metaphors within six pages of each other that identify the essence of that other world (which I posited as being the filmed world): it is its timelessness, or at least the illusion of same. Here’s Frenesi, suffering from post-partum depression and from memories of her fascist lover Brock:

Taken down, she understood, from all the silver and light she’d known and been, brought back to the world like silver recalled grain by grain from the Invisible to form images of what then went on to grow old, go away, get broken and contaminated. She had been privileged to live outside of Time, to enter and leave at will, looting and manipulating, weightless, invisible. Now Time had claimed her again, put her under house arrest, taken her passport away….

Frenesi as film, and although I don’t really understand the process of developing film very well, I think what’s intended here is the idea of silver grains recalled from development to the real world, and by extension the idea of Frenesi terrified that she’s given birth to something existing in an unbounded set, something that can “grow old, go away…”

Then there’s a metaphor that manages to be both gonzo and haunting: Brock Vond’s “erect penis” as a “joystick” with which Frenesi steers through her obstacle-filled world, presented as a “forbidden arcade… closing time never announced… no longer the time the world observed but game time, underground time, time that could take her nowhere outside its own tight and falsely deathless perimeter.”

Also important is an earlier passage, from the beginning of the previous chapter (p. 218), which I somehow forgot to mention before. Discussing the Thanatoids, it reads:

We are assured by the Bardo Thodol, or Tibetan Book of the Dead, that the soul newly in transition often doesn’t like to admit — indeed will deny quite vehemently — that it’s really dead, having slipped so effortlessly into the new dispensation that it finds no difference between the weirdness of life and the weirdness of death, an enhancing factor in Takeshi’s opinion being television, which with its history of picking away at the topic with doctor shows, war shows, cop shows, murder shows, had trivialized the Big D itself. If mediated lives, why not mediated deaths?

Now, there does seem to be a clear difference between Pynchon’s treatment of TV and his treatment of video games and film. I’m probably simplifying by lumping them all together into Pynchon’s other, timeless world, a kind of fool’s paradise. I suppose, however, that I should leave the last, blunt word to Sledge Poteet, cutting through layers of b.s.:

“You don’t die for no motherfuckin’ shadows.”

God and Ghost in the Machine

July 17, 2008 § 2 Comments

Now reading: Vineland.

Well, shucks, things have changed. It’s still a fun book, but we’ve gotten into heavy-duty Pynchon territory now. The damned, the paranoid, the radical and the tyrannical. I have this strange feeling that TP started out trying to write a different kind of book but it sucked him in and he let it take him, his obsessions with Calvinism, systems, technology. There are moments when you can feel the sentences pulling him along to his inevitable conclusions. But it’s great stuff, and there are passages in here to rival anything in Gravity’s Rainbow. (Also, the quirk I remember most from GR, the “a-and” stutter or elongation, has resurfaced here, if only a couple of times. I always liked that, and it always seemed like Pynchon was trying to channel the archetypal overexcited American kid in movies and ’50s TV with that extra letter and dash, and it seemed to me like a brilliant condensation of American character. In which case it fits in well in this media-obsessed book, showing how TV has worked its way into our minds and is constantly showing us how to live, how to be. Or it was just supposed to be a longer “a” sound and I got the whole thing wrong. Anyway.)

He’s on to computers, for instance. There are no less than three really virtuoso pieces about computers already in the book. Two are in the chapter in which we’re shifted to Frenesi’s story (a virtuoso chapter overall, really). On page 87, after Frenesi’s husband Flash has been talking about how people are disappearing from the government’s computer files (and it begins…), their son enters. The kids in this book are really interesting — Pynchon seems to have a lot more invested in them than in previous books, or maybe is just more interested, or is acknowledging the shift toward youth that the culture as a whole took after the 60s — so I might quote a little long just to get in some of the allusive, pitch-perfect, idiosyncratic dialogue:

…Justin came wandering in, cartoons having ended and his parents now become the least objectionable programming around here, for half an hour, anyway — and just as well, too, because the last thing either parent needed right now was an argument, or what passed for one with them, a kind of alien-invasion game in which Flash launched complaints of different sizes at different speeds and Frenesi tried to deflect or neutralize them before her own defenses gave way.

“Say, Justintime, how’s ’em Transformers, makin’ out OK?”

“And how was everything over at Wallace’s?”

The kid put on a genial smile, waved, put his hand to his ear like Reagan going, “Say again?” “How about a few questions,” Justin pretending to look around the room, “Mom? You had your hand up?”

“We’re just getting you back for all those questions you used to ask us” — Flash adding “Amen!” — “not too long ago.”

“I don’t remember that,” trying not to laugh, because in fact he did, and wanted to be teased.

“Must be gettin’ old, man,” said Frenesi.

“Nonstop questions nobody could answer,” Flash told him, “like, ‘What is metal?'”

“‘How do you know when you’re dreaming and when you’re not?'” Frenesi recalled, “That was my favorite.”

Isn’t that great, that subtle shift, incorporating the computer-game metaphor into the already-established TV theme? And this idea itself, of parental arguments being seen as a video game? I’m always fascinated by Pynchon’s narrators, how they manage to shift their voices so rapidly and convincingly without actually shifting point of view: the idea of Flash and Frenesi’s arguments being like a giant game of Space Invaders would not have occurred without Justin’s point of view, in addition to the metaphor being important to Pynchon’s overriding concerns. (I love Justin impersonating Reagan, too, and “I don’t remember that” — just like Reagan, forgetful whenever convenient, and playing his coy game with the media, wanting to be teased.) Plus there’s Frenesi’s remembrance of young Justin asking about dreams; we’ll later see DL asking similar questions, wondering if she’d become “finally lost in a great edge-to-edge delusion.”

So this leads to the end of the chapter, as F&F’s nightmare is coming to pass and they’ve apparently been erased from the system they were living on the edge of, as independent contractors on shady governmental missions.

…it would all be done with keys on alphanumeric keyboards that stood for weightless, invisible chains of electronic presence or absence. If patterns of ones and zeros were “like” patterns of human lives and deaths, if everything about an individual could be represented in a computer record by a long string of ones and zeros, then what kind of creature would be represented by a long string of lives and deaths? It would have to be up one level at least — an angel, a minor god, something in a UFO. It would take eight human lives and deaths just to form one character in this being’s name… We are digits in God’s computer, she not so much thought as hummed to herself to a sort of standard gospel tune, And the only thing we’re good for, to be dead or to be living, is the only thing He sees. What we cry, what we contend for, in our world of toil and blood, it all lies beneath the notice of the hacker we call God.

Overblown? Maybe you could say that. But mind-blowing, too, and I wonder what Pynchon makes of the fact that a lot of the people in the world are now busy adding to their “computer records” pictures, profiles of friends and acquaintances, weird literary blogs? (2.0 apps as path to acknowledgment by the hacker-God, and as handy guides to governmental intrusion.)

Then there’s Prairie, looking at her mom’s file on an apparently magic computer (it plays “Wake Up, Little Susie,” and it politely says goodnight to Prairie when she shuts it off — it’s maybe the worst line I’ve ever seen Pynchon write, actually, right there on p. 115). But this is a great paragraph, an enrichment of the theme:

So into it and then on Prairie followed, a girl in a haunted mansion, led room to room, sheet to sheet, by the peripheral whiteness, the earnest whisper, of her mother’s ghost. She already knew how literal computers could be — even spaces between characters mattered. She had wondered if ghosts were only literal in the same way. Could a ghost think for herself, or was she responsive totally to the needs of the still-living, needs like keystrokes entered into her world, lines of sorrow, loss, justice denied?… But to be of any use, to be “real,” a ghost would have to be more than only that kind of elaborate pretending….

After that we get Prairie finding out some things, but transported by a picture of her mom with DL (the asskicking Ninjette) in the 60s. There’s a great transcript of what Prairie imagines they’re talking about in the photo, and then, once Prairie has shut the machine off, in his inimitable Pynchonian fashion, the narrator takes us back into those “quiescent ones and zeros” and shows us (apparently) the true story behind the picture, and we get a nice long flashback, and flashbacks to flashbacks, and the ghosts become as real as ghosts in a machine can. (Realer, maybe.)

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