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"The Exact Degree of Fictitiousness": Thomas Pynchon's Against the Day
*Bernard Duyfhuizen *
/ University of Wisconsin, Eau Claire/
pnotesbd@uwec.edu
(c) 2007 Bernard Duyfhuizen.
All rights reserved.
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Review of:
Pynchon, Thomas. Against the Day. New York: Penguin, 2006.
1. With Against the Day, Thomas Pynchon has given us his sixth novel
in the forty-three years since V. was published in 1963. With that
auspicious beginning (V. won the William Faulkner Foundation Award
for the best first novel of 1963), Pynchon set a high bar for his
fiction, one he raised with his next two novels The Crying of Lot
49 (1966) and Gravity's Rainbow (1973). The latter remains,
arguably, Pynchon's masterpiece, and if he were ever to give an
interview, I think he would concede it has been a tough act to
follow. In 1984 he collected his early short fiction in Slow
Learner (including an Introduction in which he reveals some
aspects of his early writing process), but it wasn't until 1990
that his fourth novel Vineland was published. Because of its focus
on the topical issues of the 1980s, most critics thought Vineland
reflected Pynchon's concern with the direction America was heading
during the Reagan presidency, and therefore not the novel that had
been occupying him since 1973. With Mason & Dixon (1997), Pynchon
regained his stride and produced a text that, for some critics,
gives Gravity's Rainbow a run for the label "Pynchon's
masterpiece." Having now read Against the Day twice, I would put
it in the running with Gravity's Rainbow and Mason & Dixon--time
will tell where it places.
2. We need to recall Pynchon's publishing history for any assessment
of Against the Day because in this new novel Pynchon is
particularly aware of his earlier texts. We have come to expect
so-called "Pynchonesque" features in his work, such as thematic
concerns with paranoia, the role of technology in controlling
human lives, and more importantly, the role of governments and
corporations (the line between them becoming ever thinner) in
guiding those technologies for the benefit of the few at the
expense of the many. We expect wacky character names (Ruperta
Chirpingdon-Groin, Dr. Coombs de Bottle, Alonzo Meatman, for
instance) and organizations with wacky acronyms (T.W.I.T.,
I.G.L.O.O., and L.A.H.D.I.D.A., for instance). We expect the text
to display a general encyclopedic quality, and it is worth noting
that on the day of publication, there was already up and running a
Wiki site (ThomasPynchon.com, managed by Tim Ware) to begin
cataloging and annotating Pynchon's deep research for this novel.
3. Likewise, we expect healthy doses of scientific information
(mainly mathematics and physics this time) woven into the text to
function at both literal and figurative levels in the plot.
Against the Day focuses on issues of time and space, and its
narrative time overlaps with the emergence of Einstein's theories
of relativity. In this way the novel concentrates our attention on
the new ontologies of the planet that emerged at the turn of the
century--a reflection that probably occupied Pynchon during his
composition of the text as our own turn of the century passed.
Lastly, we expect a "plot" that is loose at best and certainly
multiple in focus, and a "plot" that will not be limited to the
elucidation of the moral and social evolution of individual
characters as one finds in classic "big" novels such as Tolstoy's.
That said, Against the Day is in many ways a character-driven novel.
4. For many readers, patient re-reading is also required to grasp
Pynchon's style in Against the Day. Pynchon's styles have always
caused readers initial difficulty. Pynchon has from V. onwards
demonstrated a proclivity for dialogic interplay among his
narrative voices. Some critics have proposed that there is never a
single narrator in a Pynchon novel, while others delight in his
devotion to parody and pastiche both as a means of character
revelation and as stylistic pyrotechnics. Although it is fair to
say that Pynchon's approach to style is not every reader's cup of
tea, a Pynchon novel always challenges and unsettles our habitual
strategies of reading; the reader must be ready for quick changes
and narrator impersonations throughout the text. Some early
reviewers of Against the Day apparently had problems negotiating
Pynchon's various shifts of voice, and some were quick to
criticize the changes of level that make the text appear uneven.
Pynchon's style in Against the Day can at times soar, while at
other times he seems to have a tin ear, but first-time readers of
Gravity's Rainbow often have the same experience of his style. In
some respects, the knock against the style of Against the Day may
be that it is too accessible. That seeming accessibility, however,
can be deceptive, masking an implicit critique of how the various
narrative styles that Pynchon parodies have aided the powerful in
maintaining a culture of containment as opposed to the culture of
anarchy that Against the Day celebrates and questions in turn.
5. Because the scope of Against the Day is so broad, the reader
follows the main characters over many years and sees the
evolutions of their personalities. As in Mason & Dixon, this
novel's chronology forces the characters to undergo changes as the
world itself changes. In Pynchon's first three novels, the primary
chronologies were limited to roughly a single year--as befitted
their satiric evocation of the quest plot motif. In Mason & Dixon
the chronology is expanded because the historical facts of the
protagonists' project to draw the Mason-Dixon line necessitates
following them over a period of many years. In Against the Day,
Pynchon is not bound by the "real lives" of his key characters, so
he has space to develop each one in relation to the conditions of
their experiences. It is a fair criticism, especially from readers
whose tastes tend toward realism, that with a broad cast of major
characters (and with all the other "stuff" he typically crams into
his texts) Pynchon still falls short of developing his characters
as fully as they deserve. Nevertheless, the patient re-reader of
Against the Day will discern that his characters this time are
much more nuanced and in many ways more human than some of their
predecessors.
6. When we put Against the Day in the context of Pynchon's other
novels, we see vectors (a metaphor drawn from the mathematical
matrix of the text) that clearly connect it to the earlier novels.
The most obvious is arguably the major plot line in the saga of
the Traverse family and their response to Webb Traverse's murder.
At the end of Vineland, Webb's grandson (Reef's son) Jesse is the
patriarch of the Traverse-Becker family that gathers for its
annual reunion, thus making him the father of Sasha, grandfather
of Frenesi, and great-grandfather of Prairie. The genealogical
connections track not only family DNA, but the transformation of
Webb's anarchistic spirit through generations of decline to
Frenesi's role as a government snitch. In the larger story of
America that Pynchon's oeuvre presents, Against the Day redirects
our attention to Vineland and to the commentary each Pynchon novel
makes about the forks in the road America did not take and to our
collective complicity in those decisions.
7. There are, of course, more mundane vectors that readers of Pynchon
will acknowledge with a smile, at least. The newest entry in the
sea-faring family of Bodine (O.I.C. [oh! I see] Bodine) makes a
cameo appearance when Kit Traverse, one of Webb's sons, finds
himself on an ocean liner that transforms into a battleship, but
both ships continue on separate voyages. At another point in the
text Reef is told he can "leave a message with Gennaro"--namesake
of a complete nonentity, the colorless administrator left standing
at the close of "The Courier's Tragedy" in The Crying of Lot 49.
Near the end of the text, La JarretiÃ(r)re from V. makes a cameo
appearance--almost a decade after her "death" (must we revise our
reading of the scene in V. to say "stage death"?):
They came to see blood. We used the...raspberry syrup. My own
life was getting complicated...death and rebirth as someone
else seemed, /just the ticket/. They needed a /succÃ(r)s de
scandale/, and I didn't mind. A young beauty destroyed before
her time, something the eternally-adolescent male mind could
tickle itself with. (1066)
As he did in Slow Learner, Pynchon may be commenting on his own
"adolescent male mind" at the time he wrote V., and maybe on his
own thinking at the time that his novel needed a "succÃ(r)s de
scandale." The women of Against the Day are as complexly drawn as
the male characters, and a far cry from the "tits 'n' ass" female
characters of Pynchon's early texts. Although there are still some
elements of objectification at play here, characters such as Dally
Rideout, Estrella ("Stray") Briggs, Yashmeen Halfcourt, and Wren
Provenance are among the strongest and most independent women
Pynchon has yet written.
8. Although it is fun to spot such connections back to earlier texts,
in the cases of V. and The Crying of Lot 49 it is equally
intriguing to consider the characters /not/ reappearing. Since
Against the Day overlaps in historical period (1893-1922) and
geographical locale (Europe and the Mediterranean) with most of
the historical chapters in V., one would almost expect the lady V.
to make an appearance at least at one of the many moments of
anarchistic activity and political destabilization. If she does,
it is in disguise, maybe as Lady Quethlock, guardian to Jacintha
Drulov, about whom Cyprian Latewood observes "certain nuances of
touching, intentions to touch, withholdings of touch, as well as
publicly inflicted torments of a refinement he recognized,
suggested strongly that he was in the presence of a Lady Spy and
her apprentice" (822). Likewise, when a Foreign Office operative
is identified as "old Sidney," the reader is tempted to think that
Sidney Stencil is making an appearance, but we find out about 30
pages later that it is apparently "Sidney Reilly"--the real "Ace
of Spies," whose life story, along with the fiction of John
Buchan, may have served as model for the European espionage agents
in Against the Day.
9. In a novel so devoted to anarchist activities, the reader might
also expect to encounter the Tristero, the underground postal
system from The Crying of Lot 49. If it is here, it too is
undercover, operating on some of the mail that finds its
recipients even at times when the normal channels seem to be down.
The spat between Ewball Oust and his stamp-collecting father may
also suggest the Tristero's presence in Against the Day:
It seemed that young Ewball had been using postage stamps from
the 1901 Pan-American Issue, commemorating the Exposition of
that name in Buffalo, New York, where the anarchist Czolgosz
had assassinated President McKinley. These stamps bore
engraved vignettes of the latest in modern transportation,
trains, boats, and so forth, and by mistake, some of the
one-cent, two-cent, and four-cent denominations had been
printed with these center designs upside down. One thousand
Fast Lake Navigation, 158 Fast Express, and 206 Automobile
inverts had been sold before the errors were caught, and
before stamp-collector demand had driven their prices quite
through the roof[.] Ewball, sensitive to the Anarchistic
symbolism, had bought up and hoarded as many as he could find
to mail his letters with. (978)
These "center inverted" stamps ("inverse rarities" to recall one
of the readings of Pierce Inverarity's name) turn out to be real
(the four-cent invert is even considered by some philatelists to
have been made deliberately rather than by mistake).
10. In typical Pynchon fashion, however, the passage resonates with
the text's overall theme of anarchism, especially the anarchism
stemming from United States economic policy in the 1890s. McKinley
was a key player in establishing the gold standard in United
States monetary policy of the 1890s, specifically the repeal of
the Silver Act in 1893. Much of the trouble in the Colorado mining
industry, which helps propel Webb Traverse into his dynamiting
ways, was the result of the Repeal and the subsequent devaluing of
silver mining interests. Additionally, the Pan-American
Exposition, a follow-up to the 1893 Columbian Exposition in
Chicago that figures so prominently in the opening section of the
novel, was powered by Nikola Tesla's invention of mechanisms for
the long distance transmission of alternating current from
generators at Niagara Falls. Ironically, the medical facilities at
the Fair, where McKinley was taken, did not have electricity, and
apparently no one thought to use the newly invented x-ray machine
on display at the Fair to look for the assassin's bullet. Of
course, in a Pynchon novel, such connected allusions prompt, more
often than not, thoughts of nefarious conspiracies to manipulate
the transmission of "political" power.
11. Power and the movement of history has been a pervasive theme in
Pynchon's writing. Usually he shrouds the sources of power in many
layers of governmental or corporate bureaucracy so that its
effects are mainly felt while its origins remain hidden. In
Against the Day, Pynchon embodies two main agents of power. The
more shadowy of the two is represented by the British Foreign
Office and other national entities in the run-up to World War I.
The main plot vector here involves Cyprian Latewood (and by
intersection also the Yashmeen Halfcourt, Kit Traverse, and Reef
Traverse plot vectors), an agent operating in the Balkans in the
years leading up to the Balkan Wars of 1912-13, which were
precursors to World War I. It is less Pynchon's point to represent
actual espionage-like activities than it is to show the human
dimension of the individual agent who survives double-crosses by
those he should be able to trust. Cyprian's masochistic
homosexuality is both an asset and liability in his activities,
but the vector of his evolution in the course of the novel from
hedonistic desire to a sense of larger, religious human
responsibility shows Pynchon's development in Against the Day of
more fully rounded characters. Cyprian's experiences of rescuing
other agents and later with Yashmeen and Reef in a mÃ(c)nage à trois
show a change in Pynchon's conception of the way individuals
respond to the political forces exerted on them. Unlike Slothrop
in Gravity's Rainbow, Cyprian neither runs away from nor becomes a
pawn in the game; instead, he comes to an understanding of a
higher human mission of responsibility to collective humanity.
When he finally opts out of the situation, it is to join a
religious order to explore the emerging spiritual dimension of his
existence.
12. The other main agent of power in the book is the robber baron
Scarsdale Vibe, whose actions directly influence the Traverse
family. In Vibe, Pynchon puts a face on greed and on the utter
disregard by those at the top of the capitalist ladder for those
barely holding onto its lower rungs. Vibe's holdings are so vast
that he plays both sides against the middle; for example, he helps
fund Tesla's research into more efficient and less expensive ways
of delivering electric power, yet at the same time buys Professor
Heino Vanderjuice's research capabilities to find alternatives
that will undermine any efficiencies Tesla might produce. Vibe's
holdings include many mining interests (we can see mining as an
analogue to big oil in our own time), and it is through his
companies' suppression of miners that he becomes a target of Webb
Traverse's dynamiting of corporate property. As Reverend Moss
Gatlin, the radical labor priest, observes early in the text,
dynamite is both the miner's curse, the outward and audible
sign of his enslavement to mineral extraction, and the
American working man's equalizer, his agent of deliverance, if
he would only dare to use it.... Every time a stick goes off
in the service of the owners, a blast convertible at the end
of some chain of accountancy to dollar sums no miner ever saw,
there will have to be a corresponding entry on the other side
of God's ledger, convertible to human freedom no owner is
willing to grant.
Think about it . . . like Original Sin, only with exceptions.
Being born into this don't automatically make you innocent.
But when you reach a point in your life where you understand
who is fucking who--beg pardon, Lord--who's taking it and
who's not, that's when you're obliged to choose how much
you'll go along with. (87)
Webb's choice makes him a target of Vibe's hired killers, Deuce
Kindred (a miner Webb had mentored) and Sloat Fresno. Vibe tries
to balance the ledger by providing for Kit an all-expenses-paid
education, first at Yale and later at Göttingen in Germany, until
he decides that Kit is more a liability than an insurance policy.
Ironically Vibe's children are shown to be incapable of inheriting
his corporate empire, and he offers at one point to make Kit his
heir.
13. Vibe articulates his views in a public address to "Las
Animas-Huerfano Delegation of the Industrial Defense Alliance
(L.A.H.D.I.D.A.)" just before his death at the hands of his
alter-ego Foley Walker:
So of course we use [labor] . . . we harness and sodomize
them, photograph their degradation, send them up onto the high
iron and down into mines and sewers and killing floors, we set
them beneath inhuman loads, we harvest from them their muscle
and eyesight and health, leaving them in our kindness a few
miserable years of broken gleanings. Of course we do. Why not?
They are good for little else. How likely are they to grow to
their full manhood, become educated, engender families,
further the culture or the race? We take what we can while we
may. . . . We will buy it all up . . . all this country. Money
speaks, the land listens, where the Anarchist skulked, where
the horse-thief plied his trade, we fishers of Americans will
cast our nets of perfect ten-acre mesh, leveled and
varmint-proofed, ready to build on. Where alien muckers and
jackers went creeping after their miserable communistic
dreams, the good lowland townsfolk will come up by the netful
[sic] into these hills, clean, industrious, Christian, while
we, gazing out over their little vacation bungalows, will
dwell in top-dollar palazzos befitting our station, which
their mortgage money will be paying to build for us. (1000-01)
Where the "They" of Pynchon's earlier novels remain shadowy,
Vibe's "We" is a brightly lit evocation of his and his class's
arrogant disdain for the common man. Pynchon's politics have
rarely been so clearly displayed as he lays bare a fundamental
flaw in the American capitalist myth. Moreover, the repetition of
Vibe's attitude in present day land barons and their seemingly
endless march of "development" into the last vestiges of the
American agricultural and wilderness landscape is unmistakable. In
Telluride, Colorado, where a good part of the narrative takes
place, the once-active mining town has been replaced by ski
resorts and upscale condominiums for wealthy vacationers--who
probably know nothing of the bloody labor battles fought there.
14. Vibe belongs to the long line in Pynchon's fiction of those who
abuse the power they have attained, but the response by Webb and,
by extension, other anarchist elements in the text is not
unproblematic. As Pynchon has shown before, anarchy in the face of
entrenched power is usually futile. The desperate act of
dynamiting symbols that represent or belong to the oppressive
power rarely has the argumentative force to sway those in power to
change. In our post-9/11 world in which anarchistic acts have been
relabeled "terrorism," the acts of a century ago are prone to be
redefined. However, I think Pynchon wants us to reflect on the
forces that drive individuals to see anarchism as the only
alternative to the oppression they feel, whatever the basis of
that oppression: ethnic, economic, religious, racial, or
political. In a way, Pynchon is laying bare the historical context
of the "terrorism" that confronts the world today--each blast
steels the resolve of those in power to stay the course while
seeking to eradicate terrorist agents, without ever really
addressing the underlying sources of the problem. Lew Basnight, in
Against the Day, starts out working as a detective for those who
want to crush the anarchist elements, but when he goes undercover
and discovers their conditions and the rationales for their
actions, he comes to see the justice of their positions. But Lew
can't effect any real changes; he can only choose to not play, and
eventually to opt out of, the game set up by those in power.
15. The sweep of Against the Day, however, separates Gatlin's and
Vibe's pronouncements and the choices made by Basnight both in
narrative time and in by literal pages. The issue boils down late
in the novel to Jesse's school essay on "What It Means to Be an
American": /"It means do what they tell you and take what they
give you and don't go on strike or their soldiers will shoot you
down"/ (1076). The irony cuts deep, and it is no wonder that in
such a world some are willing to risk all to stand up in the face
of power. But the personal is also the political, and so the story
of Webb Traverse and Scarsdale Vibe takes on more expansive
dimensions as we follow Webb's children and their different
responses to their father's murder. In some ways Pynchon is
updating the classical Greek theme of revenge; however,
contingency rather than Fate ultimately drives poetic justice in
the book. All Webb's killers get their just desserts, but only one
as the result of a Traverse pulling the trigger--when Frank,
Webb's third son, encounters Sloat Fresno by accident.
16. Deuce Kindred meets his end in California in a section of the
novel inspired by Raymond Chandler's Los Angeles detective fiction
and by contemporary stories of serial killers like the actual
Hillside Strangler. After betraying Webb's friendship by killing
him, Deuce falls in love with Lake Traverse (Webb's only daughter,
with whom Webb had argued and from whom he separated just before
his death). Lake, likewise, falls for Deuce despite (though at
times it seems because of) the murder, and they marry. Lake's
mother (Mayva) and brothers all disown her, and we expect she will
one day take revenge on Deuce herself. She never does, but she is
like the furies of Greek Tragedy, stinging Deuce's conscience by
her presence--though she never brings the topic up. They are
forced to flee Colorado when Vibe's people come to believe Deuce
had not actually killed Webb. At one point, we wonder if Deuce
will be able to redeem himself; he thinks having a child with Lake
will somehow make up for his actions, but they cannot conceive.
That Deuce ends up as a California serial killer in police custody
is a bit heavy-handed and in terms of conventional revenge
plotting less satisfying, but then again his plot line is really
Lake's--though her future looks bleak: "Once she thought they had
chosen, together, to resist all penance at the hands of others. To
reserve to themselves alone what lay ahead, the dark exceptional
fate. Instead she was alone" (1057). By disconnecting from her
family and the family's mission of revenge, Lake has opted for a
tragic existential end. Her brothers, on the other hand, all find
varying degrees of happiness in their lives, and overall, Pynchon
ends the novel (the ending unrolls over the course of the final
120 pages) on a positive note for those characters who have earned
good personal ends, even if the world itself still needs sorting out.
17. There is, of course, so much more going on in this text's 1,085
pages and seventy chapters and among its nearly 200 characters
than I have space for here. There are other plot vectors such as
for Merle Rideout, his daughter Dally, Lew Basnight, and Yashmeen
Halfcourt. Other vectors focus on places and events like the
mythic lost city of Shambhala or the Tunguska event or the hollow
earth or political upheavals in Mexico in the first decade of the
twentieth century. There are also various violations of
conventional reality as in the concept of "bilocation"--the
ability to be in two places at once. This is most directly
represented in Professor Renfrew and Professor Werfner, one at
Cambridge, the other at Göttingen, who appear to be the same
person, but each working on scientific projects for the eventual
World War I antagonists. Yashmeen also can jump in time and space,
which makes her a target for various spy entities who would like
to exploit her ability. There is a set of characters known as the
"Trespassers," who appear to be from the future and who know what
will happen. Lastly there are many fanciful inventions--some
prefiguring later inventions in the real world and others
prefiguring fictional ones. Overall, however, Against the Day
downplays the fantastic in order to attend to the characters.
18. Framing the novel and helping to connect its parts are the
adventures of the Chums of Chance--a group of young balloonists
who at first seem to be drawn directly from a series of boy's
adventure books. The narrator in their chapters often cites other
volumes of their adventures as if we've been following their
exploits all along (the subject comes up of whether characters
they encounter have or have not read the novels that contain their
adventures), and like the characters of such books they never seem
to age--at first. With the Chums's plot vector, Pynchon appears to
be calling into question the convention of innocence present in
adventure tales. The Chums apparently work for the government in
some way that is never fully made clear--at least most of their
early contracts seem to generate from some hierarchy. As the novel
progresses, however, the Chums increasingly come to question
whether what they do is right, and whose ends their missions
really serve.
19. All pretense of innocence is finally lost as they fly over
Flanders during the war. Miles Blunden, who among the Chums most
often displays the clearest insight into the real world, puts the
scene in perspective:
"Those poor innocents," he exclaimed in a stricken whisper, as
if some blindness had abruptly healed itself, allowing him at
last to see the horror transpiring on the ground. "Back at the
beginning of this...they must have been boys, so much like
us.... They knew they were standing before a great chasm none
could see the to bottom of. But they launched themselves into
it anyway. Cheering and laughing. It was their own grand
'Adventure.' They were juvenile heroes of a
World-Narrative--unreflective and free, they went on hurling
themselves into those depths by tens of thousands until one
day they awoke, those who were still alive, and instead of
finding themselves posed nobly against some dramatic moral
geography, they were down cringing in a mud trench swarming
with rats and smelling of shit and death." (1023-24)
The passage clearly echoes Brigadier Pudding's battlefield trauma
at the Ypres Salient in Belgium from Gravity's Rainbow as well as
the war poems of Rupert Brooke, Wilfred Owen, and Isaac Rosenberg.
The Chums, like the world itself, have fallen from innocence, and
they choose now to make their way as independent contractors.
Before long they hook up with a set of flying girls: the Sodality
of Æthernauts; and where Against the Day opens with the command,
"Now single up all lines!" (a passage destined for explication if
for nothing else than the evocative Pynchon word "now" important
in Gravity's Rainbow) as the bachelor Chums prepare to embark on
this text's set of adventures, by the novel's close the Chums and
their now pregnant wives "will feel the turn in the wind. They
will put on smoked goggles for the glory of what is coming to part
the sky. They fly toward grace."
20. Although the narrative ends literally in the air, it has, unlike
Pynchon's previous novels, a more complete sense of an ending.
Despite the catalogue of problems encountered in the world of the
text, this novel does not end as Gravity's Rainbow did with the
disintegration of Tyrone Slothrop and an impending nuclear
apocalypse. Nor does it close with the random accidental death of
Sidney Stencil as in V., or at a nihilistic auction room like
Oedipa Maas awaiting The Crying of Lot 49. Pynchon appears to have
put some faith in the power of family to find a way through--a
faith that first surfaced in Vineland and was reiterated as a
sub-theme in Mason & Dixon. We know that the 1920s, when Against
the Day ends, was only a prosperous calm before the storm of The
Depression and of World War II, but for the characters we have
come to care for in this text, the skies have cleared and the wind
has freshened.
/ Department of English
University of Wisconsin, Eau Claire
pnotesbd@uwec.edu /
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