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So That’s It, Huh?

May 13, 2012 4 comments

Howdy, folks! Sorry to have been away for, oh, almost the entire book—I’ve only just got out from under probably the worst job situation of my entire working life. (Which doesn’t include the bits where I haven’t had any work at all, so how much complaining can I really do.) I was so excited, too, because I thought there was another week or two after this one. Oh well. At least I made it, and managed to get back in time for the wake.

As a general summary matter, I think my reading definitely suffered from being forced by circumstance to go it alone. I hope to go back and comment on some of the previous posts, now that I have a chance to read them (forewarned is forearmed, people). The threshold matter of not being able to determine what “happens” (more or less)—that is, which narrated events are real in a Watsonian sense—induced a too-permissive suspension of the need to work things out.

(Picking this back up on a different day now, because the distracting power of TVTropes is not of the Lord.)

I may or may not have mentioned here before the concept of reading protocols. One of the reading protocols that folks who appreciate SF tend to learn pretty early is a kind of patience; since the world the work takes place in isn’t one you can already know (given the fantastic nature of SF), the work has to build that world for you. As a reader, that means you have to be willing to let the important unfamiliar things become clear and let the unimportant ones remain vague. I found SF when I was young, so this is a way of reading I have a lot of practice in. In fact, as I’ve started looking back on my reading of Gravity’s Rainbow, I’ve realized that I was unconsciously applying this protocol, and it wasn’t a successful way to read the book.

An essay by Brian McHale (“Modernist Reading, Postmodernist Text: The Case of ‘Gravity’s Rainbow,'” in Constructing Postmodernism) pinpointed for me some of what was happening in my reading. McHale gives a kind of taxonomy of unreal narrated events in the book. The most obvious ones are the ones that are cued ahead of time: “Here’s what didn’t happen.” Then you get ones like Pökler’s night with Ilse (Christine mentions this one in her post I linked to), where the narration explicitly clears up the event’s unreality after the fact—sometimes very much after the fact. And then there are ones like the candy scene Daryl wondered about. These are scenes that are later contradicted (in this case by the results of the SEZ WHO guys’ investigation), but not really authoritatively: It may be the later scene that’s unreal instead. McHale describes these scenes as ontologically “flickering.” I think what happened for me is that I got tired of mentally going back and erasing events from continuity, and then on top of that I got tired of leaving so many events up in the air, so to speak—holding off on making ontological judgments.

Because the “reality” or “nonreality” of events was deliberately obscured—and I was getting frustrated with that—I stopped trying to work it out. I figured the distinctions I needed to be able to make would become apparent, and thus I could read more carefully for things like prose style, ideas, set pieces, political or philosophical positions and their illustrations, etc. Which means, among other things, that I didn’t realize the 00000 had been fired in any narrative past. Until I read otherwise in secondary material, I thought the firing that’s interspersed throughout the final section was in the narrative present. I missed important things, is what I’m saying.

So that’s how I gave myself a harder time than necessary with this book. But I have a quibble with the ending that I’d be interested to hear other opinions about. I’ve learned that a major part of what’s going on in the last section, with all the subtitled vignettes and the Raketen-Stadt and Takeshi and Ichizo and all of that, is a depiction of Slothrop derezzing. And retrospectively, that makes for an enormously affecting story: He was essentially sold, by his father, to experimenters when he was an infant, and throughout the book he’s never really treated as a person. He’s an experimental subject (still), he’s a pawn, he’s a courier, he’s an instantiation of a legendary hero, he’s a half-mythical character—he’s always a means for other people, never an end in himself. Slothrop’s been the only entity trying to maintain a kind of synoptic understanding of himself, an idea of himself as subject. And in the end, he gives up that struggle against all other forces; they win. “It’s doubtful if he can ever be ‘found’ again, in the conventional sense of ‘positively identified and detained.'” I find that very, very sad, and a solid way of partly accounting for the structure of the end of the book.

But I don’t think it’s enough, because Slothrop was also kind of never the point. (I’m not sure the book treats him any better than the entities within it, although I’d be willing to have a discussion about it that would probably be very interesting.) The end of the book is focused on the flight of the 00000, which has at its heart the “black device” that has exerted such a gravitational pull on the characters and events, and here’s where I think Pynchon makes an artistic misstep. (Subjective response ahoy!) For me, the main matter of the book is systems—social, religious, scientific, political, economic, racial, sexual, etc.—and especially the interactions of these systems when they’re superimposed and the way these systems will each tend to absorb as much of existence as possible into themselves. There is a totalizing drive inherent in these systems, although they are often forced to accommodate each other (a few characters note that the war seems to be one such accommodation). The 00000 is one site, perhaps the most salient in the book, where a number of these systems overlap and impinge on one another—which is why I find it disappointing that when the rocket finally gets a star turn, that’s when the text achieves its greatest decoherence. I see the argument that the rocket is the apocalyptic event that can’t be contained within the existing arrangement of systems, so it’s like the event horizon of a revolution—the line past which all else is unrepresentable. Except that a large amount of the book actually does take place afterward, and the systems are all still in force. It’s after the flight of the 00000 that they are able to terminally attenuate Slothrop. I’d like to hear what other folks thought about the ending. Did you even consider it in this way? If so, were you disappointed too, or are there aspects I’m not taking into account?

Even though I disagree with some authorial choices about the ending, I’m glad I got through GR this time. If I ever return to school, and my project remains generally what I currently expect it to be, I’m going to have to do some serious grappling with this book. I look forward to my romp through the posts.

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