Gravity’s Rainbow

ISBN: 0140283382
ISBN 13: 9780140283389
By: Thomas Pynchon

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About this book

Winner of the 1974 National Book Award“A screaming comes across the sky. . .” A few months after the Germans’ secret V-2 rocket bombs begin falling on London, British Intelligence discovers that a map of the city pinpointing the sexual conquests of one Lieutenant Tyrone Slothrop, U.S. Army, corresponds identically to a map showing the V-2 impact sites. The implications of this discovery will launch Slothrop on an amazing journey across war-torn Europe, fleeing an international cabal of military-industrial superpowers, in search of the mysterious Rocket 00000, through a wildly comic extravaganza that has been hailed in The New Republic as “the most profound and accomplished American novel since the end of World War II.”

Reader's Thoughts

A.J. Howard

Selections From My Mental Commentary Upon Reading Gravity's RainbowDifficult my ass, I know who Werner Van Braun is.......... What a fantastic name........ Errrrr...............Maybe I need to reed that again......... Third time's a charm!.......... Shit........... Okay, who/what/when/where/why/how the fuck is going on?............... Okay, I think I get what's going on here........... Never mind.............. This whole thing is absolute rubbish............... Did Dane Cook's boner write that paragraph?................. That was awesome, I have no fucking clue what Pynchon's talking about, but he baffles me in a really elegant way....................... Alright, this is out of Dane Cooke's league, I think Lou Reed's boner wrote that section.................. Obama should appoint Pynchon the "naming things and people czar"............... This whole thing is absolutely fucking awesome................. I never want to read this part ever again............. I'm going to have to immediately reread this part........... That's not even supposed to mean anything............ Finished, onto Section 2!................ u.s.w.Over the past few years, I've tackled several supposedly difficult novels with relative ease. As soon as I encountered the Erededy waits for pot section, I devoured Infinite Jest like a bored housewife reading Sweedish torture porn. Blood Meridian may have been a struggle to get through, but only because McCarthy's prose is so dense with a kind of a savage beauty that I was fatigued after reading three pages. War and Peace didn't justify it's difficulty to me at all, unless you measure difficulty by page length. I don't want to come off as narcissistic about my cognition, but if you think I'm guilty, I would understand you. (Get it?)And then I encountered Gravity's Rainbow* There are some websites out there who belittle the difficulty of this book. They do this to speaking directly to first time readers. I guess that's admirable, I can certainly understand the proclivity to hype up and push something you love, but it's also inaccurate. For a GR virgin, a good portion of the novel is destined to be simply befuddling. I mean, for fucks sake, a major portion of the book is about rocket science. GR is a perfect storm of difficulty: Pynchon doesn't help his reader out with the plot; the narrative weaves between time, place, central character, and/or voice with little or no warning; Pynchon throws out a plethora of references to science, history, pop culture, scatological jokes, Norse mythology, etc that you would need several PHDs in a multitude of different areas of concentration to fully grasp; the prose, while often heartbreaking or hilarious or mind-blowing is not exactly accessible and often frustrating.Out of any other novel I've read, GR most demands a second read. I actually bought the companion book, but I found that it was not particularly helpful. It provided minutia when I would have been fine if they had just explained what it meant relating to what was happening with the narrative and it neglected some things I had question about. Also, it made for an extremely clunky and disjointed reading experience. Eventually, I found a website that had quick summaries for each episode with particular emphasis on callbacks to previous events. I read these after the corresponding episode and found it to be of great use. But I tossed the Instapaper link, so good luck with Google.My final rating reflects a compromise of some sort. A couple hundred pages into the book I wasn't enjoying myself. The only thing that kept me from quitting was the hours put in and the understanding that if I didn't finish it then, I probably would never come back to it. I soon started getting in the flow of things, and started seeing what all the fuss is about. That's the thing about Pynchon. You'll read one section and think that people sanctify this book as a form of intellectual swagger. And then the next section will completely connect with you and leave you thinking that this is the best book of the 20th century. I certainly noticed that my reaction to the reading experience was subject to my mental state. That's true of all books, but with GR it's almost like before you start reading you should do transcendental meditation, or go to a yoga class, or snort several lines of cocaine to truly prepare yourself. You have to surrender yourself over to the text, or you're going to realize that you've been reading for the past thirty minutes and you have not understood a single thing.The four star rating is far from conclusive. Even during the last 100 pages I wavered somewhere between 3 and 5 stars. The goodreads star system completely fails the first encounter with Gravity's Rainbow. I give it a @.^ out of 10.0. Maybe a Ω-. I just know I'm really glad it's finally out of my to read soon pile. Now the problem is I kinda can't wait to read it again.* I bought GR years ago, and had picked it up a few times since then only to shelve it. Over the past couple years, since I've started reading serious fiction again, I've had GR on my 'to read soon pile,' and I've had a few false starts, only to put the book aside after a dozen pages with a resolution to read when I had spare time.

Bill

Advice for a first time reader of Gravity's Rainbow:Gravity's Rainbow is a book you either love or hate, and if you hate it it's probably because you couldn't finish the damn thing. Though by no means impenetrable, the novel is daunting enough to merit a list of tips for those wishing to tackle it for the first time. Below is my advice on how new readers can get over the hump. Trust me, it's a small hump, and the masterpiece that lies on the other side is worth the effort.1. Read V first ... Pynchon's V is shorter and more accessible than Gravity's Rainbow, but addresses the same themes in a similar style. If you enjoyed V, you will have built up a reserve of goodwill for Pynchon that will carry you through the initial rough patches of Gravity's Rainbow. This advice was given to me years ago, and I'm glad I took it.2. Accept that you won't understand everything...Don't be concerned if you can't follow the many digressions or keep track of every minor character that pops up. As with other famously difficult novels, Gravity's Rainbow's real payoff comes in the rereading, so you shouldn't feel obliged to linger over each passage until it makes sense. Pynchon isn't trying to lord it over you by writing a book this dense; it's just his way of giving you your money's worth. Just follow what you can the first time through, which fortunately is a lot.3. Accentuate the accessible...Gravity's Rainbow's unreadability is over-hyped. Yes, there are many jarring digressions, but threading through them is a fairly conventional detective story. Sure there are lyrical passages that take off for the stratosphere, but they are grace notes in a melody of otherwise breezy narrative prose. So on your first time through, it's enough to follow the main plot (will Slothrop find the mysterious Rocket 00000?) and enjoy Pynchon's jokes, which are laugh-out-loud funny.4. Don't give up too early...I don't want to say that Gravity's Rainbow gets off to a slow start, but it has a lot of scene-setting to do, and the engine that really drives the book along only gets revved up in part 2. Part 1 is a well-executed minor key portrait of wartime London, but part 2 is where the drugs kick in, so stick with the novel at least that far.

Ian Paganus

Prologue"A screaming comes across the sky. It has happened before, but there is nothing to compare it to now."GenesisIn the beginning was the earth, and above the earth was the sky. The earth consisted of land and water. The sky consisted of air, the moon, the sun and the stars in the heavens.The land consisted of rock. Water was everywhere, but still precious.The sky was light by day and dark by night. By day, the light came from the sun and sometimes the moon. At night, a lesser light came from the stars and the moon.On the land, things were still, but then they began to change. The sun made rock hot by day and the night made it cold, and the rock became stone, and the stone soon became soil.The Creation of LifeIn time, the soil and the water came together with the air and the sunlight to form life.The life was green and did cling to the soil.The air and the heavens were the realm of gravity.Everything on earth was made to fall and to disperse and to dissipate as time goes by. To rise was to challenge the laws of nature. Nothing could rise, except one thing, invisibly, vapors.Water mixed with the heat of the sun and became a vapor, and the vapor ascended to the sky and became clouds. At night and sometimes by day, the clouds became rain, and the rain fell and spilled water onto the earth.Some water remained on the land in rivers and streams and lakes. Other water, sliding and falling and dropping across the land, found its way to the oceans.The Life of FruitIn time, life conspired to defy gravity little by little.Life combined with the soil and the water and the air and the light to make trees and shrubs (some bearing bananas or mangoes or pawpaws), and these plants reached skyward to the sun.But these plants could not be severed from the soil, because their roots sought nourishment there. Any plant severed from the soil would fall to the earth, obedient to gravity.In time, many plants were severed from the earth and covered by soil and water and became hard and part of the rock. Beneath the surface of the earth, dead plants formed coal, and sometimes oil and gas.The Origin of ManAfter much time, other forms of life were born, including animals that did grow heads and arms and legs and tails and eat the plants.Some animals became humans, some male, some female, all of whom wished to walk on two legs and become higher than other animals and plants.Men were not always bigger and stronger than other animals and so sought refuge in holes in the ground and caves.The caves were darker than night and men grew frightened of the dark, not knowing what was out there, until they discovered fire, which they used for light and heat.Sometimes, men used fire to warm the flesh of other beasts and they grew stronger.Life was good, and men tended to live within and surrounded by nature as one.Man on the MoveMen began to move across the earth in search of food and learned how to construct homes of rock and stone and bricks made of soil and water.Their homes grew taller than trees and animals and began to defy gravity.Then men learned how to make machines that could move across the land and water at speeds faster than men or horses could walk or run.And they consumed coal and oil and gas, so that they were not dependent on horse power.Man Turns the Power Switch OnMen learned how to make electricity and switches that would turn the power on and off.Men made glass bulbs that turned darkness into light.Men had finally become enlightened.Men looked at the sky for beauty and meaning and portents of the future. They wondered what lived in the heavens and whether they had been created by gods.They made drawings and pictures of what surrounded them. One day they would make photographs and moving pictures and shiny silver discs.Men observed what occurred in nature and, over a great duration, started to learn about cause and effect.Man Dominates HimselfThen men created gods in their own image. They invented religions and superstitions and sometimes it was difficult to tell them apart, men and their gods, religions and superstitions.Men used their religions to explain what they could and couldn’t do.Then they created churches and holy men and scriptures to dictate to them what they must and must not do, and the holy men and their gods punished them if they did not do what they must do, or did what they must not do. Man Discovers Matters of Life and DeathMen observed decay and destruction and death around them, and wondered whether they too would die one day.Men didn’t like this prospect and decided that they alone amongst the plants and animals had a soul and, after death, would live in eternity.Except that, if they disobeyed the commandments of their holy men and gods and scriptures, they would be punished by eternal damnation and made to live in hell. Which was not meant to be a good thing.Some scientists conducted experiments and tests on dogs and other animals and learned how they were governed by stimulus and response.Men wondered whether their souls and their capacity for reason elevated them above the animals.They did not recognise that, even with their gods, men would do evil things to each other that animals would never do.Man Engages in Some Empire State BuildingMen built their homes in cities and formed nations. They conquered other cities and nations and established empires.They established workforces and armies.They organised men and their possessions into rows and columns, and they made men and women wear uniforms, so that they might look and think and do alike.They developed systems to punish those who would dissent and they used force to hold their empires together.They looked down upon any man or woman who would not conform or wear a uniform.Those that they did not incarcerate or hang or inject with life-sapping solutions or electricity, they cast off into the wilderness, where they would disperse or die of thirst.We Men are ScientistsSo men acquired knowledge and wisdom, and accumulated science and technology beyond the wildest dreams of their predecessors.They converted their knowledge and wisdom into zeroes and ones, so that they might store them on silver discs.Some men wondered whether there was more to life than zeroes and ones, and was there anything beyond zero or between zero and one, and they were scorned.Man Defies GravitySlowly, man’s dreams became more ambitious.Some men dreamed about how they might fly like a bird, and one day men learned how to make flying machines.Men did not always live happily with other men, and they made tools and machines that would maim and kill their enemies.Men used their aeroplanes to drop bombs on other men, and the planes and the bombs grew bigger, and the maiming and the killing grew more widespread and efficient.At the same time, men learned how to make bigger and taller buildings that reached higher and appeared to touch the sky.Many men lived and worked in these skyscrapers.In Case of WarThen there were two wars between many nations of the world.In the first war, many men died in trenches dug into the soil of their farms.In the second war, it was not necessary to get into a trench to die. Many people died in their homes and their buildings. It was easier to kill more quickly in the cities that housed large numbers of people.Men made new bombs that were meant to end the wars, but when they continued, men invented rockets that could maim and kill even greater numbers of people.Some rockets made a sound that warned people that they were coming.If you heard the sound, you might be able to escape to safety.When they did not end the war, scientists invented more and better ways to kill more and better people. They built rockets that made no noise and could kill you before you heard them coming.They were the perfect machinery of death, because nowhere was safe and you could not escape them. These rockets defied both gravity and the imagination.While nobody had been looking or thinking about it, man’s buildings and vehicles and aeroplanes and rockets and bombs had made the earth dark again.A Voice in the WildernessWell, maybe not nobody. A man called Slothrop had been watching.Every time a rocket was launched, Slothrop was blessed with a hard-on, an erection.He would look at the rockets and he would be turned off.At the same time, he would look at the rockets and he would be turned on.Slothrop’s hard on was a hard one for the scientists to explain.What the Fuck?Somewhere in Europe, scientists were erecting buildings, platforms, rockets that could bring death to people like Slothrop.Slothrop suspected that the best use of an erection was not to build an edifice, but to fill an orifice.Slothrop wondered, why had men become obsessed by Death, when they should have been preoccupied with Life?Surely, there is no life without sex, no progress without congress, no creation without procreation?“Make love, fuck the war.”“Fuck war, fuck each other.”How do you convince everybody else that this is the solution?“Fucked if I know,” sez Slothrop.The Prophet DebunkedSlothrop is cast out of the mainstream and sets out across Europe in pursuit of love, sex, and rockets (and those who would launch any one or more of them at him).Still, even equipped with his hard on, Slothrop prefers bananas to buildings and rockets, he is bent but never straight.He is the ultimate non-conformist, hedonist and sybarite, who gives pleasure to himself and to many women, Katje, Margherita, Bianca, three of the foremost amongst them.Slothrop’s skepticism and excess threaten the System, Religion and Culture. He is an anarchist Counter-Force to Binary Code, Mono-theism, Uniformity and Over-the-Counter Culture. He is the unwitting counter-cultural Prophet who threatens the methodical, ordered and conformist backbone of Mainstream Society. He is a spanner in the works. He is a virus that must be eliminated. Like Trotsky, he is a Prophet that must be netted.They, the powers that be, with their uniforms and their weapons and their switches, chase Slothrop through Europe, but he remains free.MisanslothropyIn time, people came to doubt whether Slothrop ever actually existed at all.Some would ask, “Slothrop? What kind of name for a prophet is that?”Still They did not stop their pursuit, even when They were certain that he must be dead. The price of liberty is eternal vigilance.If you can’t see him or hear him, deprive him of oxygen. Wipe out his disciples. Stifle his message. Prevent it from reaching any children. If the medium is the message, remove his medium. That way the prophet and his prophecy will cease to exist. Revelations? What Revelations?Was Slothrop a fabrication? A ghost in the machine? A shadow in the light of day? A figment of someone’s imagination? A fiction? Just a character in a novel? Just a story in a holy book?As Slothrop would say, “I’m fucked if I know.”Outside the novel, the world continues as before, only more so. Buildings reach higher. Rockets and aeroplanes fly further. Wars drone on. Civilians die. Men line up in rows and columns and uniforms. Power perpetuates itself eternally. Evil perpetrates itself on people via people. Darkness masquerades as light. The sky is silent. We can no longer hear the screaming. It’s all theatre, even within our homes.Group ReadI re-read this as part of a group read started by Stephen M:http://www.goodreads.com/group/show/6...Reading NotesI kept my reading notes in My Writings:http://www.goodreads.com/story/show/3...A Letter from Vlad the Impaler of Butterflies Dated April, 1973Dear Tom,Vera and I very much appreciated your gift of a signed first edition of your novel.It actually caused a little friction in the Nabokov household.I don't mean to be ungrateful or vulgar, but we both wished you had given us one copy each. (I guess we could purchase one, but we were too keen to read it.)Naturally, I started it first, immediately it arrived, but quickly found I couldn't put it down.The reason being that, every time I did, Vera picked it up and commenced reading. Initially, our respective lepidopteran bookmarks were quite far apart, but when she passed my place, she asserted her right to be the dominant reader, and I had to wait until she had devoured the entire offering, which she did by the time of Maundy Thursday.Fortunately, this left me Easter to finish it, so we were able to compare notes by Easter Monday, appropriately with a sense of renewed faith in literature.I am convinced "Gravity's Rainbow" is one of the finest works of modern fiction.It is very much an artistic and logical extension of "V.", which as you know we also enjoyed greatly.If your first novel was a pursuit of "V", then "Gravity's Rainbow" is a pursuit of V, too.In fact, it is a pursuit of both V1 and V2.Vera was bold enough to suggest that V1 and V2 might connote Vlad and Vera, though we were unable to reach consensus on who might be noisy and who might be silent. We did, however, hypothesise that Slothrop could be a reversal of Humbert.To put it bluntly (these are Vera's words, not mine), Humbert, European in origin, fucks his way around the New World, more or less.Slothrop, on the other hand, American to his bootstraps, fucks his way around the Old World.I admire the way you, even more so than Slothrop, carried off Bianca. It is some of the most delicious erotic writing I have read.Bianca echoes Dolores nicely. Even the sound of her name...Bi-an-ca. The way it rolls off your tongue, it reminds me of, forgive me for citing myself, "Lo-lee-ta".It's also close enough to the German acronym B.N.K. (which even a faint-hearted German reader or patient would appreciate stands for the "Bundesverband Niedergelassener Kardiologen", cross my heart and hope not to die).Vera was the first to detect how you reversed the reader's response to this relationship.Humbert knew damned well how old Lolita was. It was crucial to his enterprise.On the other hand, Slothrop "believed" Bianca was a minor of barely 11 or 12, but when you work through the arithmetic of your puzzle, you realise that in reality (and therefore fiction) she was 16 (or was it 17?) and consequently of age.So, what Slothrop did was legitimate, but what the reader (who was as yet unaware of this detail) did was not.In "Lolita", I allowed readers to believe they were jurors with a legitimate interest in the proceedings, whereas in "Gravity's Rainbow" they are complicit in a crime that the protagonist did not actually commit.The reader's voyeurism comes at a cost, at least metaphorically.Only time will tell whether America and the world is ready to be confronted with their culpability.Even if they are not, I hope your novel receives the acclaim it deserves.So, well done, Tom, Richard would have been proud.I would have been proud to call you my pupil, too (Pupil 2?), if only you had enrolled in one of my classes.Perhaps you learned more and better from my example?In the hope that you might continue to do so, I have asked my Publisher to send you a copy of my "Strong Opinions".I hope you enjoy reading them as much as I enjoyed expressing them.Yours, with all my admiration, V.Slothropod De-Feets Cephalopod, Dutch Girl Almost Pops Her ClogsSlothrop, octopusAnd Katje BorgesiusWe were meant to meet.The Thoughts of An Erotic ClausewitzFuck Death, Fuck Rockets,Says Erotic Clausewitz,Make Love, Fuck the War.Jim Carroll Watches the Earth RecedeHow can I propelMy missile 'gainst the pull ofWicked Gravity?Slothrop's Dewy GlansSlothrop's cock, un-croppedSlots into sweet spot, then, spent,Flops soft in wet spot.Summit MeetingWho knows what worldly wisdom I might findWhen I discover myself at the peak, Gravity-defiant, all nickels spent,Trying to work out what it could have meant,And you're already there, reposed, asleep,Your trousers down and crimson phallus bent,And scattered on the snow are streaksOf your rocket-powered ejaculateThat have fallen moist, arc-like to the earth,Still rainbow-coloured and immaculate.So I read 200 sullen words worthOf the dry wit and onanistic mirthThat appeal so much to the daisy chainOf acolytes standing at your rear.As one who's usually come before,They call you a poet and a seer.It's sad we only see your back side,Though we're the ones forever left behindBy all your avant garde sorcery andThe flaccid disquisitions of your mind.Soundtrack:Nick Cave and the Bad Seeds - Babe You Turn Me Onhttp://www.youtube.com/watch?v=153eVr...

Gabi Dopazo

Gravity’s Rainbow is finally over after months of starts, give-ups, re-starts, more give-ups and more re-starts. A book that I’ve hated probably more that I’ve loved. Still is a hard one to call. I have been suffering reading this book, I haven’t had much pleasure. It’s very dense, hard to follow, difficult to make sense of, and that goes for each paragraph. It’s been written by a lunatic, by a genius, by a man that probably wrote it in a state of semi-awareness, in trance… Some of it looks like automatic writing. It’s a book that will stay forever, although I’m not sure for the right reasons. After being done with it I feel very uncertain. The book generates questions rather than answers. Not sure if those questions are any good either. I find it very Buñuel, lots of different sequences, memories, places, different people, thoughts, feelings… there is speed and there is confusion and every now and then there is wonderful poetry but also boredom and tiredness. Small print, single spaced, 776 pages… you feel like you are totally wasting your time but you also get a feeling, deep inside, that somehow you aren’t. It’s hard to explain, very confusing. There is sex, drugs, liquid fuel, Impolex G, people that still dont know who they were supposed to represent, including the main guy... but was I supposed to know that, would it matter? The book is loaded with a great amount of plaster and glue. If you look carefully you might find between the lines several holy grails and weekends away for two

Aloysius

As I was finishing Gravity's Rainbow (took me 2 months), I started kicking around an question that hadn't necessarily occured to me when I started: Am I really intended to understand everything that's going on in this book? And if approached with the answer of "no," Gravity's Rainbow is an enjoyable experience. I started off slowly in the attempt to take in every word and comprehend everything that was going on, but as I read an reread, I realized that some of this stuff was either above my head or completely incomprehensible without a study guide or a graduate course and I should simply try to extract from the experience what I could rather than try to understand it in its entirety. Unlike other high-brow writers such as Joyce or Nabokov, Pynchon uses a low-brow, toilet humor that lends him an immediacy and accessibility not found in Ulysses or Lolita/Ada (okay, it's arguable, but when Nabokov and Joyce make jokes...um, face it people, they're not really that funny) and the periods of lucidity and of tangible plot within Pynchon's work are intriguing. He writes with a genuine love of language and can weave a spell-binding web with poetic, descriptive lines that draws a reader in, although at times, the text is incredibly difficult (sometimes painful) to wade through. In particular, I found the story of Pokler (one of hundreds of characters) caught my attention, for the questions it raised. Although it may only occupy 30 pages of the book, I felt an emotional attachment to this German scientist that I wasn't able to form with any of the others in the book. Basically, Pokler is an important figure in the development of the V2 rocket for the Germans, but he's not necessarily the most willing or happy of workers. His wife and daughter are in a concentration camp somewhere and his superiors hold this against him like a carrot at the end of a stick. Each year for a few days, his daughter is sent to visit him, and then taken away unexpected without the benefit of a goodbye. Of course, each year, he's not certain as to whether it is the same girl or even his daughter at all, but he pretends that she is simply because he needs that connection to survive, to keep himself sane. The story is an unsettling examination of familial relationships and the idea of identity, and its worth reading the book if only for this small section. Of course, the rest of the novel had its moments, but none so poignant for me as that of Pokler's work on the rocket and his relationship with his daughter. There are times when a reader has to wade through examinations of corporate conspiracy ("They" being a main, unidentified force throughout) and descriptions of the science behind rocket feul, and at these times Gravity's Rainbow is completely overwhelming. But then again, perhaps Pynchon's point is to make you feel as lost in the novel as people do in modern life. Certain things don't make much sense; but hey, when you look out at the complexities of the world, is the society we live in any different?

David Lentz

One has to admire the magnificent blend of erudition and ambition, which produced this masterwork. I have no idea why 400 characters were necessary to tell this enigmatic tale -- publishers, a scorecard, upon reprint, would help even diligent readers keep track. One suspects that passages of drafts were composed by a not altogether sober mind, although the edited drafts show discipline. However, there are places where all semblance of taste is altogether forsaken, not sure why, unless the forces of anti-gravity were simply just too overpowering. We live under a death sentence, true enough, as we all know -- the silent rocket may strike us randomly at any time. Randomly, that is, unless you're Tyrone Slothrup. With his track record it should have been harder for him to get a date. Didn't find many, or even any, lady characters who weren't predictably drawn as simple objects of desire. I think Pynchon aspired to be an American James Joyce in this novel. The writing is brilliant in many passages but Mason & Dixon transported where this novel did not, nor did V. Saul Bellow's audience once was estimated to be in the range of 20,000. Pynchon's audience is narrower -- truth be told, I fear, the audience which really understood this work is 0001. At this point Pynchon seemed to write for himself whatever he damn well pleased. Perhaps, he has earned this distinction by virtue of the merits of his extraordinary work. Perhaps, he wants to lift us beyond the realm of gravity to a higher place. But the reality of the situation is that this epic literary work is burdened by the artifice so eager to transcend the gravity to which it is so tragically bound.

Mike

When I was getting a PhD in English, I refused to read Pynchon because I thought the last thing the world needed was another book by a modernist author who trying to be more difficult than Joyce.Then I picked up Vineland out of a bargain bin, and realized it was probably the funniest thing I had ever read. I followed it with Gravity's Rainbow, which is even funnier. Pynchon is an incredible comic writer. In grad school, lots of people were scared of Gravity's Rainbow because of all the physics. There's no need; there's not that much physics. What helps, though, is an encyclopedic knowledge of World War II. This is really historical fiction, written through a very warped lens. I don't have an encyclopedic knowledge of World War II, and for months after reading the book, I'd run across odd bits of history that featured prominently: the V2 rockets were, in fact, built using a slave force of Herero tribesmen from South-West Africa (now Namibia). Like any paranoid fantasy, Gravity's Rainbow is built around concrete facts. But the paranoid fantasy is on a grander scale than anything I've read: there are circles within circles of control and manipulation, extending all the way from London to Heaven (or Hell; how would you know the difference?). It's a reinterpretation of World War II through the prism of Vietnam; and in 2009, as we start to unwind the militaristic fictions of the past eight years, that reinterpretation is as appropriate as it was in the 70s. But that's too heavy and serious for one of the 20th century's greatest comic novels. How can you dislike a book where the rockets are all phallic symbols, and you know that because the author tells you they are?

Matthew

When I was at the Mets game last week, the crowd started doing the wave during the seventh inning, and everyone watched anxiously as it went from one end of Shea Stadium to the other and then cheered when it finally got to the end. This went on for most of the inning, growing in strength and crowd enthusiasm. Finally, the guy in front of me stood up and pointed at the field and shouted, "Oh my God! In the midst of our wave, there's a game being played!" That's kind of what I thought about Gravity's Rainbow. Somewhere in the midst of all this noise and digression and (let's be honest) showing off, there's a story, which can actually be hysterical and frightening. Like The Crying of Lot 49, the only other Pynchon I've read (so far), Gravity's Rainbow reads like a paranoid, schizophrenic, Terry-Gilliam-esque slapstick nightmare. Unlike Lot 49, though, the prose here lacks any semblance of control, which is not necessarily a bad thing, except for the times when it feels like a bad Faulkner rip-off. In the midst of innumerable side stories about immortal light bulbs and toilet diving, to name just a couple, Tyrone Slothrop is stumbling his way through The Zone (Europe after World War II), searching for information about a mysterious rocket and wondering why every time he gets an (ahem) erection, death and destruction follow. I know that a book like this needs to be read and then re-read (and then re-read and then re-read). Like Ulysses, I imagine I'll pick up on connections I didn't see this on the next time around, I'll remember more of the hundreds of characters, I'll appreciate better the mixture of "high art" and pornography; I get it. But I can't help but think that like Slothrop or Blicero or the myriad characters aboard the Anubis, Pynchon was also getting off on all the chaos, working himself into a frenzy, and more than once, overdoing it, making a mess all over the page.

Steve

An Approach for Simulating Text Consistent With Gravity’s Rainbow Technical Report issued 6 July 2012 by the Simulation Lab Originating Text-based Handiwork (SLOTH) While the exact algorithm used by Pynchon (1973) to produce Gravity’s Rainbow (henceforth GR) was never documented, we contend that the method proposed in this paper is, on average, in a repeated sampling context, observationally equivalent. As is true of any simulation, there is a deterministic component and a random component. Simulated paths will vary, but the statistical distributions from which the stochastic terms are sampled match those of GR. Our approach, as applied to text generation, is novel¹. It is, however, closely related to the methods employed by computer scientists in the so-called Markovian Mozart initiative². We begin by describing the basic structure, we then discuss our vision of the text generation process as it applies to GR, and conclude with final thoughts on how text simulation may be used going forward.Simulation StructuringInterest in random text generation appears to have begun with the famous, though untested, proposition that an infinite number of monkeys with infinite time at their keyboards would ultimately reproduce Shakespeare. Of course, pure randomness without some kind of structure is a highly inefficient path toward literary art. Plus, the process is just as likely to produce piggy porn as it is to emulate Pynchon (granting, for our purposes, that there is a distinction to be made). The opposite side of the spectrum would be a well-defined set of sentences featuring blanks to fill in using a pre-chosen set of options. This was a style popularized by Mad Magazine³. Such an approach differs from ours in that their structure is more narrowly defined, allowing insufficient latitude to characterize the chaotic and disorienting nature of GR.The input parameters to our simulation will, by default, result in 4 sections, 73 chapters, over 400 characters (mostly minor, wordplayfully named), and 776 pages, just as the original did. However, one of the advantages of a simulator is that the resulting length is configurable. We are also careful to specify stylistic breakdowns that may enter in a probabilistically identical way. The sampling ranges extend from ridiculous to sublime in one dimension and vulgar to sublime in another. By applying noise terms to the narrative, comprehension will vary throughout.Text Generating ProcessThe backbone of our simulation structure is established in the initial step. We specify a superset of core influences which are drawn upon by the random text extractor in accordance with user-supplied probability weights. This superset, A, is defined byA ⊂ (WWII Historical Almanac, V-2 Rocket Technical Manual, Pavlovian Psychology [loaded in backwards], German-English Dictionary, Freud’s Comprehensive List of Phallic Symbols, phrasebooks for various romance languages, Anthology of Daft ‘n’ Bawdy Poetry, Urban Thesaurus [1945 edition], Guidebook to Pharmacology, Introduction to Tarot Symbolism, Applications in Multivariate Calculus and Differential Equations, a short book of surprisingly tender love stories, a longer book of genuinely raunchy lust stories, and an assortment of engineering textbooks)Text drawn probabilistically from A serves as our starting point, S1. The next step is to intersperse small elements of plot into S1 with insertion points determined by a Poisson distribution. Specifyf(k, λ) = λ^k ⋅ exp(-λ) / k!where k is the number of insertion points for each sub-block of S1, ! denotes factorial, and λ is the mean inclusion rate (λ > 0, but not by much)The storyline to be parsed and inserted as indicated above is presented (by us and by Pynchon) in skeletal form. The Merriam-Webster Encyclopedia of Literature sums it up well⁴. The sprawling narrative comprises numerous threads having to do either directly or tangentially with the secret development and deployment of a rocket by the Nazis near the end of World War II. Lieutenant Tyrone Slothrop is an American working for Allied Intelligence in London. Agents of the Firm, a clandestine military organization, are investigating an apparent connection between Slothrop's erections and the targeting of incoming V-2 rockets. As a child, Slothrop was the subject of experiments conducted by a Harvard professor who is now a Nazi rocket scientist. Slothrop's quest for the truth behind these implications leads him on a nightmarish journey of either historic discovery or profound paranoia, depending on his own and the reader's interpretation.As a work in the postmodernist tradition, nonlinearity must be actuated. At no point may the plot as a function of time (P[t]) be twice differentiable, and only rarely may it be first-order differentiable. Flashbacks, digressions, and various other discontinuities must be introduced as P[t] is inserted into S1. In a related way, causal orderings must be distorted for a more authentic Pynchonian narrative. Specify Cause ⇔ Effect +/- δtwhere δt = α + β⋅δJ + σ⋅δz with J being a jump parameter; δz being Gaussian (not DeLillovian) white noise; and α, β ‘n’ σ being user-defined constants.Once the plot convolutions specified above are inserted, resulting in S2, various themes may be brought to bear. Seminal reviews by Penkevich (2012), Jenn(ifer) (2012), and Graye (2012) discuss a wide variety of these themes and should serve as the basis for the next stage of textual input. The motifs identified form a set B ⊂ (Nature of Control, Paranoia, Preterite vs. Elite, Us vs. Them, etc.). Sampling from B proceeds in the same manner described above for A, i.e., according to the probability weights defined by the user. We denote the result of this as S3.Authorial insights into human nature are treated in a similar way. However, lists constructed using the aforementioned reviews feature insights of the reviewers themselves. This, in essence, removes layers of obfuscation so that transformations are necessary to reconstruct the more muddled original set. This is achieved by adding random perturbations and mapping the results into Hilbert space. Draws from this set of transformed and re-adumbrated insights inserted into S3 give us S4.Stylistic modifications to S4 are important when attempting to simulate the GR experience. For one, the narration should vary depending on the POV character. Allow average words per sentence in certain randomly chosen sections to be fully three times greater than the overall average. A smaller but consistently applied transformation is to take a common four-letter word and substitute in a three-letter alternative that, for what it’s worth, is phonetically more correct. For Pynchon, this meant “says” → “sez”. The result of these modifications is denoted S5.A GR simulation would not be complete without one further stylistic “enhancement”. Any vanilla sex scenes within S5 may be replaced with random draws from Y. Denote:U := incidence of urolagniaC := incidence of coprophagiaK := incidence of kinkiness of any other formWe can then specifyY=U⋅C⋅K!Finally, the result of this last modification, S₆, should be submitted to voice recognition software and compared with Pynchon’s own voice. Any wavelets that differ by more than 2 σ should then be truncated within S₆ to create S7. It is our contention that S7 will be a lexically similar rendition of the original when the default values of the parameter inputs are chosen. Alternatively, our framework also allows customization such that GR may be generated with a twist. Options along these lines are discussed in the final section below.Prospects Going ForwardPynchon’s well-known penchant for formulaic detail coupled with random noise makes GR a natural vehicle for demonstrating our methods. As stated above, by choosing the relevant inputs and their GR-consistent probability values, a book very much like GR may be generated. By repeating the process, multiple instances may be constructed. With sufficient computing power, these multiple instances can be fed into a genetic algorithm to determine an “optimal” GR (where optimality is defined in terms of individual tastes). For instance, by dialing down the weight assigned to silly poems in the initial stage, one could generate a new GR of even greater ponderousness and density. Similarly, length settings may be varied. A GR sampler could be generated that is only a fraction of the original length. Or for the show-off readers out there looking for even greater challenges, a simulated version that doubles the length and halves the signal-to-noise ratio could be produced. Of course, our methodology may be applied to simulate any piece of writing⁵. Hybridization is also possible. For instance, if the inputs for David Morrell’s First Blood were combined with those for GR, setting it in Vietnam, and substituting in violence for half the sex scenes, something like Gravity’s Rambo would result. Hybrids that do not involve GR are also possible. Inputs from classic works by Margaret Mitchell and Haruki Murakami could be combined to create Gone with the Wind-up Bird Chronicles. The key to performing these simulations well is to draw on the astute observations of reviewers for synopses, insights ‘n’ context. We encourage readers to generate these important inputs to spectrally enrich and parabolically ground all further text simulation exercises.The code used to generate simulated versions of GR is available upon request: SLOTH, Simplatz 00001, The Zone.Endnotes¹As a further demonstration of our techniques, we invoked a random pun generator in the construction of this paper.²Their simulation involves inputting all published works of a composer such as Mozart, codifying tones, tempos, and dynamics to be used in pattern recognition software that then assigns probabilities used to generate subsequent notes. For example, if the previous measure consisted of four quarter notes with the pattern E E F G, the algorithm would scan the entire sample of the composer’s works for similar patterns as well as the notes that had followed. It may then be determined that there is a 31% probability that a quarter note G will be next, a 14% probability that it will be a quarter note E, and so on. This is then fed into the simulator to randomly determine the next note consistent with the probabilities. The newly generated note pattern would then be windowed and used in an iterative fashion to determine all subsequent notes. ³An example might be to choose words or phrases to construct a political speech: My opponent is a (Republican, Democrat, cretin) and is therefore given to (flip-flopping, demagoguery, pleasuring male goats). In contrast to him, I vow to support (education, the environment, the people, bridges to nowhere only when the quid is sufficiently pro quo). ⁴While it is only right to recognize Greg (2010) for the brevity and pith of his plot summary, it did not allow us to specify a P[t] function to highlight the nonlinearity w.r.t. time.⁵This write-up itself was generated through simulation – a kind of meta-feature of what amounts to postmodernistic content formulation.ReferencesGraye, Ian, 2012, Goodreads Review of Gravity’s Rainbow.Greg, 2010, Goodreads Review of Gravity’s Rainbow.Jenn(ifer), 2012, Goodreads Review of Gravity’s Rainbow. Morrell, David, 1972, First Blood, Grand Central Publishing, New York, NY.Penkevich, S., 2012, Goodreads Review of Gravity’s Rainbow.Pynchon, Thomas, 1973, Gravity’s Rainbow, Penguin Books, New York, NY.Appendix AOur rating of the original GR instance, as published by Pynchon, was derived by integrating across a uniformly distributed utility function, U(x,y). The limits of integration in the x dimension range from boring to funny; in the y dimension they range from obscure to profound.∫ ∫ U(x,y) dx dy = ★★★Appendix BThe following poem was generated using the simulation techniques described above. The primary input was a single page of a rhyming dictionary. A secondary input was utilized as well: The Low-Brow’s Guide to Self-Indulgence. It was meant to convey a reader’s reaction at the midway point of the GR endeavor.I had hoped to attainOr at the very least feignA good stretch of the brainWith this GR campaign.But it’s awfully arcaneAnd though I hate to complainIt's become a real strain.I’m not sure I’ll stay sane.Yet I cannot abstainDespite genuine pain.Besides,Can it be the worst bane?A skull full of Chow mein?

Leo Robertson

(Not a lot of this review is about the content of GR, because who am I to even say what that is?)Okay, this book is bloody brilliant.I didn't think so at first, having not understood a lot of it through not paying attention and zoning out because there's a new story happening almost every paragraph if not sentence. Checking the wikipedia summary to try and keep up made me pretty sure I wasn't reading the same book (They're in a casino? He slept with who? She died?)And, like all human beings (if they're stare-in-the-mirror honest with themselves), I get really really annoyed when someone else exists or has existed who is phenomenally cleverer than I am: won't have it. So, at first these things convinced me that I didn't like it. Authors like Thomas Pynchon, William Faulkner,James Joyce, most recently and amazingly Elfriede Jelinek (and a whole host of others that I haven't read yet) would laugh with contempt at my pathetic and cliched need as a reader to understand everything that I read, and despite how much respect and appreciation I have for these authors and their books it remains a jarring and unsettling experience for a plot to pass over your head BUT I have not yet got into the idea of re-reading, which this and certain other books demand.You know what? Sometimes David Lynch films are geniunely pretty good, sometimes you want to listen to Animal Collective, sometimes it is fun to find and support a local book shop, what with all the crap hipsters say, they are statistically bound to get it right a handful of times as per the above examples. It's difficult through all the recommendation static to find the thing that really is worth trying out.That said, please don't judge me when I say that I have a copy of this book by my bed, and like to open it at a random page and have a read, and in these small chosen digestions I find it so much more fun, enjoyable, interesting, insightful, bizarre, funny, downright impossible, and it makes me want to find the time to read it all over again.It feels like something that is really, really important to do as someone who appreciates "Good Reads". If you, reading this review, are someone who perchance is someone who likes these "Good Reads", I would have to recommend you this book.**Original post-wtf review**Confusing brilliant blah blah... (felt out of most of the jokes, undoubtedly dragged- minus 1 star)If I have anything new to say about this book, it's that there's been a totally missed opportunity.The cover needs to be a 40s pin-up girl on a rocket with a B-movie subtitle eg. "Gravity's Rainbow, or Pynchon's Pavlovian F**k-Rocket!"So obvious!Please address this, people responsible for such decisions.

Marc Kozak

I've been putting off reviewing this forever, because it's my all-time favorite book. I feel like trying to explain books and music that you love is like trying to review yourself as a person. I mean, I wouldn't rate myself 5 stars (maybe like 3, which I guess means I value myself the same as Life of Pi apparently), but think about your own favorite book and how you would describe it to random people on the internet, and hopefully you understand what I mean. This book contains what I believe to be two of the Greatest Scenes in All of Literature (That I Have Read Anyway)(So Far). They are not only jaw-droppingly brilliant, but also perfect mini-capsules that serve to sum up the greater work as a whole, touching on all the big themes:-The story of the German engineer Pökler and his "daughter(s)", which for some reason makes me an emotional and nervous wreck every time I read it (which has been several times); and-Byron the Bulb, which I have immortalized with this shitty MS Paint drawing for absolutely no reason at all:I love this book because I just do. I have an idiotic fantasy where I meet a woman reading this somewhere and I approach her and start to excitedly babble on about it and she either sprays me with mace or we get married.This review is not helpful.

j. ergo

***THIS IS SO A WORK IN PROGRESS: ENJOY/GIGGLE/HUFF IF YOU MUST******THE WHOLE REVIEW IS ONLY AVAILABLE UNDER MY WRITINGS BECAUSE (SEE DIRECTLY BELOW)***ALSO, THIS IS WHAT THE KIDS CALL TLTR (I think), WHICH MEANS IT'S REALLY, REALLY LONG******AND . . . IT PROBABLY HAS SPOILERS, BUT I CAN NO LONGER SEE STRAIGHT SO YER JUST GONNA HAVE TO TAKE YER CHANCES******. . . OR NOT*** Tom Don’t think too hard, Eddie, you might sprain something. Dane You are so goddamn smart. ‘Cept you ain’t. I get you, smart guy. I know what you are. Straight as a corkscrew. Mr. Inside-Outsky, like some goddamn Bolshevik, picking up his orders from Yegg central. You think you’re so goddamn smart. You join up Johnny Caspar. You bump Bernie Bernbaum. Up is down. Black is white. Well, I think you’re half-smart. I think you were straight with your frail. I think you were queer with Johnny Casper. And I think you would sooner join a Ladies’ League than gun a guy down.-Miller’s CrossingOpening a review with a quote seems kind of pretentious to me. But I'm feeling a bit pretentious now that I've finally finished Thomas Pynchon's 1973 pièce de résistance, Gravity's Rainbow. And when I say that, I am indeed calling myself out for enjoying feeling pretty smart right about now, undeserved though it may be. It's just a book after all; or to paraphrase an old movie, q. Can an ape read Nietsche? a. Yes, you idiot. He just can't understand it. But I think I did more than read Gravity's Rainbow. I understood it... well, parts of it for sure. The quote above comes from, on any given day, my favorite film. Miller’s Crossing is period gangster film set in a small, unnamed Midwestern city during the prohibition era. The story and tone of the film borrows heavily, in some cases straight steals, from the books The Glass Key and The Maltese Falcon by Dashiell Hammett. What does it have to do with Gravity’s Rainbow? Very little, I suppose. But often, while reading the book, that very scene kept popping into my head. I believe now that it stemmed from discovering that every time I thought I had Pynchon, or the story, or even some miniscule point pegged, he would come out of nowhere with something that would crush my theory. Often he would turn it on its head, inside out, or upside down. For the sake of protecting anyone else’s experience with the book, I’ve decided to forego providing any examples of this as it was probably the most consistently entertaining part of reading it.To clarify, because the above could be interpreted as making light of the book instead of myself, let me say that Gravity's Rainbow is easily the most profound and captivating novel I have ever read. It is also arguably the most enjoyable one as well. Were I to possess any of the intelligence I attribute myself for just finishing it, I wouldn't be spinning my wheels here attempting to describe how it made me feel that way. This review began as a response to a thread of a friend's below, and I've decided to leave it to develop ramshackle and unbound as it began. If yer reading this at all, you've already decided one way or the other whether you might be interested in reading Gravity’s Rainbow. Because of that, I'm going to mostly throw in a few scattered thoughts around passages I found particularly pleasing, ones that might help someone make the decision to make that plunge. I've left out some of the most powerful ones I came across because the subject matter is, well... just in the remote possible chance someone might be eating and reading this at the same time, proper etiquette dictates that I do. Pynchon himself has no qualms about depicting exactly what I'm not talking about in the last sixty pp. A marked as to-read: Gravity's Rainbow by Thomas PynchonK wrote: "Good luck!! I've tried twice and can't do it. I'll try again when I have more time / less immediate responsibilities."A wrote: "Uh-oh. That makes the baby Jesus cry."Pay no mind to the naysayers. I started GR about 7 years ago for the first time and made it just shy of the 200 pp. mark before real life, in general, and my second year of fatherhood, specifically, intervened. When I tried to pick it up a month later, all was lost. I knew within 10 pp. I would have to start over, and I just didn't have the wherewithal at the time. A few years later I started fresh and made it past the 250 pp. mark before some more serious matters put a sudden halt to that. But, in addition to knowing it was pointless taking up where I left off, I learned a new lesson. I realized I hadn't really understood a thing the first time I started it. Rereading the exact same 200 pp. was akin to discovering that I'd tried to read it in Mandarin the first time. Now skip ahead, just short of a year. I happened to have a copy of The Crying of Lot 49 on a long flight. I’d read and enjoyed it in high school, but really didn't get it because I wasn't smart enough yet. Four hours later I finished it and began to really settle into Pynchon's groove. For some reason, when I got home I decided to read V. instead of giving GR another go. Though it is a challenging and long work, I devoured it in an extremely satisfactory manner in a matter of weeks. A few months later, about six months ago, I once again started GR from the beginning; and though I've taken, at times, up to a week off and finished six or seven other books in the same time period, today I finished part three leaving myself just over 100 pp. to go. I think it is the most rewarding novel I've ever read (big words for somebody who hasn’t finished reading it yet), and I've read a few. Of the modern/post-modern juggernauts I haven’t read, the few most likely I’d mention in its class are Moby Dick, Ulysses, Finnegan's Wake, A Man Without Qualities, The Recognitions, JR, Dhalgren, Terra Nostra, The Public Burning, and maybe Infinite Jest; all of which I plan to read before I die. But I kind of have a feeling I’m already reading the one that will always speak to me the most.More on that later. Gravity’s Rainbow begins in early December of the year 1944. It is divided into four parts. Pt. 1 is entitled Beyond the Zero, and its epigraph reads:"Nature does not know extinction; all it knows is transformation. Everything science has taught me, and continues to teach me, strengthens my belief in the continuity of our spiritual existence after death."-WERNHER VON BRAUNFor those reading who know nothing about Wernher von Braun, he was one of the single most amazing human beings in the written history of our civilization. Also, he was a Nazi and a punk jack ass. But I digress…. As if his real life wasn't interesting enough (much, much more of that below, but it wouldn’t be any fun to give it all away now), not only does he loom large over the whole of GR, he is well-known to be, with a little Sidney Gottlieb (goat farmer/mad scientist for the CIA, responsible for the lovely MK-Ultra project and, by proxy, the explosion of psychedelic use in the ‘60s) thrown in, the basis for Peter Sellers, Terry Southern, and Stanley Kubrick's Dr. Strangelove, one of my absolute favorite films of all-time.Pirate Prentice’s Banana BreakfastWith a clattering of chairs, upended shell cases, benches, and ottomans, Pirate’s mob gather at the shores of the great refectory table, a southern island well across a tropic or two from chill Corydon Throsp’s mediaeval fantasies, crowded now over the swirling dark grain of its walnut uplands with banana omelets, banana sandwiches, banana casseroles, mashed bananas mold in the shape of a British lion rampant, blended with eggs into batter for French toast, squeezed out a pastry nozzle across the quivering creamy reaches of a banana blancmange to spell out the words C’est magnifique, mais ce n’est pas la guerre (attributed to a French observer during the Charge of the Light Brigade) which Pirate has appropriated as his motto . . . tall cruets of pale banana syrup to pour oozing over banana waffles, a giant glazed crock where diced bananas have been fermenting since the summer with wild honey and muscat raisins, up out of which, this winter morning, one now dips foam mugsfull of banana mead . . . banana croissants and banana kreplach and banana oatmeal and banana jam and banana bread, and bananas flamed in ancient brandy Pirate brought back last year from a cellar in the Pyreneed also containing a clandestine radio transmitter . . .Beyond the Zero, E. 2, pp. 10-11I wrote: "what of the Giant Adenoid? This my second attempt. As for understanding everything for me, it's harder explaining what I understand if that makes any sense."Yes… what of the giant Adenoid?The first few times nothing clicked. The fantasies were O.K. but belonged to nobody important. But the Firm is patient, committed to the Long Run as They are. At last, one proper Sherlock Holmes London evening,, the unmistakable smell of gas came to Pirate from a dark street lamp, and out of the fog ahead materialized a giant, organlike form. Carefully, black-shod step by step, Pirate approached the thing. It began to slid forward to meet him, over the cobblestones slow as a snail, leaving behind some slime brightness of steet-wake that could not have been from fog. In the space between them was a crossover point, which Pirate, being a bit faster, reached first. He reeled back, in horror, back past the point—but such recognitions are not reversible. It was a giant Adenoid. At least as big as St. Paul’s, and growing hour by hour. London, perhaps all England, was in mortal peril.We know from the paragraph that follows that the “lymphatic monster had once blocked the distinguished pharynx if Lord Blatherard Osmo.” Reading on, we are treated to a grotesque Busby Berkeley musical number replete with chorus line of “quite nubile young women naughtily attired in Busbies and jackboots.” The Adenoid proceeds to wreak the type of havoc all over the city that only a giant Adenoid can. I think the purpose of the tale is to establish, by showing us his first true experience, Pirate Prentice’s role as “fantasist-surrogate,” or what is now actually referred to as an oneironaut. An oneironaut is one who can travel consciously through someone’s dreams; their own or another person’s.Every day, for 2 ½ years, Pirate went out to visit the St. James Adenoid. It nearly drove him crazy. Though he was able to develop a pidgin by which he and the Adenoid could communicate, unfortunately he wasn’t nasally equipped to make the sounds too well, and it got to be an awful chore. As the two of them snuffled back and forth, alienists in black seven-button suits, admirers of Dr. Freud the Adenoid clearly had no use for, stood on stepladders up against its loathsome grayish flank shoveling the new wonderdrug cocaine—bringing hods full of the white substance, in relays, up the ladders to smear on the throbbing gland-creature, and into the germ toxins bubbling nastily inside its crypts, with no visible effects at all (though who knos how that Adenoid felt, eh?).But Lord Blatherad Osmo was able at last to devote all of his time to Novi Pazar. Early in 1939, he was discovered mysteriously suffocated in a bathtub full of tapioca pudding, at the home of a Certain Viscountess. Some have seen in this the hand of the Firm. Months passed, World War II started, years passed, nothing was heard from Novi Pazar. Pirate Prentice had saved Europe from the Balkan Armageddon the old men dreamed of, giddy in their beds with its grandeur—though not from World War II, of course. But by then, the Firm was allowing Pirate only tiny homeopathic doses of peace, just enough to keep his defenses up, but not enough for it to poison him.Beyond the Zero, E. 2, pp.15-17As for the significance of the Adenoid itself, Steven Weisenburger hazards a couple of guesses in his book, A Gravity’s Rainbow Companion:“The fantastic creature disappears from GR after this analeptic appearance, but a thinly disguised Richard M. Nixon, as ‘adenoidal’ theater manager Richard M. Zhlubb, will reappear in the final proleptic moments of the narrative.”and“Since medical references to “adenoids” nearly always use the plural, Pynchon probably refers here to Charlie Chaplin’s role as the Jewish barber and then dictator of Tomania, ‘Adenoid Hynkel,’ a thinly veiled Adolf Hitler in The Great Dictator [1940]. Indeed the film’s closing speech, in which Chaplin drops the Hitler-mask appeals directly to the viewers, rather deftly capsulizes GR’s themes.”This is hardly an obscure tangent when viewed in a vacuum, given the subject matter and Chaplin’s status as an iconoclast, but GR is as close to a literary antithesis of a vacuum I’ve ever come across and occurrences of this sort abound page after page. Personally, I can see a similarity between chapter four of V., appropriately entitled In which Esther gets a nose job, in which Pynchon devotes an entire chapter to the first person narration of the unlucky recipient of an un-anaesthetized back alley rhinoplasty. Though I am still uncertain as to its pertinence to the story, the chills I’m experiencing as I write this remind me how little I cared when I read it.But Beyond the Zero isn’t all jollities and shenanigans. It ends on an ominous note at a séance attended by, among others, the Generaldirektor Smaragd of IG Farben.TP Drops Some KnowledgeWhy do they want Rathenau tonight? What did Caesar really whisper to his protégé as he fell? Et tu, Brute, the official lie, is about what you’d expect to get from them—it says exactly nothing. The moment of assassination is the moment when power and the ignorance of power come together, with Death as validator. When one speaks to the other then it is not to pass the time of day with et-tu-Brutes. What passes is a truth so terrible that history—at best a conspiracy, not always among gentlemen, to defraud—will never admit it. The truth will be repressed or in ages of particular elegance be disguised as something else. What will Rathenau, past the moment, years into a new otherside existence, have to say about the old dispensation? Probably nothing as incredible as what he might have said just as the shock flashed in his mortal nerves, as the Angel swooped in…But they will see. Rathenau—according to the histories—was prophet and architect of the cartelized state. From what began as a tiny bureau at the War Office in Berlin, he had coordinated Germany’s supplies, quotas and prices, cutting across and demolishing the barriers of secrecy and property that separated firm from firm—a corporate Bismarck, before whose power no account book was too privileged, no agreement too clandestine. His father Emil Rathenau had founded AEG, the German General Electric Company, but Walter was more than another industrial heir—he was a philosopher with a vision of the postwar State. He saw the war in progress as a world revolution, out of which would rise neither Red communism nor an unhindered Right, but a rational structure in which business would be the true, the rightful authority—a structure based, not surprisingly, on the one he’d engineered in Germany for fighting the World War.and”Consider coal and steel. There is a place where they meet. The interface between coal and steel is coal-tar. Imagine coal, down in the earth, dead black, no light, the very substance of death. Death ancient, prehistoric, species we will never see again. Growing older, blacker, deeper, in layers of perpetual night. Above ground, the steel rolls out fiery, bright. But to make steel, the coal tars, darker and heavier, must be taken from the original coal. Earth’s excrement, purged out for the ennoblement of shining steel. Passed over.“We thought of this as an industrial process. It was more. We passed over the coal-tars. A thousand different molecules waited in the preterite dung. This is the sign of revealing. Of unfolding. This is one meaning of mauve, the first new color on Earth, leaping to Earth’s light from its grave miles and aeons below. There is the other meaning… the succession… I can’t see that far yet….“But this is all the impersonation of life. The real movement is not from death to any rebirth. It is from death to death-transfigured. The best you can do is polymerize a few dead molecules. But polymerizing is not resurrection. I mean your IG, Generaldirektor.”“Our IG, I should have thought,” replies Smaragd with more than the usual ice and stiffness.Beyond the Zero, E. 19, pp. 167-169***THIS REVIEW IS A WHOLE LOT LONGER, SO I WILL DO WHAT I CAN TO FIT IT ELSEWHERE***

Rob

It is difficult to say for certain if the five-star review will withstand a second reading--but we won't know that until I subject myself to it that second time. Fortunately for me, it has gone back to its "last in line" position for at least a little while.First, the obvious stuff: this is the kind of novel that makes "Top N" lists of all kinds (formal and less so) and is widely regarded as a masterpiece among postmodern masterpieces. It's transgressive in a number of different ways--fucking with sexuality; history and modernity and futurism; politics and anarchy; mysticism and science; u.s.w.--all on its celebratory-romping exploration of annihilation on every possible scale. It's surreal and impenetrable and referential and still somehow an engaging read. But as I look back over my notes, I'm struck by a few of my own status updates:Inappropriate analogies: Pynchon is like Neal Stephenson channelling Kurt Vonnegut doing an impression of George Orwell after having dinner with Philip K. Dick.And:Last night I dreamed that Slothrop was at a party with Bobby Shaftoe, both of them hitting on Juliana Frink.And:"It's like Neal Stephenson was writing a remix of Dhalgren for a class taught by Kurt Vonnegut?"But also:Well that last bit read like it was written by a horny college sophomore that just got introduced to absurdism.And the emergent theme of my own reading experience was definitely an academic or collegient one. The kind of book where an upper-division English class of like 6 or 7 students sits around in a circle wanking over its references and allusions and going on at great length about its influence on other, more recent works. And this isn't necessarily a Bad Thing--this is part of what Gravity's Rainbow Intends to Be. But given how I am so quick to compare it (in my mind at least) to Infinite Jest, therein lies an important difference--Infinite Jest may be surreal and absurd and referential and seemingly impenetrable, but it is also colloquial and demotic in a way that Gravity's Rainbow is not. But this is an unfair comparison.So then... what's with the five-star review? Because despite its impermeable nature, this novel--however dense, however exclusive--really does seem to accomplish what it sets out to discuss, and from every angle I could think of. And though much of it was lost on me (as a reader's guide was recommended to me, so do I recommend one to you), there is a gripping and tangled enough tale in here to keep one engaged with the prose and its narrative. (A prurient nature helps, too.)------See also:• 10 Science Fiction Novels You Pretend to Have Read (And Why You Should Actually Read Them) at io9

Edward Kelly

Gravity's Rainbow is first and foremost funny. I cannot imagine speaking about any of Pynchon's fiction and not laughing. Somehow he is always talked about in such a serious tone. If you are not laughing at the bawdy humor, the slapstick, and the corny...If you are not laughing giddily at the way the stories connect inside the novel as well as to the historical context outside the novel...If you do not like send ups...If you cringe at gallows humor and sexual perversity...If your mind doesn't crave the complexity of an encyclopedic novel...If absurdity does not bring you closer to a primordial truth that incites laughter at man's history... Yes there is a plot. You may not find it but it is there. I would not read this book if you are struggling mightily with it. Do not believe people who say how hard, difficult, and painful it was, that they really didn't get most of it but "it was worth it". There are a ton of references and the book is more fun if you actually are able to tie in a bunch of the metaphors, references, historical contexts and character appearences and disapperences. I cannot imagine the point of reading the book if you couldn't, what a bore it must be. I think it is insulting that so many people believe that it is taboo to even talk about the book as a story,-a wildl, f-ing funny story at that. Yes some of us read Pynchon for enjoyment, not because it makes us stronger or better or fuller. (Pudding anyone?) I read Pynchon for the plot. I remember the small passages on pg.29 that are tied back in on pg500 without having to consult a third text. I delight in the connections and how often they break open the plot or a bigger meaning. I certainly miss some but I get a ton.(Can you plot out GR according to the Londen Times in 1944-45 and the Christian Advent season? Yes. But do you have to know this to figure out what Pynchon is up to? No.I wouldn't even bother, it will not get you closer to understanding. He sprinkles the novel with references that can bring you there if you are capable.) If I didn't I would give this book away. Pynchon pretty much debunks the Super Pynchon Theory in the introduction to Slow Learner. He talks about people's perception of him as being a brilliant mind who knows a ton about the subjects he riffs on. He admits that his knowledge of entropy(a major metaphorical theme for him)amounts to a typical dictionary definition entry.( not ot say that he is not extrordinarily well-read but don't be surprised if he doesn't know that much about Middle Dutch poetry but instead knows it in a more referential manner just as you do) Of course, his brilliance is his ability to take an idea and run it through his own mind, to say something about man, history and the nature of maening. And this is the kind of reader he is after. If when you read passages you find that his reference has sent you off thinking on your own and you realize you keep reading the same paragraph over and over transfixed by its briliance while each time it sparks a new tangent of thought until finally you wake up and feel that you have just flown around the globe...If you read GR and feel that you need to talk about Pynchon in a half-apologetic, fully-reverential tone instead of laughing at the Hansel and Gretel in the oven of an SS officer then you really did not get it and should try again with a a little more levity. Perhaps you can borrow Gottfried's wedding dress to wear while you read it.If you read GR and feel that it was devoid of a plot and was not chock full of brilliant observation on the plight of man/history, our encounters with meaning and many other metaphysical questions then the overall complexity of the structure went over your head and you should not try again.If you read it and hated the pace and style of the prose then well, you are probably right.

Kyle Wright

Hundreds of unimportant characters, dozens of instances of pedophilia, unending passages that ramble on and on with no actions or information of consequence, drug and sexual organ obsessions, and fecal matter galore! If all of these sound like what you enjoy in literature, then this is the book for you. While a great master of vocabulary, Pynchon just doesn't know when to quit. It seems that any time there is any hint that the story might be progressing, Pynchon has to go off on a barely related tangent for ten or twenty pages, rarely returning to or referencing this material again. While Laurance Sterne (The Life and Opinions of Tristram Shandy, Gentleman) managed to employ "the tangent" with aplomb, Pynchon takes them to such excess that I can't help but say he is a literary glutton, prone to verbose over-indulgence.When I start a book, I finish it. It has taken me over a year and a half to get through this book because every time I read a little bit, I dislike it so much that I end up picking up another book to read instead. I'm well aware that I am bucking the trend by not liking this book, but it seems that the high ratings are in part due to pseudo-intellectuals reveling in the knowledge that they 'get it' and the rest of us just don't. While I do admit that Pynchon managed to write a very dense (as in "packed to the brim with information"), cryptic, and nigh unfathomable tome, those attributes are overwhelmed by the plodding narrative, explicit perversion (I know, that is a personal, rather than technical, fault), and lack of character development (I didn't learn enough about the hordes of characters to care about any single one of them). The intelligentsia may turn up their noses at my [obviously] inferior taste and comprehension, but nonetheless, I stand by my opinion. Gravity's Rainbow is quite possibly the worst book I've ever read.

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