Notes

Preface

1. Vineland was published after the present study was sent to press, and falls in any case outside its remit.

2. Tony Tanner's chapter on Pynchon in City of Words (London: Cape, 1971), pp.153-80, was innovative in this respect, as in many others; although it is indicative of the state of knowledge of Pynchon' s work at this time that 'Entropy' is the only story he refers to.

3. Thomas Pynchon: The Art of Allusion (Southern Illinois University Press, 1980).

4. The Fictional Labyrinths of Thomas Pynchon (London: Macmillan, 1988).

Introduction

1. In the evensong scene the Jamaican counter-tenor is evidently another version of the alto Charlie Parker, who has already appeared in the novel (GR, 63-4), bringing the ideas of jazz and polyphony together again.

2. See M. H. Abrams, The Mirror and the Lamp (New York: Oxford University Press, 1953), pp. 59--69. Abrams was one of Pynchon's teachers at Cornell.

3. See 'Walter Benjamin', Times Literary Supplement, 22 August 1968, pp.885-7.

4. First collected in Round the Red Lamp (1894), reprinted in The Ring of Throth and other stories (London: John Murray, 1968), pp. 80-119. Abercrombie Smith, an Oxford student, discovers that his neigh­bour, an Egyptologist, is able periodically to revive a tall black mummy in his possession, lot 249, and eventually that the mummy is responsible for a series of killings in the city.

5. The clues need not of course be genuine, but the pamphlet is presumably either Tolstoy's What I Believe or Kropotkin's Paroles d'un Revolte, both 1884. The 'sermons' may be those of Thomas Hooker, who is mentioned in GR (GR, 22), or the works of St Augustine.

1 Three Short Stories

1. Epoch 9 (Spring 1959), pp. 195-213. For comments on the Introduc­tion to SL, see my review, 'A burglar, I think. A second-story man.', in Cambridge Quarterly, 15 (1986), pp. 156--64.

2. Cambridge University seminar paper, 1980, later revised as 'Ironic Equivalence: A Reading of Thomas Pynchon's 'Mortality and Mercy in Vienna', Critical Quarterly, 23, iii (Autumn 1981), p. 55.

3. Nathanael West, 'Some Notes on Miss L', reprinted in Martin Jay,

190

Notes 191

ed., Nathanael West a Collection of Critical Essays (Englewood Cliffs, NJ: Prentice-Hall, 1971), pp. 66-7.

4. 'Mourning and Melancholia' (1917), in The Standard Edition of the Complete Psychological Works of Sigmund Freud, ed. James Strachey (London: Hogarth Press, 1953-74), vol. x1v, pp. 237-58. Hencefor­ward references to Freud will take the form St. ed., followed by the volume number. The English versions of the titles of his works are used passim.

5. Totem and Taboo (1912-13), St. ed., XIII, pp.1-162. See also Sir James Frazer, Totemism and Exogamy, 4 vols (London: Macmillan, 1910), esp. vol III, Ch. 16, v., 'Totemism Among the Ojibways'.

6. See S. Parker, 'The Wiitiko Psychosis in the Context of Ojibwa Personality and Culture', in American Anthropologist, 62 (1960), pp. 603-23.

7. Totem and Taboo, St. ed., XIII, p. 92. 8. 'The Uncanny', (1919), St. ed., XVII, pp. 219-52. 9. 'The Uncanny', p. 248.

10. 'The Uncanny', p. 248. 11. Totem and Taboo, in A. Brill, ed. and trans., Freud Basic Writings (New

York: Random House, 1938), p. 873. See St. ed., XIII, p. 86. 12. For the influence of Conrad on the 1898-99 chapters of V., see

below. Pierce Inverarity in Lot 49 (called the Shadow) and Blicero in GR are both Kurtz figures.

13. Graham Greene, Carol Reed, The Third Man (London: Lorrimer, 1968), p. 111. The influence of the film is also discernible in V., Chs 5 and 6, when Benny Profane chases alligators through the sewers.

14. SR has an obvious similarity to La Peste, and in V. Stencil's mission begins at the end of the war in Oran, the city of that novel (V., 54).

15. Albert Camus, The Fall, trans, J. O'Brien (Harmondsworth: Penguin, 1981), p. 102.

16. The Fall, p. 101. 17. The obvious recollections of early Joyce have not been mentioned

(197, 199), and there are hints of Hemingway in Grossmann (Oak Park, bullfight images) and of Mailer in Siegel (New York Jew, Harvard); the last, presumably, with reference to the romanticisa­tion of psychotic violence in 'The White Negro', Dissent, Summer 1957, rpt. in Advertisements for Myself (London: Deutsch, 1961), pp. 281-302.

18. See Totem and Taboo, St. ed., XVIII, p. 90. 19. See the 'Meester Veelson' section of John Dos Passos, Nineteen

Nineteen (1932), and S. Freud, W. Bullitt, Thomas Woodrow Wilson (London: Weidenfeld, 1966), pp. 78, 249.

20. ' ... to have with them [the European nations] as little political connection as possible . . . it must be unwise . . . to implicate ourselves ... in the ordinary vicissitudes of her politics.' Farewell Address, 1796.

21. Note that in the Peter Arno cartoon, Siegel's first association for the phrase (202), the 'going native' is similarly double, with the Bryn Mawr girl staying in France and wearing Apache costume.

192 Notes

22. Looking forward to the use of the film in GR (GR, 28~7, etc.), the visit to Washington in V. ends with a sailor who has 'run amok, under the impression he was King Kong' (V., 421).

23. Loon, like Lupescu (199), is a genie Siegel releases from a bottle, and this is one of the commonest images for the discovery or use of the atomic bomb. It is employed notably by Norbert Wiener, an acknow­ledged source in 'Entropy', in The Human Use of Human Beings (London: Sphere, 1968), p. 159.

24. Compare the passage in V. on the yams about Father Fairing, with its clear reference to poetry: 'At no point in the twenty or so years the legend had been handed on did it occur to anyone to question the old priest's sanity.It is this way with sewer stories. They just are. Truth or falsity don't apply.' (V., 120.)

25. 'The Golden Vanity', in A. Quiller-Couch, ed., The Oxford Book of Ballads (Oxford University Press, 1951), pp. 701-2. Offered riches and his daughter by the captain of the Golden Vanity, the cabin boy volunteers to pierce the side of a Spanish galley. On his return the captain refuses to take him on board, and he is left to 'sink by the Lowlands low'. There is an alternative version in which he threatens his own ship, and duly receives his rewards.

26. Almost half of them are noted in Joseph Slade, Thomas Pynchon (New York: Warner, 1974), pp. 2~32.

27. 'London Letter', Dial, 71 (August 1921), pp. 214-17. 28. For example in the two Paumanok (Long Island) poems, 'Out of the

Cradle Endlessly Rocking' and 'As I Ebb' d with the Ocean of Life', in which the sea is associated with the same mother-womb-death complex as it is in 'Low-lands'. Pynchon discusses the Long Island setting briefly in SL, 20-1.

29. The noting of these allusions in Tony Tanner's Thomas Pynchon (London: Methuen, 1982) is, as acknowledged, indebted to an earlier version of this chapter.

30. See W. Hedges, Washington Irving (Baltimore: Johns Hopkins Uni­versity Press, 1965), p. 139.

31. Contemporary letter quoted in the discussion of the poem in Walter Jackson Bate, John Keats (Cambridge: Harvard University Press, 1963), p. 238.

32. Cleanth Brooks, Modern Poetry and the Tradition (London: Poetry London, 1948), p. 166.

33. For example The Interpretation of Dreams, St. ed., v, p. 525. The smuggler and the night-watchman, Bolingbroke's job, (63) are also Freudian metaphors for the dream; see Introductory Lectures, St. ed., XV, pp. 234, 129.

34. See Richard Poirier's essays, 'The Literature of Waste' and 'The Politics of Self-Parody', in which Pynchon is discussed alongside the major figures of early Modernism, with reference to the relationship between waste and creativity; Richard Poirier, The Performing Self (London: Chatto, 1971), pp. 4~1, 27-44.

35. Bolingbroke's story recalls places and events from Columbus' voyages, and Porcaccio mocks aspects of the Admiral's personality; Columbus too had a (Quixotic) plasma of delusion, whereby 'outer

Notes 193

reality only existed by permission of inner reality'. See Salvador de Madariaga, Christopher Columbus (London: Hodder and Stoughton, 1939), p. 283 et passim.

36. Compare, for example, the material in Ch. 16 on the damaged US Scaffold (V., 426, 431-4), a parable about 'America sitting on its ass' during crises in Suez, Hungary and Poland.

37. Contemporary Literature, 81-4 (1979), p. 156; see the section of this novel set in revolutionary Cuba, singled out in Pynchon's Introduc­tion to the re-issue; Richard Farina, Been Down so Long It Looks Up to Me (New York: Random House, 1983).

38. See Peter Wyden, Bay of Pigs: The Untold Story (London: Cape, 1979), and Stephen Ambrose, Rise to Globalism (Harmondsworth: Penguin, 1980).

39. Biographical note, New World Writing, 16 (1960), p. 85. 40. ' ... like a painting by the douanier Rousseau, she seemed to lie in a

jungle trapped in a drawing room.' Djuna Barnes, Nightwood (Lon­don: Faber, 1958), p. 56.

41. Quoted in Roger Shattuck, The Banquet Years (1955; rpt. London: Cape, 1969), p. 111, a study which seems likely to have been one stimulus to the interest in culture in the period around the Great War in 'Entropy' and V.

42. See the comments on the story in the chapter on Pynchon in Tony Tanner, City of Words (London: Cape, 1971), pp. 153-5.

43. For another account, see R. Redfield, P. Hays, 'Fugue as a Structure in Pynchon's "Entropy"', Pacific Coast Philology, 12 (1977), pp. 50-5.

44. See above, Introduction, p. 9. 45. There are verbal echoes linking Aubade to Phuong, the Annamese

mistress of Fowler in Greene's The Quiet American (1955), which deals with CIA activity in French-controlled Vietnam. Greene allu­sions thus occur in three of the short stories, and a further borrowing can be found in GR, where the Roger-Jessica romance is taken from The End of the Affair (1951), novel and film, with the State replacing the Church as its destroyer.

46. Norbert Wiener, The Human Use of Human Beings (1950, 1954; rpt. London: Sphere, 1968), pp. 15, 82, 155--6, 11.

47. Wiener, pp. 99-112, 165-7. 48. Wiener, pp. 112-4. 49. E. Samuels, ed., The Education of Henry Adams (Boston: Houghton

Mifflin, 1973), pp. 362-4, 376--8. The year of the capture of Cuba is also that of the settings of UR and the first section of the Stencil narrative of V., with its partially acknowledged debt to Adams (V., 62-3).

50. Education, pp. 402, 397. 51. Compare the use of the Tchaikovsky 1812 Overture (V., 124), and, in

the Stravinsky parody, the Virgin and the words 'the last chord blasted out, filled the theater, echoed, hung, subsided' (V., 413-4). The 'sustained, ungodly crescendo' at the end of the Mulligan narrative (96), also reproduced in the ballet in V., can be analysed similarly.

52. See Nat Hentoff, 'Gerry Mulligan' New Yorker, March 21, 28, 1959.

194 Notes

See also Joe Goldberg, Jazz Masters of the Fifties (New York: Macmil­lan, 1965), pp. 9-23. There is a jazz fugue in Birth of the Cool, a practice subsequently followed by John Lewis' Modern Jazz Quartet.

53. A joke perhaps glancing at the New Dada of Cage's famous silent piece, 4'33" (1952).

54. See A. B. Spellman, Four Lives in the Bebop Business (London: McGibbon and Kee, 1967), pp. 79-150; Goldberg, pp. 228-46; George Russell, 'Ornette Coleman and Tonality', Jazz Review, June 1960.

55. Igor Stravinsky, Robert Craft, Expositions and Developments (London: Faber, 1962), pp. 89-95; Igor Stravinsky, An Autobiography (London: Calder and Boyars, 1975), pp. 70-74; Eric Walter White, Stravinsky the Composer and his Works (London: Faber, 1966), p. 233.

56. See The Captive (London: Knopf, 1929), trans. C. K. Scott Moncrieff, especially the street sounds passage, pp. 147--69.

57. Compare the passage in GR where the subject of root chords is returned to: '"Yardbird" Parker is finding out how he can use the notes at the higher ends of these very chords to break up the melody . . . bird' s singing, to gainsay the Man's lullabies, to subvert the groggy wash of the endlessly, gutlessly over-dubbed strings.' (GR, 63-4).

58. Marshall McLuhan, Understanding Media (London: Routledge & Kegan Paul, 1964), pp. 22-3, 27. Lot 49 is full of McLuhan's cool media, for example TV, the detective story, the Twist, the disc jockey.

59. Stanley Angrist and Loren Hepler, Order and Chaos (Harmonds­worth: Penguin, 1973), p. 130.

60. Warren Weaver, 'The Mathematics of Communication', Scientific American, July 1949, rpt. in Mathematics in the Modern World, intro. Morris Kline (San Francisco: Freeman, 1968), pp. 313-7. But not in Wiener, where 'it is possible to interpret the information carried by a message as essentially the negative of its entropy' (Wiener, p. 22, cf. Lot 49, 72).

2 v. 1. V., 454. 2. Journal Florentine de R. M. Rilke, trans. Maurice Betz (Paris: Emile­

Paul Freres, 1946). 3. Quoted in James T. Soby, 'Giorgio de Chirico' (New York: MOMA,

1955), pp. 55, 247. His surrealist novel Hebdomeros, the subject of an essay by Fausto Maijstral (307), also appears to contribute certain motifs to V.

4. Witness the interest in him of other leading figures in post-war culture: see Claude Bonnefoy, Conversations with Eugene Ionesco (London: Faber, 1970), pp. 38-9; Claes Oldenburg, Store Days (New York: Something Else Press, 1967), p. 49; John Ashbery, review of translation of Hebdomeros, Book Week, 18 December 1966.

Notes 195

5. S. Alexandrian, Surrealist Art, trans. G. Clough (London: Thames and Hudson, 1970), p. 58.

6. Soby, pp. 73-4. The influence of de Chirico, previously covered in some detail in my 1986 Cambridge Ph.D. dissertation, is also briefly noted by David Seed in The Fictional Labyrinths of Thomas Pynchon (London: Macmillan, 1988), p. 249, n. 7.

7. Die Aufzeichnungen des Malte Laurids Brigge (1910), trans. by John Linton as The Notebooks of Malte Laurids Brigge (1930: rpt. London: Hogarth, 1978). Henceforward Notebooks.

8. 'Modernism' is used in this chapter as an imprecise shorthand term for the culture of the 1895-1925 period, or the later works of artists who emerged at that time, without strict regard for whether Modernist characteristics are present.

9. Rilke, Notebooks, pp. 52-9. 10. Soby, p. 46, quoting Roger Shattuck. 11. Jean-Paul Sartre, Being and Nothingness, trans. Hazel Barnes (Lon­

don: Methuen, 1957), pp. 59-60. 12. Preface to The American (New York: Scribners, 1907, rpt. 1976), pp.

xvii-xviii. 13. Preface to The Nigger of the Narcissus (1897). 14. See Sir James Frazer, The Golden Bough, abridged edition (London:

Macmillan, 1922; rpt. 1933), 370-1, 266-9. For 'tradition' see J. B. Vickery, The Literary Impact of The Golden Bough (Princeton University Press, 1973).

15. Like V., Gonne was motherless and went on a Grand Tour. She was involved in the theatre, the occult (including the Black Mass) and underground conspiracy. In 1897 she and Yeats took part in riots in Dublin, in 1898 she was in Paris attempting to aid the French at Fashoda. The dates of the two meetings of Stencil and V. (1899, 1919), match roughly those of Yeats' first and last proposals, in the 1890s and 1916. See Richard Ellmann, Yeats, the Man and the Masks (London: Macmillan, 1949), Joseph Hone, W. B. Yeats 1865-1939 (London: Macmillan, 1%2).

16. The obvious source is the theft of the Gioconda in 1911, falsely attributed to Apollinaire. See Shattuck, p. 276.

17. This image may derive from a particularly grisly example in The Golden Bough, in which a Mexican priest wears a skin that has been flayed from the body of a young virgin. See Frazer, pp. 589-92.

18. See 'The Whiteness of the Whale'; and Pierre: Or, The Ambiguities, ed. R. S. Forsythe (New York: Knopf, 1941), p. 317.

19. Quoted in Stanley Edgar Hyman, The Tangled Bank (New York: Atheneum, 1962), p. 248.

20. Max Black, A Companion to Wittgenstein's Tractatus (Cambridge University Press, 1964), pp. 8-11. Black taught philosophy at Cornell while Pynchon was a student there.

21. See A. J Arberry, Dun Karm: Poet of Malta (Cambridge University Press, 1961); A Maltese Anthology (Oxford University Press, 1960).

22. Subsequent quotations are from these essays, which are collected in Alain Robbe-Grillet, Snapshots and Towards a New Novel, trans.

196 Notes

Barbara Wright (London: Calder and Boyars, 1965). Translations of them were published in the USA in a literary magazine read by Pynchon (SL, 8); see the F;vergreen Review, no. 3 (1957), pp. 97-104, and no. 9 (1959), pp. 9~118.

23. Memoirs of a Princess: the reminiscences of Princess Marie von Thurn und Taxis, trans. Nora Wydenbruck (London: Hogarth, 1959), pp. 142, 168-9. In one passage Rilke and the Princess visit a house where the poet stayed as a child, which has a garden with a derelict pavilion; in the other they are lost in Venice, and come upon an uncannily oppressive square which they expect never to find again.

24. See Ludwig Wittgenstein, Philosophical Investigations, trans., G. E. M. Anscombe (Oxford: Basil Blackwell, 1958), Remarks 302-4, 420.

25. Vladimir Nabokov, Lolita (Paris: Olympia, 1955), Ch. 11, p. 55. Earlier critics have noted the resemblance between Pynchon's novel and The Real Life of Sebastian Knight (1941) in which the narrator and biographer of the eponymous hero is called V.

26. Notebooks, pp. 94-102. 27. See Frank Kermode, Romantic Image (London: Routledge & Kegan

Paul, 1957), Ch. 4, pp. 49-91. 28. See Frank Kermode, 'D. H. Lawrence and the Apocalyptic Types', in

Modern Essays (London: Fontana, 1971), pp. 153--81. 29. Passion and Society, trans. M. Belgion (London: Faber, 1956). See also

D. H. Lawrence, Fantasia of the Unconscious (1923; rpt. London: Heinemann, 1971), p. 191: ' ... the theme of almost all modem tragedy. Our one hackneyed, hackneyed theme. Ecstasies and agonies of love, and final passion of death.'

30. Collected in The Secret Rose, ed., P. Marcus, W. Gould, M. Sidnell (Ithaca: Cornell University Press, 1981). The stories are read and admired by the protagonist of Stephen Hero: For Joachim in Yeats, see Ellrnann, p. 100; in Lawrence, see Kermode, 'D. H. Lawrence and the Apocalyptic Types'.

31. Quoted in T. R. Whitaker, Swan and Shadow (Chapel Hill: University of North Carolina Press, 1964), p. 57.

32. See below, ch. 3, p. 292 et seq. 33. Nathalie Sarraute, Tropisms and The Age of Suspicion, trans., Maria

Jolas (London: Calder, 1963), p. 60. 34. Interview in Saturday Review, 19 September 1964, p. 38. 35. Thus in Ch. 11, although there is no cause-and-effect relationship,

the 'recording angel' watching over the children of Malta (338) is clearly associated with Fausto's Robbe-Grilletesque views on metaphor and false humanism.

36. This is comparable to Bellow's idea that what he calls 'the Wasteland outlook' (absurdism, alienation, devaluation of the self, the entropy myth) is an over-reaction against 'apocalyptic Romanticism': see Herzog and 'Some Notes on Recent American Fiction', Encounter 21 (November 1963), pp. 22-9.

37. Bonnefoy, Conversations with Eugene Ionesco, p. 61. 38. Frank Kermode, 'The Modem', in Modern Essays, p. 51.

Notes 197

39. The passage in the Introduction (SL, 7-9) is also misleading as a guide to V. in that the conflict is formulated in cultural-nationalist terms, as modernist tradition v. Beats (such as Kerouac, jazz, 'The White Negro'). In the novel the only post-war art taken seriously apart from jazz is the work of figures born in Europe. Beat culture is sick culture throughout, and its dependence on imported ideas is consistently satirised, for example in the avant-garde western called 'Existentialist Sheriff' (284).

40. Cf. SL, 7: 'It was not a case of either/or, but an expansion of possibilities.'

41. Lot 49, 11. 42. Quoted in Critical Appendix to A Pleasant Vintage of Till Eulenspiegel,

1515 edition, trans. and intro. Paul Oppenheimer (Middletown, Conn.: Wesleyan University Press, 1972), p. 267.

43. In 'Tradition and the Individual Talent' (Egoist, Sept. and Dec. 1919), rpt. in Selected Prose of T. S. Eliot, ed., Frank Kermode (London: Faber, 1975), pp. 37-44.

44. Compare the thesis of Linda Hutcheon, A Theory of Parody (New York and London: Methuen, 1985), which is strikingly relevant to Pynchon. Much recent parody, according to Hutcheon, has a double relationship to the previous art it revises, inverts or replaces in a new ironic context; it uses and abuses it, 'bouncing between complicity and distance', combining filial fidelity and Oedipal opposition.

45. Many of the footnotes to The Waste Land begin with the sign V.~ standing for Vide, see.

46. There is also a hint of self-disgust, as at the end of the Benny Profane narrative, with the allusion to The Tempest pointing to Prospero's 'deeper than did ever plummet soundll'll drown my book' (v. i. 56-7).

47. See Dennis Mack Smith, Mussolini (London: Weidenfeld and Nicol­son, 1981), pp. 37-9.

48. 'Juno's peacock screamed', from 'Meditations in Time of Civil War'; cf. GR, 223.

49. Pointedly, 'Members of the Order of the Golden Dawn believe The Tower represents victory over splendor, and avenging force. As Goebbels, beyond all his professional verbalizing, believed in the Rocket as an avenger'. (GR, 747)

50. Not so commonplace in 1963, before Saul Bellow, Herzog (1964; rpt. London: Weidenfeld and Nicolson, 1965), pp. 315-7; and Frank Kermode, The Sense of an Ending (New York: Oxford University Press, 1967), ch. 4, 'The Modem Apocalypse'.

51. In Yeats, cf. GR, 747-8, and in Kafka, who called Das Schloss 'a new Kabbala'.

52. 'Psychoanalytic Notes on an Autobiographical Account of a Case of Paranoia' (1911), St. ed., x11, pp. 1-82.

53. Adapting Freud's own metaphor: 'It might be maintained that a case of hysteria is a caricature of a work of art, that an obsessional

198 Notes

neurosis is a caricature of a religion and that a paranoic delusion is a caricature of a philosophical system'. Totem and Taboo, St. ed., XIII, p. 73.

54. See Kermode, The Sense of an Ending, p. 13. 55. See Elizabeth Cullingford, Yeats, Ireland and Fascism (London: Mac­

millan, 1981), p. 162. 56. 'Ulysses, Order and Myth' (Dial, November, 1923) in Selected Prose of

T. S. Eliot, pp. 175--8. 57. See Richard Hofstadter, 'The Paranoid Style in American Politics'

(Harper's, November 1964), rpt. in 'The Paranoid Style in American Politics' and other Essays (London: Cape, 1966), pp. 3-40.

58. 'Psychoanalytic Notes', St. ed., XII, pp. 70-1. 59. Note the introduction of Stencil into the passage inCh. 14; in the

somewhat opaque comparison of tourism with fetishism, the sense of 'fetish-constructions like V.'s' (411) seems to extend beyond the affair with Melanie to Stencil's V -structure, and indeed to Pynchon' s novel V ..

60. Soby, 34, 66. Cf. GR, 129, 'acts of minor surrealism ... which in its pathology, in its dreamless version of the real, the Empire commits by the thousands every day'.

61. Totem and Taboo, St. ed., XIII, p. 90. 62. Fausto compares Stencil's beliefs about the V. plot to Ford's para­

noid delusions: 'Yes, yes. Thirteen of us rule the world in secret' (451, cf. 360).

3 The Crying of Lot 49

1. 'On Narcissism: An Introduction' (1914), St. ed., XIV, p. 95. 2. Trans. J. E. Irby, in Labyrinths (1964; rpt. Harmondsworth: Penguin,

1974), pp. 215-16. 3. The Princess Casamassima (New York: Scribners, 1908, rpt. 1976), p.

xxi. 4. Kermode has briefly compared Lot 49 to The Turn of the Screw

(Granta, Summer 1976). 5. See Michael Harrington, The Other America (1962; rpt. Harmond­

sworth: Penguin, 1963), which describes the poor as 'internal aliens', increasingly invisible to the affluent society. 'They need a novelist ... if we are to see them.'

6. One can detect the probable influence of the following books in Lot 49: Hannah Arendt, Eichmann in Jerusalem (1963); Jessica Mitford, The American Way of Death (1963); Peter Maas' reports on the Valachi hearings in The Saturday Evening Post, subsequently The Valachi Papers (1969); Marshall McLuhan, Understanding Media (1964); Betty Friedan, The Feminine Mystique (1963); Vance Packard, The Waste Makers (1960); Herbert Marcuse, One Dimensional Man (1964); Timothy Leary, Jay Alpers, The Tibetan Book of the Dead (1964); Michael Harrington, The Other America (1962).

7. Geoffrey Hartman, The Fate of Reading (University of Chicago Press,

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

18.

19.

20.

Notes 199

1975) pp. 203-22; Frederic Jameson 'On Raymond Chandler', South­ern Review 6 (1970), pp. 624-50. Quotation unidentified, used as epigraph to David Hare, Knuckle (London: Faber, 1974). Herbert Marcuse, One Dimensional Man (1964; rpt. London: Sphere, 1968), pp. 200-{)1. Maxwell's Demon in Pynchon clearly also echoes Freud's 'door­keeper' image for the censor in Introductory Lectures. In the Nefastis scene in Lot 49 it advertises itself as a metaphor which holds together two, or more than two, 'fields'. At GR, 411, as quoted in the Introduction, it is introduced in conjunction with the word 'repres­sion', as an example of writing against censorship. This is one likely explanation of the references to Motley in Ch. 6 (109-10). The Rise of the Dutch Republic ends with the assassination of William the Silent, who alone had appeared able to unite the Low Countries. Shortly before his death he agreed 49 articles with the estates which would have formed a basis for union. See J. L. Motley, The Rise of the Dutch Republic (London: Routledge, 1858), vol. m; p. 417n. The passage (32-3) explicitly mocks the John Birch Society's myth of martyrdom; it is a parable about the problems of all historical knowledge, as Kermode describes in The Genesis of Secrecy; it is a parody of Aristotle's sea battle, which is at the centre of discussion of either/or logic and excluded middles. See Perry Miller's essay, 'The End of the World', which ends a historical outline of Puritan eschatology with a quotation from a description of Hiroshima, commenting that in general it 'conforms punctiliously to tradition'. Errand into the Wilderness (New York: Harper & Row, 1956), Ch. 19, pp. 217-39. Cf. Jonathan Edwards' image for apocalypse, 'a cry at midnight' quoted in Miller, p. 233. As regards the descriptions of Maxwell's Demon, Pynchon indicates in the Introduction to Slow Learner that entropy was already associated for him with 'mass destruction' in the short story of that name (SL, 13). The Demon later becomes the King Kong figure on the Capitol in the Tristero stamp (88, 121, 46). See GR, 663-4 (borrowing from Balzac): 'Benjamin Franklin was ... given to cosmic forms of practical jokesterism, of which the United States of America may well have been one'. Max Horkheimer, Theodor Adorno, Dialektik der Aufkliirung (Amster­dam: Querido, 1947), trans. as Dialectic of Enlightenment (London: Allen Lane, 1973), pp. 187-200. Edward Mendelson, 'The Sacred, the Profane, and The Crying of Lot 49', in Edward Mendelson, ed., Pynchon: A Collection of Critical Essays (Englewood Cliffs: Prentice-Hall, 1978), pp. 112-46. Mircea Eliade, Myths, Dreams and Mysteries (London: Harvill, 1960); The Sacred and the Profane (New York: Harcourt, Brace, 1959). Some of the following points are also noted in James Nohrnberg, 'Pynchon's Paraclete', in Mendelson, ed., pp. 147-61. See D. D. Hall, The Antinomian Controversy 1636-38, A Documentary

200 Notes

History (Middletown: Wesleyan University Press, 1968), which in­cludes reports of the trials and Winthrop's A Short Story.

21. See above, p. 190, Introduction, note 2. 22. Quoted in Kermode, Romantic Image, p. 76. 23. Cf. The moment Gatsby kisses Daisy in Ch. 6, 'listening for a

moment longer to the tuning fork that had been struck upon a star'. 24. This allusion was pointed out at a seminar by Frank Kermode. 25. For the idea of 'nodes, critical points' in history, which determines

the overall organisation of V., see GR, 451, V., 46. 26. The first use of 'anarchism' in the OED is from 1642, of 'anarchist'

1678. The following section, which includes the phrase 'this anarchy of jealous German princes', envisages 'the great moment' after the Peace of Westphalia (1648). This is a period overdetermined by references in the text, the time of the deaths of Charles I and Winthrop, and, roughly, of the Scurvhamites (109, 116, 107). It is also the date of one of the roots of modem anarchism, emerging from the Puritan revolution. Winstanley, a pioneer of anarchist theory and activism, set up his Digger commonwealth in 1649. It seems unlikely that this would be unknown to Pynchon, in view of the formation of the Digger group in San Francisco in August­September 1966. See Emmett Grogan, Ringolevio (London: Heine­mann, 1972), pp. 236-40. Just as the word 'anarchism' is first found at the time of the 'node' of the second phase of the history of the Tristero, so the word 'communist' first became widely used around 1848-50, when the node of the third phase occurs, after the publication of the Communist Manifesto.

27. For Cervantes, see Exemplary Tales (108), and the appearance in the late sixteenth century of 'Hernando Joaquin de Tristero y Calavera, perhaps a madman' (110); his Knight of the Sad Countenance appeared in 1605. Milton is mentioned directly (108), and the 'going over' of the Scurvhamites to the Devil corresponds to Blake's description of Paradise Lost. Blobb is a Puritan, like Bunyan, and a peregrination is a pilgrimage.

28. See Edmund Wilson, To the Finland Station (London: Collins, 1972), n, 14, pp. 263-91. The book is mentioned as a 'mighty influence' in SL, 18. For Milton, see Christopher Hill, Milton and the English Revolution (London: Faber, 1977).

29. For example, the use of the Shakespearian tragic soliloquy in Melville, of allegory in Hawthorne, of the Jacobean mode in Poe. The Scarlet Letter is set in the seventeenth century, ending in 1649, the year of the death of Winthrop. The connection is acknowledged in 'The Courier's Tragedy', which contains echoes of Poe ('The Mas­que of the Red Death') and Moby-Dick (the scene of the 'frightful Pentecost' recalling the chapter 'Candles').

30. The paragraph which thus describes Tristero, 'the founding figure' (a significant echo of Pierce, 16) derives the name Taxis from the Italian 'tasso'. This follows sources, but also alludes to the highly unstable (manic-depressive?) poet Tasso, author of Gerusalemme Liberata (1570), who was in fact a member of the Tasso-Taxis family.

Notes 201

See Alvin Harlow, Old Post Bags (New York: Appleton, 1928), Ch. 5, PP· 59-80.

31. See above, Ch. 2, p. 97. 32. Probably plays on Morris, cf. Poe's 'Arabesque' tales; Schrift, Gm.

script, writing; shrift, confession. 'Auction' etym. Moorish, puns on 'author', also from Lat. augere.

33. Jorge Luis Borges, 'Tlon, Uqbar, Orbis Tertius', trans. J. E. lrby, in Labyrinths, p. 41. The verbal echo, and the use of the story, is noted in Gene Bell-Villada, Borges and his Fiction (Chapel Hill: University of North Carolina Press, 1981), pp. 269-71.

34. Labyrinths, p. 39. 35. Conjecturally, the sources of the account would include a postal

history like Harlow which has a chapter on Thurn and Taxis, and Norman Cohn, The Pursuit of the Millenium (1957; rpt. London: Temple Smith, 1970), which deals with millenia! movements, includ­ing 'mystical anarchists', from the time of Joachim of Fiore onwards. Although Cohn's narrative ends in the 1580s- at the very time when Tristero begins- he does make reference to Winstanley and the Diggers. Motley's history, which forms part of Oedipa's en­quiries, is more a point of departure than a source, as it too ends in the 1580s; the history of the Tristero is thus itself 'an ambiguous footnote to Motley's Rise of the Dutch Republic' (109).

36. The crucial date, 1824, is, as in 'Theme of the Traitor and Hero', close to that of Argentine independence.

37. Mendelson, in Mendelson, ed., pp. 140-1, compares 'The Approach to al-Mu'tasim'.

Epilogue: Gravity's Rainbow 1. Edward Mendelson, 'Gravity's Encyclopedia', in George Levine,

David Leverenz, eds, Mindful Pleasures: Essays on Thomas Pynchon (Boston: Little, Brown, 1976), pp. 161-95. Other critics have noted a resemblance to the genre of 'Menippea', and the points of corres­pondence are certainly numerous: see the list of the characteristic features of Menippea in M. Bakhtin, Problems of Dostoevsky's Poetics, trans., R. W. Rotsell (Anne Arbor: University of Michigan Press, 1973), pp. 93--7. Bakhtin's book is also an important source for the concept of the 'polyphonic' novel.

2. There are parallels between Enzian and heroes in novels by Baldwin and Ellison, as has been recognised; and the Argentinian characters refer directly to Borges (GR, 264) as well as to Jose Hernandez, author of The Return of Martin Fierro. Several aspects of Tchitch­erine's character (for example, his Nihilist ancestry, his obsession with his double) connect him to figures in Dostoevsky's work. It is perhaps also worth noting that he is first seen serving out his banishment among the Kirghiz of Soviet Central Asia, where Solzhenitsyn spent the years between 1949 and 1956, first in a labour camp and then in internal exile.

202 Notes

3. For Pynchon's interest in the work of Garda Marquez, see his review of a translation of Love in the Time of Cholera: 'The Heart's Eternal Vow', New York Times Book Review, 10 April1988, pp. 1, 47, 49. An ability to read Spanish and a familiarity with untranslated texts are implicit in the article. Pynchon is thought to have lived in Mexico for a period, and has been described by Carlos Fuentes (quoted in The Face, June 1987, p. 108) as 'the leading Latin American novelist in North America'.

4. Linda Hutcheon, A Poetics of Postmodernism (New York and London: Routledge & Kegan Paul, 1988), p. x et passim. Hutcheon also includes in the category texts by such writers as Eco, Fowles, Fuentes, Barth, Coover and Doctorow.

Bibliography Publications by Thomas Pynchon

'The Small Rain', Cornell Writer, 6 (March 1959), pp.14-32. 'Mortality and Mercy in Vienna', Epoch, 9 (Spring 1959), pp.195-213. 'Low-lands', New World Writing, 16 (1960), pp. 85-108. 'Entropy', Kenyon Review, 22 (Spring 1960), pp. 277-92. 'Under the Rose', Noble Savage, 3 (May 1961), pp.113-51. V. (Philadelphia: J. B. Lippincott, 1963. Rpt. London: Picador, 1975). 'The Secret Integration', Saturday Evening Post, 237 (December 19-26, 1964),

pp. 36, 39, 42-4, 46-9, 51. The Crying of Lot 49 (Philadelphia: J. B. Lippincott, 1966. Rpt. London:

Picador, 1979). 'A Journey into the Mind of Watts', New York Times Magazine, 12 June 1966,

pp.34-5,78,80-2,84. Gravity's Rainbow (New York: Viking, 1973. Rpt. London: Picador, 1975). Introduction to reissue of Richard Farina, Been Down so Long It Looks Like

Up to Me (New York: Random House, 1983, pp. v-xiv). 'Is It OK to Be a Luddite?' New York Times Book Review, 28 October 1984,

pp.1, 40-1. Slow Learner: Early Stories (Boston: Little, Brown, 1984. Rpt. London: Cape,

1985. London: Picador, 1985). 'The Heart's Eternal Vow' (review of Gabriel Garcia Marquez, Love in the

Time of Cholera), New York Times Book Review, 10 April1988, pp.1, 47, 49.

Works Discussing Thomas Pynchon

A selection of critical studies; for more exhaustive inventories, see the bibliographies cited below, and the valuable bibliographical updates in the periodical Pynchon Notes, eds, John M. Krafft and Khachig Tololyan.

Adams, Robert Martin, Afterjoyce. Studies in Fiction after Ulysses (New York: Oxford University Press, 1977), pp. 169-79.

Bloom, Harold, ed., Thomas Pynchon's Gravity's Rainbow (New York: Chelsea, 1986).

Bradbury, Malcolm, The Modern American Novel (Oxford University Press, 1983), pp. 174-9.

Oerc, Charles, ed., Approaches to Gravity's Rainbow (Columbus: Ohio State University Press, 1983).

Cooper, Peter L., Signs and Symptoms. Thomas Pynchon and the Contemporary World (Berkeley: University of California Press, 1983).

Cowart, David, Thomas Pynchon: The Art of Allusion (Carbondale: Southern Illinois University Press, 1980).

Dickstein, Morris, 'Black Humor and History: Fiction in the Sixties', Partisan Review, 43 (1976), pp.185-211.

Dugdale, John, 'A burglar, I think. A second-story man', review of Slow Learner, Cambridge Quarterly, 15 (1986), pp. 156-64.

203

204 Bibliography

Fender, Stephen, Plotting the Golden West. American Literature and the Rhetoric of the California Trail. (Cambridge University Press, 1981), pp.192-8.

Henkle, Roger B., 'Pynchon's Tapestries on the Western Wall', Modern Fiction Studies, 17 (1971), pp. 207-20. Rev. and rpt. in Pynchon: A Collection of Critical Essays, ed., Edward Mendelson (Englewood Cliffs, NJ: Prentice-Hall, 1978), pp.97-111.

Herzberg, Bruce, 'Bibliography' in Mindful Pleasures: Essays on Thomas Pynchon, eds, George Levine and David Leverenz (Boston: Little, Brown, 1976), pp. 265-9.

Hite, Molly, Ideas of Order in the Novels ofThomas Pynchon (Columbus: Ohio State University Press, 1983).

Hutcheon, Linda, A Poetics of Postmodernism: History, Theory, Fiction (New York and London: Routledge & Kegan Paul, 1988).

Hutcheon, Linda, A Theory of Parody: the Teachings of Twentieth Century Art Forms (New York and London: Methuen, 1985).

Kermode, Frank, 'The Use of the Codes' in Approaches to Poetics, ed., Seymour Chatman (New York: Columbia University Press, 1973), pp. 68-74. Excerpted as 'Decoding the Trystero' in Pynchon: A Collection of Critical Essays, ed., Edward Mendelson (Englewood Cliffs, NJ: Prentice-Hall, 1978), pp. 162-6.

Kolodny, Annette and Daniel James Peters, 'Pynchon's The Crying of Lot 49: The Novel as Subversive Experience', Modern Fiction Studies, 19 (1973), pp. 79-87.

Levine, George, 'Risking the Moment: Anarchy and Possibility in Pyn­chon's Fiction' in Mindful Pleasures: Essays on Thomas Pynchon (Boston: Little, Brown, 1976), pp. 1 B--36.

Levine, George and David Leverenz, eds, Mindful Pleasures: Essays on Thomas Pynchon (Boston: Little, Brown, 1976).

Lhamon, W. T. Jr., 'Pentecost, Promiscuity and Pynchon's V.: from the Scaffold to the Impulsive', Twentieth Century Literature, 21 (1975), pp. 163-75. Rpt. in Mindful Pleasures: Essays on Thomas Pynchon, eds, George Levine and David Leverenz (Boston: Little, Brown, 1976, pp. 69-86).

Lodge, David, The Modes of Modern Writing: Metaphor, Metonymy, and the Typology of Modern Literature (London: Edward Arnold, 1977), pp. 220--45.

McHale, Brian, 'Modernist Reading, Postmodem Text: The Case of Grav­ity's Rainbow', Poetics Today, 1 (1979), pp. 85-110.

McHale, Brian, Postmodernist Fiction (New York and London: Methuen, 1987).

Mangel, Anne, 'Maxwell's Demon, Entropy, Information: The Crying of Lot 49', Triquarterly, 20 (1971), pp.194-208. Rev. and rpt. in Mindful Pleasures: Essays on Thomas Pynchon, eds, George Levine and David Leverenz (Boston: Little, Brown, 1976), pp. 87-100.

Mendelson, Edward, ed., Pynchon: A Collection of Critical Essays (Engle­wood Cliffs, NJ: Prentice-Hall, 1978).

Mendelson Edward, 'The Sacred, the Profane, and The Crying of Lot 49' in Individual and Community: Variations on a Theme in American Fiction, ed., Kenneth H. Baldwin and David K. Kirby (Durham, NC: Duke Universi-

Bibliography 205

ty Press, 1975), pp. 182-222. Rev. and rpt. in Pynchon: A Collection of Critical Essays, ed., Edward Mendelson (Englewood Cliffs, NJ: Prentice-Hall, 1978), pp. 112-46.

Mendelson, Edward, 'Gravity's Encyclopedia' in Mindful Pleasures: Essays on Thomas Pynchon, eds, George Levine and David Leverenz (Boston: Little, Brown, 1976), pp.161-95.

Moore, Thomas, The Style of Connectedness: Gravity's Rainbow and Thomas Pynchon (Columbia: University of Missouri Press, 1987).

Nohmberg, James, 'Pynchon's Paraclete' in Pynchon: A Collection of Critical Essays, ed., Edward Mendelson (Englewood Cliffs, NJ: Prentice-Hall, 1978), pp. 147-61.

Patteson, Richard, 'What Stencil Knew: Structure and Certainty in Pyn­chon's V.', Critique, 16 (1974), pp. 30-44. Rpt. in Critical Essays on Thomas Pynchon, ed., Richard Pearce (Boston: G. K. Hall, 1980), pp. 2~31.

Pearce, Richard, ed., Critical Essays on Thomas Pynchon (Boston: G. K. Hall, 1981).

Plater, William M., The Grim Phoenix: Reconstructing Thomas Pynchon (Bloomington: Indiana University Press, 1978).

Poirier, Richard, 'Embattled Underground', review of The Crying of Lot 49, New York Times Book Review, 5 (1 May 1966), pp. 42-3.

Poirier, Richard, 'Humans', review of Slow Learner, London Review of Books, 7 (24 January 1985), pp. 18-20.

Poirier, Richard, 'The Importance of Thomas Pynchon', Twentieth Century Literature, 21 (1975), pp.151-62. Rpt. in Mindful Pleasures: Essays on Thomas Pynchon, eds, George Levine and David Leverenz (Boston: Little, Brown, 1976), pp. 15-29.

Poirier, Richard, The Performing Self (London: Chatto & Windus, 1971), pp.J-61.

Puetz, Manfred, 'Thomas Pynchon's The Crying of Lot 49: the World is a Trystero System', Mosaic, 7 (1974), pp. 125-37.

Redfield, Robert and Peter L. Hays, 'Fugue as a Structure in Pynchon' s "Entropy", Pacific Coast Philology, 12 (October 1977), pp. ~5.

Schaub, Thomas H., 'Open Letter in Response to Edward Mendelson's "The Sacred, the Profane, and The Crying of Lot 49" ', Boundary 2, 5 (1976), pp. 93-101.

Schaub, Thomas H., Pynchon: The Voice of Ambiguity (Urbana: University of Illinois Press, 1981).

Schmitz, Neil, 'Describing the Demon: The Appeal of Thomas Pynchon', Partisan Review, 42 (1975), pp. 112-25.

Sklar, Robert, 'An Anarchist Miracle: The Novels of Thomas Pynchon' in Pynchon: A Collection of Critical Essays, ed., Edward Mendelson (Engle­wood Cliffs, NJ: Prentice-Hall, 1978), pp. 87-96.

Slade, Joseph, Thomas Pynchon (New York: Warner, 1974). Stark, John 0., Pynchon's Fictions: Thomas Pynchon and the Literature of

Information (Athens: Ohio University Press, 1980). Stimpson, Catherine R., 'Pre-Apocalyptic Atavism: Thomas Pynchon' s

Early Fiction' in Mindful Pleasures: Essays on Thomas Pynchon, eds, George Levine and David Leverenz (Boston: Little, Brown, 1976), pp. 31-47.

Tanner, Tony, 'Caries and Cabals' in City of Words: American Fiction

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1950-1970 (London: Cape, 1971), pp.153-80. Rev. and rpt. in Mindful Pleasures: Essays on Thomas Pynchon, eds., George Levine and David Leverenz (Boston: Little, Brown, 1976), pp. 49--67. Rev. and rpt. as Part I of 'V. and V-2' in Pynchon: A Collection of Critical Essays, ed., Edward Mendelson (Englewood Cliffs, NJ: Prentice-Hall, 1978), pp.16-47.

Tanner, Tony, Thomas Pynchon (London and New York: Methuen, 1982). Walsh, Thomas P. and Cameron Northouse, John Barth, Jerzy Kosinski and

Thomas Pynchon: A Reference Guide (Boston: G. K. Hall, 1977). Wasson, Richard, 'Notes on a New Sensibility', Partisan Review, 36 (1969),

pp. 460-77. Rpt. in Critical Essays on Thomas Pynchon, ed., Richard Pearce (Boston: G. K. Hall, 1981), pp.13-19.

Weixlmann, Joseph, 'Thomas Pynchon: A Bibliography', Critique, 14 (1972), pp. 34-43.

White, Allon, 'Ironic Equivalence: A Reading of Thomas Pynchon' s "Mortality and Mercy in Vienna"', Critical Quarterly, 23, iii (Autumn 1981), pp. 55--62.

Winston, Mathew, 'The Quest for Pynchon', Twentieth Century Literature, 21 (1975), pp. 278--87. Rpt. in Mindful Pleasures: Essays on Thomas Pynchon, eds, George Levine and David Leverenz (Boston: Little, Brown, 1976), pp.251-63.

Young, James Dean, 'The Enigma Variations of Thomas Pynchon', Criti­que, 10 (1968), pp. 69-77.

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Index

Abrams, M. H. 190 Adams, Henry 64-5, 79, 89, 97, 98 Adorno, Theodor 165 Alexandrian, Sarane 82 Annunzio, Gabriele d' 79, 105,

109-11 Apollinaire, Guillaume 96 Arendt, Hannah 150 Amo, Peter 19, 191 Ashbery, John 194

Baedeker, Karl 118-19, 122, 164 Bahktin, Mikhail 201 Bakunin, Mikhail 176, 178 Baldwin, James 201 Balzac, Honore de 183 Barnes, Djuna 55, 70-71 Bartok, Bela 10-12, 21, 172 Baudelaire, Charles 30, 177, 182 Beckett, Samuel 94, 101, 103 Beethoven, Ludwig van 187 Bellow, Saul 101, 168, 196, 197 Berg, Alban 187 Black, Max 195 Borges, Jorge Luis 12, 14, 124, 126,

183-4, 188 Botticelli, Sandro 89, 105, 125 Brown, Norman 0. 182 Buchan, John 85, 97 Bunyan, John 177,179

Camus, Albert 29, 31, 79, 83, 92, 94, 95, 101, 144

Carroll, Lewis 45-8, 84-5 Castro, Fidel 51-2 Cervantes, Miguel de 177, 179 Chamisso, Adalbert von 84 Chandler, Raymond 134, 144-5 Checker, Chubby 144 Chirico, Giorgio de 80-5, 88, 95-6,

100, 120, 159 Coleman, Ornette 68-9, 101 Coltrane, John 101

Columbus, Christopher 49-50 Conan Doyle, Arthur 10, 85 Conrad, Joseph 28-31, 79, 85-90,

97-8, 103, 123, 180 Crane, Hart 95, 173

Dante Alighieri 88, 100, 182, 188 Dietrich, Marlene 92 Dos Passos, John 174, 191 Dostoevsky, Fyodor 188 Dulles, John Foster 50, 121, 132,

154, 164 Durrell, Laurence 86

Edwards, Jonathan 162, 199 Eliade, Mircea 169 Eliot, T. S. 3, 18, 28-32, 34, 40,

44-8,72,83-4,88-90,92-3,95,97, 99-100,105-6,108,113-14,116-17, 172-3, 180, 182

Ellison, Ralph 201 Emerson, Ralph Waldo 122, 173,

177

Farina, Richard 51 Faulkner, William 70-1,91,98 Feidelson, Charles 179 Fitzgerald, F. Scott 71, 95, 173 Ford, Henry 121 Ford, John 181 Forrestal, James 164 Forster, E. M. 86, 88 Franklin, Benjamin 9, 183, 199 Frazer, Sir James 87,90-1, 191 Freud, Sigmund 6-9, 13, 22-7, 31,

35,45-8,54,84-5,88,91, 112,115, 118-20, 197-8, 199

Garcia, Marquez, Gabriel 189 Genette, Gerard 18 Gibbs, Willard 58, 64-5 Gide, Andre 5

212

Index 213

Goethe, Johann Wolfgang von 105, 179, 187

Goldwater, Barry 144, 146 Gonne, Maud 88, 98, 105 Gottfried von Strassburg 182, 187 Grass, Gunter 189 Greene, Graham 8, 28-9, 52, 85,

193 Grogan, Emmett 200

Hammett, Dashiell 14 Hawthorne, Nathaniel 2, 15, 87,

117, 171, 177, 179 Heisenberg, Werner 54 Heller, Erich 179, 187 Hemingway, Ernest 3, 191 Hernandez, Jose 201 Hesse, Herman 92 Hitler, Adolf 116 Homer 12, 100 Horkheimer, Max 165 Hughes, Howard 121 Hutcheon, Linda 189, 197 Hutchinson, Anne 171

lonesco, Eugene 101, 105, 194, 196 Irving, Washington 38,45--6,48

James, Henry 86, 88, 124, 127 Jarry, Alfred 9~7 Johnson, Lyndon 154-5 Joyce, James xi-xii, 5, 12, 18, 56,

71,72,79,88,93,99, 103,180,188, 191, 196

Kafka, Franz 12,103,162,184,197 Karm, Dun 93 Keats, John 46, 48 Kennedy, John 51, 15~ Kerouac, Jack 101, 103, 197 Kooning, Willem de 101, 105 Kropotkin, Peter 190 Kubrick, Stanley 162

Lang, Fritz 162, 187 Lawrence, D. H. 97, 196 Leibnitz, Gottfried 187

MacArthur, Douglas 50 Macdonald, Ross 134, 144, 145 Machiavelli, Niccolo 17-20, 23, 24,

34,35,156 Mailer, Norman 191 Mann, Thomas 92, 187 Marcuse, Herbert 148-50, 152-3,

182 Maxwell, James Clerk 4, 132, 152,

156, 165, 166, 180, 199 McCarthy, Joseph 64, 121, 132,

154, 164 McLuhan, Marshall 74, 148, 194 McNamara, Robert 154 Melville, Herman 84, 87, 90, 92,

100, 117, 121-2, 173, 177, 179, l88 Mendelson, Edward 168-71, 189 Miller, Henry 61, 64, 70, 96, 103 Miller, Perry 199 Milton, John 177-9, 182 Mistral, Frederic 93 Motley, John Lothrop 10, 199, 201 Mozart, Wolfgang Amadeus 21-2,

64 Mulligan, Gerry 5, ~70 Mussolini, Benito 109-11, 116 Mussorgsky, Modest 65, 70

Nabokov, Vladimir xii, 15, 96, 181, 196

Nerval, Gerard de 182 Nietzsche, Friedrich 122

Oldenburg, Claes 103, 108, 194

Palestrina, Giovanni da 5-6 Parker, Charlie 154, 190, 194 Pater, Walter 79, 89 Picasso, Pablo 105 Poe, Edgar Allan 38, 45, 87, 90-1,

117, 173, 177, 179, 182, 201 Pollock, Jackson 101 Pound, Ezra 5, 72, 99, 110-11 Proust, Marcel 71, 95, 96, 184 Puccini, Giacomo 79, 84, 85, 87-8,

97, 159 Pynchon, Thomas

Works cited: The Crying of Lot 49 x, 1, 3-4, 6,

214 Index

Pynchon, Thomas- cont. 7,8-15, 18,32,35,40,42,52,58, 59, 62, 75, 76, 77, 82, 87, 91, 104, 112, 116, 117-23, 124-85 passim, 187,189

'Entropy' 2, 3, 5, 6, 17, 33, 35, 41, 46, 47, 54-75 passim, 96, 101-2, 104

Gravity's Rainbow x, xi, xii, 4, 5, 6, 7, 8, 17, 44, 49, 71, 82, 112-13, 116,122-3,125,142,146,153-62,165,168,176,180,186-9 passim

'A Journey into the Mind of Watts' 122, 142, 144, 146-7, 148,153,154,164,167

'Lowlands' 1, 3, 6, 7, 17, 37-54 passim, 58, 60, 72, 73

'Mortality and Mercy in Vienna' 1, 3, 6, 10, 17-37 passim, 38, 42, 46, 54, 60, 61, 63, 64,72,112

'The Secret Integration' 2, 6 Slow Learner x, xi, xii, 3, 4, 5, 6, 8,

17, 37, 55, 56, 58, 61, 62, 68, 69, 77, 85, 101, 104, 108-9, 155, 156, 157, 162, 167

'The Small Rain' 1, 5, 191 'Under the Rose' 1, 5, 6, 8, 66,

85-7, 157 V. x, xi, xii, 1, 2, 3, 4, 5, 6, 7, 8, 13,

14, 15, 18, 20, 31, 32, 33, 35, 42, 43, 49,51-2,56,59,60,62,64,66-9, 71-2, 74, 76-123 passim, 125, 157-61, 164, 167, 174, 186, 187, 189

Rauschenberg, Robert 103, 108 Rilke, Rainer Maria 8, 17, 18, 31,

79, 83, 84, 86, 88, 89, 93, 95, 96, 97, 99, 103, 105, 107, 112-13, 122, 172, 173, 179, 180, 187

Rimbaud, Arthur 173, 177 Rivette, Jacques 11-12, 172 Robbe-Grillet, Alain 94-5, 195, 196 Rougement, Denis de 97, 181 Rousseau, Douanier 55, 71 Rushdie, Salman 189

Sade, Marquis de 182 Sarraute, Nathalie 100-1

Sartre, Jean-Paul 83, 86, 93-4, 95, 96, 101, 103

Satie, Eric 96 SchOnberg, Arnold 187 Shakespeare, William 8, 11, 27-9,

33, 40, 45, 46, 47, 49, 52, 93, 99, 156, 177, 179

Shattuck, Roger 96 Solzhenitsyn, Alexander 201 Spengler, Oswald 187 Steinbeck, John 174 Stevens, Wallace 44, 46, 47, 93, 95,

106, 174 Stravinsky, Igor 61, 66, 67, 69-71,

83,96-7,102,105,106,107,116

Tasso, Torquato 182, 200-1 Tennyson, Lord Alfred 173 Teresa of Avila, Saint 17(}-1, 177,

182 Thoreau, Henry David 179 Thurn und Taxis, Princess Marie

von 8,95,180,196 Till Eulenspiegel 105 Tolstoy, Count Leo 190

Varese, Edgar 101, 105 Varo, Remedios 119, 127-8, 146,

170, 172, 184 Vivaldi, Antonio 5, 46, 53

Wagne~Richard 177-8,181-2 Washington, George 33-4 Waugh, Evelyn 85, 86 Weber, Max 187 Webern, Anton 187 West, Nathanael 22 White, Allon 21 Whitman, Walt 44,192 Wiener, Norbert 64,192 Wilson, Edmund 200 Wilson, Woodrow 32-4,121 Winstanley, Gerald 200 Winthrop, John 171 Wittgenstein, Ludwig 93, 95, 101,

103,105

Yeats, W. B. 31, 79, 85, 88, 89, 96, 98-9, 105, 106, 110, 111, 112, 113, 114, 116, 117, 120, 173, 180