Inherent Vice Chapter 5


PLOT: Doc goes to visit Wolfmann’s wife, who lives in a luxurious house and has the requisite beefy yoga instructor with whom she may be in league. Just to compound her potential villany, she has an ‘English smoker’s voice’ (p.55). Unsurprisingly, he doesn’t discover much except for a rack of pornographic ties.

p.55/56- Doc pretends to be from an organisation called MICRO, the ‘Modern Institute for Cognitive Repatterning and Overhaul’. We can read this as a continuation of the not especially subtle linking of computers with the less permissive times to come. But I think there’s another side to this, namely the optimism with which some looked forward to a machine-orientated future, one where people would have more time for themselves (which, now that I write this, suddenly doesn’t seem such an absolute good), be ‘freer’ etc. This dream, alas, seems to have gone the way of that of the counter-culture.

The idea that everyones dreams are spiralling away from fulfillment is even partially extended to the police. On page 57 the LAPD are getting in some ‘last minute catering before their federal overlords showed up’ and then on page 65 a uniformed cop who is riding with Bigfoot is listening to them

way too attentive, maybe even, if you wanted to be paranoid about it, as if he was undercover, reporting to some other level inside the LAPD, his real job basically, to keep an eye on Bigfoot…

It is not just the subculture of stoner-hippiedom that is going to lose out, but also those who support the status quo (no ‘system’ ever being concerned with the greatest good for the greatest number).

A fine joke on p. 58 about misattributing a quote from Robert Moses (who the Pynchon wiki says was “master builder” of mid-20th century New York City, Long Island, and Westchester County, New York. His career is summed up by his sayings “cities are for traffic” and “if the ends don’t justify the means, what does?)

You get that first stake driven, nobody can stop you.

to Van Helsing, the vampire hunter. In addition to being funny, this links the disparate enterprises of real estate, urban planning and perhaps surveying (see Mason & Dixon) to dark and unholy practices, the sucking of lifeblood etc.

Extended reference to John Garfield on p.58-59 (liberal actor who refused to name names when called before the House Committee on Un-American Activities, which led to his ruin).

Doc has a sudden erection on p.59 at the mere mention of Ida Lupino.

Every time her name comes up, so does this.

This recalls the conditioned erections of Tyrone Slothrop in Gravity’s Rainbow.

Finally, I am indebted to the Pynchon wiki for decoding ‘Arrepentimietno’ on page 62.

Spanish: n. repentance, penitence, contrition–all concepts important to Inherent Vice. There’s also a cool trilingual pun here: “pentimento” (now an English word, but from the Italian for ‘repent’) refers to an image in a painting that was painted over but then, with time, begins to show through the top layer of represented images.

‘A profound lesson in blood’


Police in central Urumqi

I have a new piece about Xinjiang at Eurozine, which is a bit more speculative than my piece in the London Review of Books. It also fills in some of the gaps of the last few years, between the time I left Yining (2002) and the Urumqi riots in July.

These are not my twisted words


One day, when I am too bloated with fame and adulation and the blurbs on my back-covers, I shall no doubt be comissioned to write 500 words on why I love Radiohead. Thankfully, for all concerned, that day remains far distant.

It is definitely much more fun to dance about architecture.

And to download (legally and for free) their new song here.

Inherent Vice, Chapters 3 & 4


These are both very short chapters that mainly convey plot (that Bjornsen and Mickey G are close friends, and that Doc used to be a repo man).

Chapter 4 has this interesting passage:

Suddenly he was on some planet where the wind can blow two directions at once, bringing in fog from the ocean and sand from the desert at the same time, obliging the unwary driver to shift down the minute he entered this alien atmosphere, with daylight dimmed, visibility reduced to half a block, and all colors, including those of traffic signals, shifted radically elsewhere in the spectrum. (p.50)

Once again, Pynchon is describing an altered state of perception, this time the product of two elements that he has previously singled out (sand, in the references to the beach and the desert, and fog, or rather its polluted equivalent, smog). The aim here, as perhaps before, is to defamiliarise the setting, to highlight a loss of vision, certainly immediate, perhaps also on a grander scale (Doc here, as in Chapter 2, is driving whilst experiencing this).

The other point of interest is the ARPA, a forerunner of the Internet, which is described as looking like a ‘science fictional Christmas tree’ (p.53), which is  a more positive image than the mention of precursors to search engines in Chapter 2, which should caution us not to confuse Pynchon with a technophobe.

There is also a not particularly subtle aside about the only weapon Doc carrying when he was a repo man was a truth serum that looked like a set of drug ‘works’. What is  more interesting is that he never ended up using it.

It wasn’t long before he noticed how many of the delinquents he and Fritz visited seemed unable to keep their eyes off of it. He understood that if he was lucky, he might not have to so much as unzip it (p.52).

‘Lucky’ could be read as being ironic- that maybe it is not wholly fortunate to avoid the truth (though there are of course many good reasons why people work so hard at their denial).  There is a fundamental dilemma in trying to analyse these kinds of passages, not just in Pynchon, but also in postmodern literature in general, which is that of tone. As Linda Hutcheon has pointed out, it is often difficult to know just how much of an ironical attitude we should assume on the part of the author. Sometimes this means we just have to read more carefully; at other times, all we have to go on are our preconceptions.

The Rumpus


Seth Fischer writes a good piece about the continuing pariah status of the short story (in publishing, at least) at The Rumpus, a great site which I urge you to check out, not least because, along with sections on Art, Music, Books and Politics, it has the decency (yes, that is the word, I think) to have one for Sex as well. Peter Orner’s column is also particularly good.

Inherent Vice, Chapter 2



Doc goes to Channel View Estates to find Glen Charlock, Tariq’s friend (and Wolfmann’s bodyguard). On arriving the scene morphs into a brothel, then Doc loses consciousness, only to wake up with Charlock murdered and himself a suspect. Bigfoot Bjornsen of the LAPD eventually releases him, then tries to persuade him into becoming an informer. Mickey is reported as missing, as is Shasta. Doc gets a call from a woman named Hope Harlington, asking him to try and find her dead husband Coy.

The chapter opens with a description of the different kinds of vehicles on the freeway, what amounts to social typology, all of whom are subject to

the white bombardment of a sun smogged into only a smear of probability, out in whose light you began to wonder if anything you’d call psychedelic could ever happen or if- bummer!- all this time it had really been going on up north.

There is lot to unpack here. First, a general proposition about the unreliability of knowing even something as concrete (and natural) as the sun (and light, for Pynchon, is a frequent image- e.g. the frequent mention of splitting and refraction in Against the Day); then there is the uncertainty that in such light, which has been filtered through smog (an industrial product), anything psychedelic can happen. Before we go any further, let’s define some terms.

Psychedelic adj. 1a Expanding the mind’s awareness. (Oxford Concise English Dictionary)

My feeling, then, is that we shouldn’t get too hung up on the drug use in itself. What perhaps matters more is their effect (and also, I guess, that they are prohibited, controlled substances). I would like to plop down the opinion that this passage is about how constricted our awareness is in the modern world, how everything is mediated and controlled by the technological web (as also symbolised by the cars which everyone, despite differences in age, wealth and status, are driving) we have enmeshed ourselves in. The only snag is that I have no frakkin’ idea what that bit about ‘going on up north’ means.

There is a recurrence of the epigraph on page 20, but instead of beach, there is now ‘desert beneath the pavement’ , a much starker image, with connotations of ruin (past, future, imagined, actual) and sterility.

Doc, after realising that the ‘Pussy Eaters Special’ does not require his participation, experiences a spatial distortion and passes out. It’s too early to say whether this blackout is mainly for the purposes of plot (it also makes the transitions between scenes much simpler) or whether it is motivated (as a kind of avoidance, denial etc).

Nice piece of irony on page 24. Bjornsen, after being exposed as an avid collector of ‘all kinds of Wild West paraphenalia’, is quick to agree with Doc that it is a ‘man’s own business what he puts in his pick-up’ (p.25), yet constantly mocks Doc’s drug use and calls him ‘hippie scum’.

Hilarious notion of Donald Duck having to shave his beak (p.28).

When Bjornsen explains the murder on TV (p.30), he concocts a story about it being from some civilians taking place in a ‘training exercise in anti-guerrilla warfare’, what he calls a ‘harmless patriotic scenario’ gone tragically wrong. In addition to satirising the media’s need to make everything into a synecdoche (a crime one could never accuse a literary analyst of), Pynchon may also be making a wider political comment on American militarism.

Ominous predictions on page 32 and 40- the former from Bjornsen about Nixon having ‘the combination to the safe’, the latter from Doc about it being ‘perilous times, astrologically speaking, for dopers’ who’d been born between ‘Neptune, the doper’s planet, and Uranus, the planet of rude surprises’. Which I think we can also take as meaning that the counter-culture is about to be  shit on.

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