Wednesday, February 17, 2021

Chapter 1: Section 3: Page 25: Line 71-76 (356-361)

 "Since the Haymarket bomb," Nate was explaining, "we've had more work than we can handle, and it's about to get even more hectic, if the Governor decides to pardon that gang of anarchistic murderers. Heaven knows what that's gonna let loose on Chicago, the Fair in particular. Antiterrorist security now more than ever will be of the essence here. And, well, you boys enjoy the one perspective that all us in the 'spotter' community long for—namely, a view from overhead. We can't pay you as well as the Pinkertons might, but maybe we could work out a deferred arrangement, small percent of profits down the line instead of cash right now. Not to mention what tips or other off-the-books revenue might come your way."

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"the Haymarket bomb"
I know I should have read this book once before doing this blog but that's not the way things happened and we can't change the past so why do we think we can change the future oh no wait let me start over. . . .
    I'm not sure of the overall themes of this book other than "America and the world changed a lot at the end of the 19th century & beginning of the 20th, and 1893 was a particularly interesting place to begin the story of that change." One of the major changes that wasn't based on technology (although was probably a major reaction to, for instance things like the expansion of industrial production via technological innovations? Forgive my ignorance on American Studies because I failed to take the last three credit course that would have allowed me to minor in it) was the fight for workers' rights. The Haymarket bomb is a reference to a riot that ensued during a rally supporting a strike in which workers were asking for eight hour days. Somebody threw some dynamite and seven police officers were killed in the blast and/or ensuing gun fire. Four civilians were killed.
    Obviously this resulted in public outrage against the violence and the police were free to scoop up anybody they thought they could pin the attack on even though the police had, the day previous to the bombing, killed one worker and injured several others. As always, the public seem to be okay with police killing people but not the other way around. I'm not suggesting we should all be cop killers! But we should all, at the very fucking least, hold police accountable for the violence and mayhem they themselves cause, generally in accordance with the will of the rich and powerful.
    This quote from Wikipedia (quoting labor historian William J. Adelman) helps to explain exactly why Pynchon can make a slight reference to the Haymarket bombing and yet have it mean so much to the rest of the text: "No single event has influenced the history of labor in Illinois, the United States, and even the world, more than the Chicago Haymarket Affair. It began with a rally on May 4, 1886, but the consequences are still being felt today. Although the rally is included in American history textbooks, very few present the event accurately or point out its significance."
    I recommend just reading the Wikipedia page on it, just like you should be trained to do whenever Pynchon mentions any moment in history. There's a reason it's in the book!
    The Haymarket in Chicago was located on the corner of Des Plaines Street and Randolph Street. Randolph St. I mean. What?
    One fact (one that those who experience the truth with their eyes and ears and do not experience their "truth" from right-wing media outlets and Twitter liars would readily recognize) was how the rally before the bombing was entirely peaceful, for hours, until the police arrived and began bullying and ordering everybody to disperse. The bomb may have been the first act of violence but the police had already killed striking workers so their presence alone was a show of threat, intimidation, and violence. Also, the rally was expected by some (especially the anarchists who understood how the powers that be would never budge without violence against them in ways that would lead to a loss of profit (the only thing they cared about)) to be a means of revenge against the police for the previous day's killing.

"Nate was explaining"
It's as if we, the readers, got caught up in looking about Nate's office as Randolph made his way in and exchanged greetings with the man he had come to see. After checking out the office, we come back to their conversation already begun so we have "Nate was explaining". It's a slight variant on "in media res." Pynchon is able to leave out the mundane details by simply shuttling us along a slightly off-kilter temporal narration, like how the scene shifts from the receptionist asking about Randolph's parents immediately to Nate's office. It's the best way to narrate a story because you don't have to write all the boring and mundane bits into the text. You should expect the reader to fill in all of those gaps while you, the author, are able to stick to the stuff in which you can jam all the best subtext into. Like describing Nate's office in a manner that says, "Nate drinks a lot!"

"if the Governor decides to pardon that gang of anarchistic murderers"
The Governor was John Peter Altgeld and he eventually, later in 1893, pardoned four of the twelve people convicted for the bombings, citing "hysteria, packed juries, and a biased judge." Nate sees more trouble and violence on the way by people who believe everybody convicted must be "anarchistic murderers" angered by the pardons. The parallels with the way people are manipulated into anger and propaganda today are simply striking. Against the Day was published in 2006 so Pynchon is most definitely referencing America's reaction to the 9/11 attack as well.

"Antiterrorist security now more than ever will be of the essence here"
See? Definitely writing about America's response to 9/11, especially the "see something, say something" propaganda campaign asking the public to become private profilers constantly suspicious of anybody who might look different from them. In the early 2000s, that meant profiling anybody who might look of Middle Eastern decent, making life hell for every brown skinned American. Back in 1893 Chicago, that probably meant harassing and hassling anybody who might look or sound a little too German or Irish or Eastern European.
    "Antiterrorism security" is never actually about stopping violence. Hell, policing isn't about stopping violence either. Because unless you've got psychics lying in a pool stopping thought crimes, you just can't be on hand to stop violence. But if you establish "antiterrorism security," you allow yourself the right to "stop crime" by hassling and arresting anybody you think might fit the profile of somebody who could be a terrorist. It's not about stopping violence; it's about power and control and making the status quo (generally white Americans of middle class) feel safe.
    So the "See something, say something!" campaign gets started right here in 1893 as Nate asks the boys to keep an eye out for terrorism from the sky! And since they're basically unquestioning patriots (Randolph and Lindsay, mostly. Probably Miles. Currently Darby but the more he hangs out with Chick, the less he'll be so), they'll not think twice about being pawns against possible anarchy, or as it's also known, the labor movement.

"We can't pay you as well as the Pinkertons . . ."
Ugh. Just associating himself as a peer of the Pinkertons makes me like Nate less than I did after learning he was a drunken lout who knew Doc Holliday. The Pinkertons would pay more because they're paid by the corporate powers to bust heads and keep the workers down. I don't know how Nate makes his money. He's offering the Chums of Chance a percent of the profits but what profits could he possibly be speaking of?! How does one make money on spying on unions and striking workers from the air? I suppose the factories and corporations probably pay bounties on braining and bludgeoning the leaders and most charismatic figures of the movement?

Chapter 1: Section 3: Page 25: Line 70 (355)

 The picture was inscribed, More of a shotgun man myself, regards, Doc.

* * * * * * * * * *

I'm still crying from thinking about that scene from Tombstone that I mentioned in the last entry! My fucking heart, man!

Doc reminds us all that he's more of a shotgun man. Probably because you don't have to aim as well. See, aiming is more difficult when you're drunk. But if you have a scatter gun at your hip, well, you just sort of have to point it in the general direction. You're bound to hit one of the three blurry targets in front of you! Also, if you really want to win a gun fight and not simply prove how fast you can draw a gun or how accurate your aim is, just go ahead and carry a shotgun around. Even the most violent assholes will probably give you a wide berth simply because they're going to have to get very lucky to escape unscathed from a run-in with you. And when you're living in the Old West and even the slightest wound can lead to your eventual (and quite painful) death, it's smart to avoid a gunfight against a guy with a shotgun. Especially a guy who, when not drunk at all, is a known quickdraw and deadeye. It's like if he wanted to kill you with a revolver, he could totally do it. But how many people are worth bothering? Maybe Johnny Ringo? Everybody else, why bother? Just scare them away with your mighty boomstick.

Chapter 1: Section 3: Page 25: Line 69 (354)

 In Nate's office were a combination sideboard, bookcase, and filing cabinet with assorted bottles of whiskey, a bed-lounge over in the corner, a couple of cane-bottom chairs, a curtain desk with about a thousand pigeonholes, a window with a view of the German saloon across the street, local-business awards and testimonials on the dark-paneled walls, along with photos of notable clients, some of them posed with Nate himself, including Doc Holliday, out in front of the Occidental Saloon in Tombstone, Doc and Nate each pointing a .44 Colt at the other's head and pretending to scowl terribly.

* * * * * * * * * *

Pynchon really wanted the reader to visualize Nate's office, didn't he? I suppose it helps us learn a little bit about Nate like how he's not a reader but a drinker. He's also not much into dinnerware because he'd rather drink. Also, his filing cabinet only files whiskey, probably alphabetically, because he loves to drink. We learned all this because the only thing of note on the first large piece of furniture described is bottles of whiskey.

We know Nate often sleeps in his office because he has a bed-lounge in it. This is probably not because he's working so hard on his cases but because he drinks a lot. He just loves drinking. See the first paragraph.

Nate has a couple of chairs, possibly for clients to sit in while they describe their problems to him, and also possibly so he can sit and drink with his feet up. They are "cane-bottom" chairs which I can picture in my head because I've watched every episode of The Repair Shop.

His desk has "about a thousand pigeonholes" which I'm going to assume is a hyperbolic exaggeration of the actual facts. Maybe I shouldn't assume but also one should not exaggerate, so Pynchon and I are even on that score. Pynchon doesn't note whether they've got any messages or notes or papers in them. He also doesn't note they have whiskey bottles in them. He also also doesn't note that they don't have whiskey bottles in them, so I'm going to start assuming another thing. You can probably guess what that is because as I've proven, Nate loves to drink.

Nate's office window allows him the opportunity to constantly look at the saloon across the street and think about all the great drinking taking place inside. He probably sits leaned back in one of his cane-bottomed chairs, a tumbler of whisky held by two fingers in his dominant hand, a cigarette in his other, and just watches people stumble in and out of the saloon as he contemplates the current case he's working on. Because while it's tempting to think that all Nate does is drink, he does have awards and testimonials on his walls and pictures of clients (notable ones only, of course. Nobody wants new clients glancing at pictures of you with totally strange people and asking, "Who's that?", only to have no clever answer to give them).

The most notable client on Nate's wall (most notable because he's the only one mentioned. If there were a more notable client, Pynchon probably would have mentioned that one) is Doc Holliday (although, now that I've taken a moment's thought within this parenthetical reference, maybe Doc Holliday isn't the most notable but the most drunk and, so, is the one Pynchon mentions to continue with the drinking theme of this sentence). Everything I know about Doc Holliday I learned because I fell in love with the character played by Val Kilmer in Tombstone. This, unlike Doc as one of Nate's clients, isn't notable because everybody fell in love with that character. There wasn't a person in 1993 that wasn't drawling "I'm your huckleberry" in response to any piece of conversation directed at them. But I fell in love with him because of the moment one of the posse asks him why he's riding with Wyatt to help get revenge on his brother's death and Doc says, "Wyatt Earp is my friend." The other guy says, "Hell I got lots of friends." And Doc says, "I don't." Fucking breaks my heart just thinking about it.

So now you know the way into my heart! Just expose the most vulnerable and pathetic side of yourself while showing outstanding loyalty and love to a good friend. That's it! I'll love you forever!

Anyway, Doc Holliday is best known for being drunk all of the time. So maybe he wasn't even a client of Nates. It's probable that they just drank together.

I wish I hadn't read the upcoming sentence which follows this one because after reading this sentence, I might have said, "Doc Holliday should have been holding a shotgun!" But I did read it and now I'll never know if I would have come up with this critique of the photograph before I read Doc Holliday making the critique himself. Oh, whoops! I'm getting ahead of myself. That'll be in the next blog entry!