Wednesday, March 3, 2021

Chapter 1: Section 4: Page 29: Line 77 (449)

 "Oh, an anxious hour or two, perhaps," allowed Randolph, his facial expression suggesting gastric memories.

* * * * * * * * * *

Wait. They really ate too much strangled alligator for the ship to lift them? During the first half of this sentence, I was thinking, "Oh ho! Randolph is going along with the joke because the experience was too traumatic to speak of or to look at directly!" And then by the second half of the sentence, I was thinking, "Wait. How does an expression suggest gastric memories? Was he licking his lips? Is it the same expression that would suggest orgasmic memories? What did he look like?!" But I quickly abandoned that line of thinking when my brain decided there was something more important to think like, "The Professor was serious about eating too much strangled alligator? Is that too unbelievable, even for a Pynchon novel? What do I do with this information?!" But then I just decided to relax and said to myself, "Self, don't you worry. Pynchon is just using this moment to express how delectable food is in New Orleans. It's so good that five young lads could double their body weight from eating too much."

It's a good thing my brain knows how to talk me off of a ledge because I'm still in the easy to read parts of this Pynchon book. Just wait until I have to read one of Chick Counterfly's semen giving a sermon on the nature of infinity!

Chapter 1: Section 4: Page 29: Line 76 (448)

 "Last I heard, you'd come to grief down in New Orleans, no doubt from packing away more alligator à l'étouffeé than that old Inconvenience quite had the lift for!"

* * * * * * * * * *

"à l'étouffeé"
Ugh. French! Look at all those accents! I know I can't speak French but now I'm learning I can't read it either?! I suppose if I were one of those people who are, for some weird reason, into cooking as a hobby, I'd probably learn a little French. Those kinds of people see this and probably think, "Oh! I love my alligator prepared that way!" I read this and Google it and think, "They ate strangled alligator?" Then I hit the side of my laptop a few times and mutter, "Is there something wrong with this thing?" Then I give up because like Lady Gaga sings in "Bad Romance": "Je veux ton amour et je veux ta revanche. I don't want to be French! I DON'T WANT TO BE FRENCH! Blah ba la ba roma!"

Does the existence of Lady Gaga presuppose a Laddy Gaga? If Laddy Gaga doesn't exist, I'm calling dibs on the stage name.

"than that old Inconvenience quite had the lift for"
How much strangled alligator can five young lads eat? I think maybe the Professor is being hyperbolic. He's probably making a joke to lighten the mood of having discovered that the Chums of Chance had not been strung up by the Ku Klux Klan.

Chapter 1: Section 4: Page 29: Line 75 (447)

 "Galloping gasbags, but it's just capital to see you fellows again!" the Professor greeted them.

* * * * * * * * * *

"Galloping gasbags"
Every insane cartoon professor type needs a stupid exclamation. He probably wears a lab coat and has crazy hair.

This is how I picture him.

I don't know if Professor Pat Pending had a specific exclamation like "Galloping gasbags!" but the real life version of him, Doc from Back to the Future, exclaimed "Great Scott!" all the time. See how comfortable all of these entertainment media tropes are? Reading Pynchon is a piece of cake!

"Galloping gasbags"
A galloping gasbag is just a clever way of saying an airship, probably. Because it's a vehicle, like a horse, and also it is full of gas.



Chapter 1: Section 4: Page 29: Line 74 (446)

 In fact, just about then who should arrive, aboard a stately semirigid craft of Italian design, but the boys' longtime friend and mentor Professor Heino Vanderjuice of Yale University, a look of barely suppressed terror on his features, desperately preoccupied during the craft's descent with keeping secured to his head a stovepipe hat whose dents, scars, and departures from the cylindrical spoke as eloquently as its outdated style of a long and adventuresome history.

* * * * * * * * * *

Let me first get this out of the way: uhhhhh huh huh huh he said "semirigid."

Professor Heino Vanderjuice stepping out of a ship and into the Chums' story feels like an old Saturday Morning cartoon or children's entertainment program. "Hey kids! Look who's here: it's old Professor Heino Vanderjuice!" This sudden appearance definitely feels like guest star material.

"Professor Heino Vanderjuice"
Previously, I discussed the Professor's name a bit. One possibility I thought up for the meaning of his name was The Wandering Jew. The commentary on his beaten and battered stovepipe, an old fashioned hat even in 1893, and the mention that it speaks of "a long and adventuresome history" speaks to the possibility that the Professor is much older than he appears. Who else, other than an immortal, could come up with impossible inventions for the Chums of Chance to use in their airship? And if the Professor is the Wandering Jew, does this not suggest that maybe the Chums are also supernatural? Why else would such a legendary figure act as their perennial friend and mentor?

Chapter 1: Section 4: Page 29: Line 73 (445)

 Crowds of colorfully-dressed aeronauts had swept between them, as ships arrived and took off, and the great makeshift aerodrome seethed with distractions and chance meetings. . . .

* * * * * * * * * *

How many familiar television and movie clichés has Pynchon added to this first chapter of Against the Day? Was I just not paying close enough attention to notice them all? It took two in a row for me to begin thinking about it. First Lindsay screaming like the skipper frustrated with Gilligan (or Sarge screaming at Gomer (or Mel screaming at Vera (or Ralph screaming at Norton (or Fred screaming at Barney (or . . . you get the picture))))). And now the scene where somebody being pursued disappears into a colorful chaotic carnival landscape of strange people with exotic looks and vehicles blocking every avenue. It would make a kind of playful sense that Pynchon would simply litter this first chapter with familiar tropes seeing as how this book is often described as Pynchon's most accessible. Pynchon wanted to make a Pynchon book for Dumb-Dumbs!

Oh! That whole slapstick bit when the ship was about to crash was one of those moments. And maybe Miles and Lindsay wandering wide-eyed about the fair, innocent youngsters gawking at all the wonderful new sights of the big city. What about Darby having embarrassing feelings for Penelope Black? That was sort of John Hughes-ish, no?

Anyway, Lindsay failed to stop Darby from rushing off to see loads of naked women. Lindsay's just going to have to live with knowing Chick will have ruined Darby just a little bit more after tonight.

Chapter 1: Section 4: Page 29: Line 72 (444)

 "Sucklinggg?" screamed Lindsay, but to no avail.

* * * * * * * * * *

"Gilligaaaaaan?"

"Gomerrrrr?"

"Nortoooon?"

"Barneyyyy?"

"Jetsoooon?"

"Lucyyyyyyy?"

"Veraaaaa?"


Chapter 1: Section 4: Page 29: Line 71 (443)

 "Oboy, oboy," Darby's nose beginning to run.

* * * * * * * * * *

This is disgusting. According to The Life and Opinions of Tristram Shandy, Gentleman, isn't the nose a stand-in for the penis?! This little sicko deviant. This gross monster. I totally get him.

Chapter 1: Section 4: Page 29: Line 70 (442)

 "Come on, boys," Chevrolette McAdoo gesturing with a cigarette in a rhinestone-encrusted holder, "I'm headed in for work now, I can show you backstage at the South Seas, too."

* * * * * * * * * *

Dancing is art. Nobody is denying that dancing is art. But I'll tell you two things heterosexual teenaged boys generally aren't interested in: dancing and art. Heterosexual teenaged boys are, however, extremely interested in the female form. Oh, I also don't want to erase heterosexual adult males (haven't they been erased too much from history already is a sarcastic thing that didn't need to be said): they, too, are extremely interested in the female form. For example, Merle Rideout taking nude photos of Chevrolette McAdoo earlier.

I'm trying, and failing, to begin some form of intelligent discussion about stripping. Maybe something that tries to explain the vast chasm between auteur and audience. Perhaps delving into the intent of an artist to put their skills and love of a subject into their intent to display it to a wider audience, to maybe formulate a love for it as well and how an audience doesn't experience any of this content because of boobies. I could try to write something deeply moving, showing greater understanding of women's bodies as the center of a style of artistic expression being completely lost on an audience that just wants to get laid. But I don't have the empathy or sympathy or understanding or intelligence or emotional depth to do anything of the sort. Maybe you should instead go read Dave Sim's "Jaka's Story," a surprisingly nuanced look at a young woman thriving in her love for the art of dance and how she's simply defined, by everybody outside her world ("her world" being a hidden, unused room in a vast mansion, perhaps a little heavy on the symbolism but it works), by her youth and beauty. I say "surprising" because 95% of the people you ask about Dave Sim will say, "Who is Dave Sim?" But 95% of the 5% who know who Dave Sim is will tell you that he's a misogynist. I might not say that (I also might say it!) but I also wouldn't declare he isn't. He's definitely anti-feminist and his self-declared major breakthrough on his understanding of women was when he was interviewing mothers and daughters for his Cerebus story "Mothers & Daughters," and he discovered that speaking with a woman that he wasn't attracted to and who he didn't want to fuck actually enabled him to listen to them and he decided they had nothing important or interesting to say. So apparently Dave Sim is one of those people who tells stories that they think are about one thing and never realize that the story is actually about themselves. Because, I mean, if declaring that women have nothing interesting to say and the only reason to talk with them is that you think you might have an opportunity to fuck them isn't misogyny, I think I might need a new dictionary.

"Jaka's Story" came before "Mothers & Daughters" which might be why it feels empathic and powerful. I guess Dave had yet to realize that he saw women as barely sentient fleshlights. His treatment of Jaka afterward certainly speaks to his self-professed realization though. She ruins Cerebus's life (possibly being the main temptation sending him to Hell after his death). She ruins Rick's life (due to getting an abortion without his knowledge). She ruins Pud Wither's life (by illegally dancing in his tavern (look, she was stripping but she still couldn't see that chasm between artist and audience)). She ruins Astoria's life (although that wasn't her fault; she was just a young girl manipulated by Lord Julius to get back at his ex-wife). For the main female character in the entirety of Cerebus, Dave Sim treats her awfully, laying the blame for many horrors at her feet due to her selfish and small-minded behavior.

Dave Sim may think he chose celibacy but, let's face it: celibacy chose him.

Did that make sense? Was that a clever burn?

What I set out to say was that everybody should make friends with a stripper because backstage opportunities!

"gesturing with a cigarette in a rhinestone-encrusted holder"
Pretty sure this is a phallic symbol (cigarette) in a yonic symbol (rhinestone-crusted holder).

Chapter 1: Section 4: Page 29: Line 69 (441)

 "Hurrah!" cried Chick Counterfly, "me and old Suckling here being starboard liberty section will just head on over to that Midway Plaisance, to have us a peep at Little Egypt and that Polynesian exhibit, and if we can fit it in, why some of those African Amazons too—oh, and don't worry, lad, anything you need explained, just ask me!"

* * * * * * * * * *

Chick Counterfly is a typical teenage boy who doesn't give a shit about arts and culture and just wants to see a bunch of women with hardly any clothes on. In the parlance of our times, Chick is horny on main.

Chapter 1: Section 4: Page 29: Line 68 (440)

 Lunch-time arrived, and with it Lindsay's announcement of early liberty.

* * * * * * * * * *

"Lunch-time"
The middle of the day when a person usually takes time for their second meal, between breakfast and dinner. Some people have different schedules and so their "lunch" could take place at any time of the day. But that would not mean that they're having lunch during "lunch-time." Lunch-time would still be about the middle of the day even if they were sleeping or eating a different meal during it. Am I being overly pedantic about something so mundane and obvious? Well, I'd better be or else Pynchon is likely to slip some extra-special subtext right past me. Like maybe how "lunch-time" takes place in the middle of the day and, according to the title of this book, we (or somebody) is against that day. Which means we're now in the middle of the battle and have seemingly achieved liberty early! Hoorah!
    But wait! Early liberty does not mean extended liberty and success! Soon the day will probably burst forth from the clouds in its renewed battle to cozily bamboozle us with its lethargic rays and enticing patches of warmth. We must remain vigilant if we are to win this battle!
    Unless the title doesn't mean a competition with the day and is suggesting that the day actually buttresses us and holds us up, uplifting us so that we have the strength to battle back the darkness.

"early liberty"
"Liberty" is a naval term meaning "allow the recruits to let their hair down and take the sticks out of their butts, maybe spend some time consuming too many beers while not saluting officers and standing however they please." The early version of liberty is like a small treat seen as a way to lift up morale and to also have something to hold over the lowly recruits later.
    And as I mentioned earlier, liberty is freedom. It's something to be fought for although not necessarily in physical battle. The dopiest and most easily manipulated Americans think only the military can fight for freedom and liberty. These jerks go about waving flags and praising every military operation as a means of fighting for their freedom and then just roll over whenever their freedoms are actually impinged upon. Protesting is a form of fighting for freedom but these yahoos constantly fight against protesting because of their narrow view of how freedoms are won. In their minds, people protesting against the draft are selfish American hating bastards while America invading Vietnam is protecting American liberty and freedom. What dumb jerks!