“NO WAY TO RETURN”: AGENTIC ASSEMBLIES, SWITCHBACK RESISTANCE,
AND SPATIALIZING THOMAS PYNCHON’S NARRATIVE POLITICS IN
VINELAND
by
Anne Catherine Stewart
A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF
THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF ARTS
in
THE FACULTY OF GRADUATE STUDIES
(English)
THE UNIVERSITY OF BRITISH COLUMBIA
(Vancouver)
July 2012
© Anne Catherine Stewart, 2012
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Abstract
This thesis focuses on one of the least acclaimed novels in Thomas Pynchon’s canon,
Vineland. It was reviewed with disappointment by critics like Brad Leithauser, who
writes that
Vineland falters “chiefly through its failure in any significant degree to extend
or improve upon what the author has done before.” I argue against such a reading, and
position Vineland as a critical turning point for Pynchon’s work in which his articulation
of the relationship between humans and nonhumans is dramatically refigured. I do this by
reconsidering the history of American countercultural politics presented in Vineland in
two distinct ways. First, attending to Pynchon’s critical interest in landscapes and urban
spaces, I argue that the novel’s histories should be read as conceptual objects, materially
coded into the landscape in such a way that they speak through these landscapes. Second,
continuing to focus on ways in which space and materiality function in this novel,
I draw
out the nonhuman actors at work in the narrative in order to demonstrate a shift in
Pynchon’s conceptualization of the relationship between what he often refers to as the
animate and inanimate worlds. While his earlier novels posit an inanimate world that is
threatening to humans, Vineland’s human-nonhuman dynamic is far more entangled in
terms of its investment in how these actors function in assembly with each other. I pay
particular attention to what Jane Bennett calls “agentic assemblages,” groupings of
human and nonhuman materialities—a storm or a power grid, a city or a bioregion—that
function together to author the spaces that they occupy in this novel. At stake here is a
refiguring of historical agency as the product of a web of competing human and
nonhuman discursive strategies. I argue that the novel’s narrative politics is one in which
nonhumans have an authorial role, and that its form repeats this politics by deploying a
spatial and discursive navigational strategy for human actors living in a world which is
fundamentally nonanthropocentric. Through this narrative politics, Vineland emerges as a
major contribution to late-20
th
century critical thought on spatiality, political ecology,
materialist philosophy, and narrative theory.
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Table of Contents
Abstract……………………………………………………...………………………..
Table of Contents…..…………………………………………………………………
Introduction: Mapping the Switchback………………...……………………………..
Chapter 1: Assembling the Secret Agents…………………………………………….
Chapter 2: Decoding the Spatial Assemblage………………………………………...
Conclusion: In the Habit of Swerving………………………………………………...
Works Cited…………………………………………………………………………..
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1
Introduction: Mapping the Switchback
“Although there is no Meaning to history (an End which transcends it, from
its origins to its term), there can be meaning in history, since this meaning
emerges from an encounter that was real, and really felicitous – or
catastrophic, which is also a meaning.”
--Louis Althusser, 194
If Thomas Pynchon’s return to the 1960s in Vineland can be read as a history of
American counterculture, then it is a history not of ends but of encounters both
felicitous—a birth, a sunrise, a reunion, a harvest—and catastrophic—riots, landslides,
detentions, tornados. It is a history not of linear trajectory but of dense movements
mapped onto a landscape of competing spatiotemporal encodings. In both content and
form, Vineland is a novel plotted by switchbacks, difficult passages that navigate rough
terrain via hairpin turns demanding a constant refocusing of the traveler’s perspective. It
leaps through history, from 1984 to the 1960s, from the 1930s to the 60s and back again.
Similarly, the narrative zigzags through the California landscape, navigating its inclines
and declines, cliffs, valleys, and ridgelines on roads that often serve as a medium through
which the novel’s temporalities are traversed, as when a meeting of old rivals in 1984
Vineland County sends them “blasting along at dangerous speed, up and down hills,
around curves, weaving among flatbeds and motorheads” to arrive at the site of their first
meeting in late 1960s San Diego (226 – 227). Taking Pynchon’s strategic muddling of
sign systems and road systems as a model, this thesis reads the switchback, in Vineland,
as a phenomenological tool which serves to reframe the history of American
countercultural politics within a field of spatio-material encoding. Upon this field, the
landscape itself is an actor engaged in the work of flattening the hierarchical linearity of
historical time until its moments begin to spread out along a plane of shared spatial