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chapters to follow.
Through such contested space, switchback narrative encoding
becomes a kind of survival strategy, a method of movement—through history, through
space, through the earth—suited to the limited human agent. Significantly, such
movement is as much about phenomenological experience as it is about ontological
perception. In Gravity’s Rainbow, there are hints of secret agents at work, Pynchon calls
them “Titans, […] all the presences we are not supposed to be seeing—wind gods, hilltop
gods, sunset gods—that we train ourselves away from” (735). Training ourselves back
towards seeing these Titans can be understood as the perceptual goal of switching back,
which forces travelers to engage in the experiential act of re-orientation. Here, Sara
Ahmed’s work on “orientations” becomes a pertinent theoretical model. She writes:
Bodies…acquire orientation through the repetitions of some actions over others,
as actions that have certain ‘objects’ in view…The nearness of such objects, their
availability within my bodily horizon, is not casual: it is not just that I find them
there, like that. Bodies tend toward some objects more than others given their
tendencies. These tendencies are not originary but are effects of the repetition of
the ‘tending toward’” (“Orientations Matter” 247).
Pynchon’s focus on how “we train ourselves” draws attention to the ways in which
phenomenological experience is spatially determined by habitual orientation towards
certain objects and directions, and away from others which by the very necessity of the
occupation of space by material being, become hidden “far below” (GR 735), suppressed
in the repetition of tendencies that privilege anthropocentric ways of seeing, discursive
strategies, and forms of power. In opposition to such experience, Vineland’s preterite
narrativity orients readers towards an engagement with the “presences we are not
9
supposed to be seeing” (
GR 735) and the often-concealed ways in which they shape the
human experience of cause and effect, contingency,
history, power, and “the legacy
America” (CL49 151). Through this narrativity, Vineland offers a strategy of political
resistance that opposes and exposes the maps and structures that encode and instantiate
the oppressive linear discursivity of, in Althusser’s terms, “
the reign of Reason, Meaning,
Neccessity and End” (169), and antecedently, the telos of history, and the suppression of
the nonhuman agent.
The following chapters will endeavor to draw out the switchback narrative
strategies at work in
Vineland by foregrounding the agency of these and other spatio-
authorial assemblages from several different points of orientation. Chapter 1 will focus
on the novel’s Titans, or agentic assemblages—its cities, bioregions, government
programs, weather systems, infrastructural arrangements, and watersheds. How might our
reading of Vineland be complicated, I ask, by reconsidering the theorizations of power
and political agency—always central to Pynchon’s work—through his deployment of
these Titans? Whereas in earlier works the sources of political power remain grounded in
human hands, here the human is clearly delineated as one among multiple factors at work
in the discursive and physical contest over space which defines the politics of the
assemblage. Competing temporalities co-exist in these entangled discursive encodings,
confusing the straight shot from origin to end and getting in the way of the impulse to
rectilinear narrativity. With switchback tools in hand, Chapter 2 will approach Vineland’s
nonhuman world from another set of points, focusing specifically on the spatial
assemblages of freeway systems and urban streets that structure the novel’s Southern
Californian periphery. I also focus here on how the freeway traveler fares when
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confronted by the switchback. How these passageways function as sites of narrative
encoding and decoding is developed by attention to Pynchon’s use of the freeway as an
avatar for the rectilinear narrative systems of the capitalist state. Throughout both of
these chapters, I will endeavor to push the research sites of agentic assembly and spatial
encoding in the novel to their interpretive limit, and then I will switch back, reorient, and
come at the novel from another direction in order to draw out the political and material
stakes at play in Vineland.