{"title":"Mason & Dixon and Hamlet","authors":"Celia M. Wallhead","doi":"10.7766/ORBIT.V2.2.57","DOIUrl":"https://doi.org/10.7766/ORBIT.V2.2.57","url":null,"abstract":"Although there is no explicit comparison in Mason & Dixon of the astronomer protagonist Charles Mason to the eponymous hero of Shakespeare's masterpiece, indisputable references to the play are to be found in the novel. Mason is endowed with qualities which mirror Hamlet's virtues and vices: he is a leader and a man of education and wit, though his metaphysical longings entice him towards madness and suicide. He is emburdened with a deep melancholy stemming from bereavement, loss of love, the hauntings of a ghost, indecision, even cowardice and frustrated ambition.","PeriodicalId":37450,"journal":{"name":"Orbit (Cambridge)","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2014-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71318558","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review of Luc Herman and Steven Weisenburger, Gravity’s Rainbow, Domination, and Freedom","authors":"A. Rowcroft","doi":"10.7766/ORBIT.V2.2.114","DOIUrl":"https://doi.org/10.7766/ORBIT.V2.2.114","url":null,"abstract":"Review of Luc Herman and Steven Weisenburger, Gravity’s Rainbow, \u0000Domination, and Freedom (Athens: University of Georgia Press, 2013)","PeriodicalId":37450,"journal":{"name":"Orbit (Cambridge)","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2014-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71318971","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“Sell Out With Me Tonight”: Popular Music, Commercialization and Commodification in Vineland, The Crying of Lot 49, and V.","authors":"G. Twigg","doi":"10.7766/ORBIT.V2.2.55","DOIUrl":"https://doi.org/10.7766/ORBIT.V2.2.55","url":null,"abstract":"Particularly drawing on the theory of Jacques Attali and Horkheimer and Adorno, this article considers popular music in Pynchon’s novels as more than simply a ‘soundtrack’ to the plot. Much attention has been paid to Pynchon’s original songs, but not to the manner of their dissemination; therefore, this article examines the role of the popular musician in the production of consumer culture, focusing on McClintic Sphere ( V. ), The Paranoids ( Lot 49 ), and Billy Barf and the Vomitones ( Vineland ). Pynchon depicts a modern ‘culture industry’ in which recording artists, voluntarily or not, ape their forbears, but in which the idea that live performance is liberating whereas recording is constraining, is problematized. The article explores Sphere’s struggles to become successful in the face of live audiences that constantly compare him to Charlie Parker rather than assessing his music on its own merits, and the twin inspirational and coercive ‘moulding’ forces he experiences during the recording process that represents the only chance for musicians to disseminate their music widely and find a properly appreciative public. Similarly, the disjunction between the Paranoids’ deviant lyrics and behaviour, and their thoroughly generic sub-Beatles musical texture, which adheres to the tropes of recorded music (one song ‘fades out’ even when played live!) is discussed; they too are caught in an excluded middle between transgression and conformity, as are the Vomitones, who in one live performance suppress their rebellious ‘punk’ aesthetic when they gain employment performing Italian ballads at a Mafia wedding. Ultimately this article argues that popular music is equally moulded by live audiences and by recording bosses and that its absorption into networks of capital is inevitable, so musicians, given the chance, may as well ‘sell out’, and hope to balance commercial success with at least a modicum of creative control.","PeriodicalId":37450,"journal":{"name":"Orbit (Cambridge)","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2014-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71318966","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"V2 to Bomarc: Reading Gravity’s Rainbow in Context","authors":"J. Comyn","doi":"10.7766/ORBIT.V2.2.62","DOIUrl":"https://doi.org/10.7766/ORBIT.V2.2.62","url":null,"abstract":"In this article I argue that while Thomas Pynchon’s 1973 novel, Gravity’s Rainbow , is set primarily between 1944-1946 in Europe, it also simultaneously addresses itself to its own authorial context—that of the “Long Sixties” in America. In particular I consider details of Pynchon’s employment at the Bomarc Service News in the years 1960-1962—the Bomarc being a surface-to-air interceptor missile manufactured by the Boeing Aircraft Company for the United States Air Force. Given that the V-2 rocket is the preeminent symbol of control in Gravity’s Rainbow , I argue that we ought to consider Gravity’s Rainbow in relation to the Bomarc, a technological descendent of the V-2, and a key defensive weapon in the Air Force’s Semi-Automatic Ground Environment (SAGE), a centralised system for continental air defence, and the preeminent computerised command and control system of its time. The Bomarc was for these reasons a crucial component of a technical system of control that provided the primary material support for what Paul Edwards has described as the “closed-world discourse” of Cold War America. In light of this history I proceed to read the novel in terms of the operative presence of this discourse in the American public domain—in articles, newsreels and other media—demonstrating the manner in which the ‘Rocket-State’ of Gravity’s Rainbow reconstitutes the human subject as a cyborg, thereby problematising the liberal humanist conception of the subject as discrete, autonomous and autopoetic. I supplement this contextual reading of the novel with formalist considerations for the manner in which the reader of the novel is implicated in Gravity’s Rainbow’s own operations of closure and control, and argue that the reader of the novel is also, regardless of context, subjected to and by the act of reading the novel considered in cybernetic terms. I conclude the essay by reading the novel’s closing moments against the grain of my own argument, and attempt to articulate a place of exception to the regime of control performed by the novel in relation its context and its reader.","PeriodicalId":37450,"journal":{"name":"Orbit (Cambridge)","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2014-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71318564","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Music in Thomas Pynchon’s Mason & Dixon","authors":"Jo Hess","doi":"10.7766/ORBIT.V2.2.75","DOIUrl":"https://doi.org/10.7766/ORBIT.V2.2.75","url":null,"abstract":"Through Pynchon-written songs, integration of Italian opera, instances of harmonic performance, dialogue with Plato’s Republic and Benjamin Franklin’s glass armonica performance, Mason & Dixon extends, elaborates, and investigates Pynchon’s own standard musical practices. Pynchon’s investigation of the domestic, political, and theoretical dimensions of musical harmony in colonial America provides the focus for the novel’s historical, political, and aesthetic critique. Extending Pynchon’s career-long engagement with musical forms and cultures to unique levels of philosophical abstraction, in Mason & Dixon ’s consideration of the “inherent Vice” of harmony, Pynchon ultimately criticizes the tendency in his own fiction for characters and narrators to conceive of music in terms that rely on the tenuous and affective communal potentials of harmony.","PeriodicalId":37450,"journal":{"name":"Orbit (Cambridge)","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2014-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71318624","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Note on Bleeding Edge’s “Unsheltered”","authors":"A. Rolls","doi":"10.7766/ORBIT.V2.2.81","DOIUrl":"https://doi.org/10.7766/ORBIT.V2.2.81","url":null,"abstract":"The Bleeding Edge excerpt provided in the Fall 2013 Penguin Press catalogue notes that “[u]nhoused people sleep in doorways,”but by the time the Advanced Reading Copy had reached reviewers, “unhoused” had been changed to “unsheltered” (2), an edit that remained in place, even after other changes to the text, a couple of months later when the book became available for general readers. . . . We might ask: what significance is there to the edit? And from whose perspective are we seeing Maxine’s neighborhood in the opening of the novel? . . . The edit actually distances the text from the only characters in the scene to whom we might attribute the perception of unsheltered people, Maxine and her children.","PeriodicalId":37450,"journal":{"name":"Orbit (Cambridge)","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2014-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71318755","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“Something More Than a Rifle”: Firearms in and around Thomas Pynchon’s Mason & Dixon","authors":"Umberto Rossi","doi":"10.7766/ORBIT.V2.2.77","DOIUrl":"https://doi.org/10.7766/ORBIT.V2.2.77","url":null,"abstract":"This article aims to carry out a multidisciplinary reading of Mason & Dixon starting from the apparitions of what might only look like a \"stage prop\", a rifle in four more or less important moments of the novel. By applying a stereoscopic reading of the novel, which may achieve depth by means of comparing different textual objects and a wider historical context (that of the history of firearms in the 17th and 18th century, plus other works by Pynchon featuring firearms), it will be shown how literary (textual) avatars of \"real\", \"historical\" objects (firearms) may at the same time be verbal constructs but refer to the technical, material features of those objects, establishing multi-dimensional and complex relations between technology, science, economics (early forms of globalization), politics (colonialism and colonial wars) within and outside Mason & Dixon , and the rest of Pynchon's oeuvre. Moreover, this reading allows us to better understand how Pynchon may use the historical documents and literature he has found while researching his novels.","PeriodicalId":37450,"journal":{"name":"Orbit (Cambridge)","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2014-03-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71318631","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“For every They there ought to be a We”: The (Almost) Equivalence of Power and Resistance in Mason & Dixon and Against the Day.","authors":"G. Maragos","doi":"10.7766/ORBIT.V2.2.71","DOIUrl":"https://doi.org/10.7766/ORBIT.V2.2.71","url":null,"abstract":"Power and resistance are considered two of Pynchon's principal themes, examined thoroughly by scholars. This presentation will provide an alternative reading of resistance and examine a change in how it is portrayed in Mason & Dixon and Against the Day , where it appears as much more powerful and a potential successor to existent authority, creating a need to reexamine the dichotomy between authority and preterite. In Mason & Dixon there is already a clash between the old and the new regime, religion and science, evident even in the background of the two protagonists; furthermore, the resistance, as is depicted by a nascent movement for American independence, is not a failure; its ideals will metamorphose it into the state tyranny shown in Vineland . In Against the Day , anarchism, albeit ultimately unsuccessful, is presented as an alternative to capitalism and employs similar techniques to those used by the latter, based on the anonymity of its hierarchy and the victimization not only of those outside its network, the never innocent bourgeois, but also the individuals that follow it. The theoretical framework for such an analysis will need to distance itself from an – otherwise useful – marxist approach and move towards Foucault's idea of authority as was expressed in the first volume of The History of Sexuality . Resistance is not external to authority; it is an opponent within the power network, a node through which power can flow. This kind of analysis would not have been possible without Mason & Dixon and Against the Day and the presentation will mostly focus on those two novels.","PeriodicalId":37450,"journal":{"name":"Orbit (Cambridge)","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2014-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71318612","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"All Maps Were Useless - Resisting Genre and Recovering Spirituality in Pynchon's Against the Day","authors":"Jared Smith","doi":"10.7766/ORBIT.V2.2.52","DOIUrl":"https://doi.org/10.7766/ORBIT.V2.2.52","url":null,"abstract":"This essay examines genre parody in Thomas Pynchon’s 2006 novel Against the Day as a means of productive transgression. Focusing on one section of the epic novel, in which the character Kit travels through China and Tibet in a mock pilgrimage that echoes Rudyard Kipling’s Kim , I argue that Pynchon circumvents what Linda Hutcheon has identified as parody’s conservative impulse by repeatedly thwarting the attempts by Western colonizing forces to “know” the East by way of both mapping—as in the conquest stories of imperial romance fiction—and unmapping—as in the ambivalent stories of late imperial romance fiction. Pynchon’s unsettling employment of parody, I demonstrate, is paralleled in the mimicry employed by the colonized subjects in the novel, which erodes the sovereignty of the competing imperial forces of the Great Game. Additionally, I argue that Pynchon links the spatial and material reality of empire to an earthly spiritualism such that a non-singular enlightenment can only be attained through a disavowal of the routinizing and rationalizing forces of Western thought.","PeriodicalId":37450,"journal":{"name":"Orbit (Cambridge)","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2014-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71318954","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}