THOMAS PYNCHON

American Novelist

The Liner Notes for “Barefoot in the Head” (1990) – NOT written by Thomas Pynchon

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Liner notes by Thomas Pynchon Thomas Pynchon has written liner notes, as of this date, for two albums: Spiked! The Music of Spike Jones (1994) and Nobody’s Cool (1996) by Lotion.

Another LP — Barefoot in the Head (1990) — has liner notes that are ascribed to Thomas Pynchon but are DEFINITELY not written by Pynchon (confirmed in no uncertain terms by the author’s agent). The LP, by Jim Sauter and Don Dietrich (from Borbetomagus) and Thurston Moore (of Sonic Youth), borrows not only Pynchon’s name, but also its title — from Barefoot in the Head (1969), Brian Aldiss’ hallucinogenic sci-fi novel — as well as its cover art — La Femme 100 Têtes (1929) — by the German artist Max Ernst.

What follows are the faux-Pynchon liner notes which are a passable pastiche but lacking that certain je ne sais quoi…

□ □ □ □ □ □ □

One night Johnson, Coley and I were sitting in the back yard with a bucket of fresh sangria and a few bongloads of some very righteous boo. I’d brought out a box of my live Sonic Youth tapes and we were arguing about Lee Ranaldo’s tongue vectors in the third quadrant of ‘Society is a Hole’ (Folk City, NYC 12/1/82) when one of T. Moore’s downstrokes caught our attention. We ran the tape back and listened to the passage a few times. The subtly monstrous and mindless GUSH with which T. Moore hit the ‘E’ chord made it obvious that his playing was not coming out of a complete spiritual void. This was a real revelation. It meant that he was capable of actually unclenching his brain and loosing demons of soul creativity.

Because we hate to see anyone lackeyed to jive-ass, pop-structure, white-man a-motionalism, a plan was immediately spun for freeing T. Moore from the shackles of Peggy Lee-descended dogshit that were obviously choking off his TRUE HUMAN FORCE. Deciding which hominid cudgels might be best wielded against these procedural chains was a lead pipe cinch. Who but Jim Sauter and Don Dietrich? These two men are the freest, loudest, swingin’est white motherfuckers to ever jaw-cleave an industrial strength reed. Their work with Borbetomagus has long been a raucous fountain of tonal explosion and aesthetic purity, as well as a black-gloved fist up the diz of all conservative musical architects. If anyone could blow the lock off of T. Moore’s creational emo-safe, Jim and Don were it.

The rest was a snap. I had my agent get in touch with all the parties. She explained the points of our proposal in no uncertain terms. The results are presented here. Two free men meet a slave. Everyone goes home barefoot. Right-fuckin’-on.

Thomas Pynchon, Somerville, MA
January 1990

So who wrote these liner notes?

The most likely suspect is the aforementioned Byron Coley, an American music critic who wrote for Forced Exposure magazine in the 1980s. He’s also written liner notes for many albums including for the 2007 deluxe edition of Sonic Youth’s Daydream Nation. According to this interview, on the online magazine Perfect Sound Forever, Coley admits to making stuff up when answering written interview questions for Sonic Youth’s Kim Gordon.

So Byron Coley is Prime Suspect here.

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Pynchon Dodges the Press After the Publication of V.

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This short article published on the heels of the publication of V., Pynchon’s first novel, describes and clarifies his so-called “reclusiveness.”

New York Post – 29 April 1963

Success is elusive and so is Thomas Pynchon now that he’s found success.

Pynchon won wide critical acclaim with this month’s publication of his bizarre first novel, “V.” He is now living in Mexico, but no one is quite sure where.

Pynchon’s publisher, J. B. Lippincott, says, “We used to give out his Mexico address, but he wrote and asked us not to. Now we don’t really know where he is.”

His mother, wife of Oyster Bay Town Supervisor Thomas Pynchon, denied that her son had become a recluse. She said: “He is still a member of the family. We haven’t seen him for three years, but he still calls and writes.”

A college friend said: “He isn’t anti-social. It’s just that he loathes personal publicity. He feels the book is the thing.”

No Lion in College

Pynchon is not alone in his belief that the book and not the author should be publicized. J. D. Salinger’s unavailability has itself attracted wide publicity. Nor is John Updike fond of being a public figure.

Actually, Pynchon’s reticence is not recent. While in college, a friend remembers, he was “not the kind of person who stays in the classroom.

“He would just go home and write amazing papers.”

“He was always a kind of an individualist,” his mother said. “When he decided to do something he just went off and did it.”

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Pynchon on Record, Vol. 4

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The British literature scholar Cedric Watts once wrote: “One test of literary merit is fecundity, the ability to generate offspring” (xix). More than many other novelists, Pynchon’s work has generated not only literary but also musical offspring: songs, bands, entire albums inspired by Pynchon’s themes and novels. In 1982, Steven Moore made a first attempt to collect such songs and inspirations in Pynchon Notes under the title “Pynchon on Record,” to which Laurence Daw added “More on Pynchon on Record” in 1983 (and later expanded the list on themodernword.com). Sixteen years later, Juan García Iborra and Oscar de Jódar Bonilla published an article that added more names to the previous lists. Since then, the search algorithms on the internet have vastly improved—and so has the amount of available information and the possibilities to upload one’s own material.

Laurie Anderson’s “Gravity’s Angel” from Mr. Heartbreak.

I wrote a dissertation on music in Pynchon’s work (which I hope to publish soon), and since I believe that no large-scale study on this topic would be complete without acknowledging his musical offspring, I spent many days researching his impact on the music scene. I ended up with a list of more than eighty songs, artists, albums, and record labels who make their nods to the novelist (by the latest update on 6 June 2018, the list has grown to about 120 entries), and I am happy to present it here, replete with links and comments.

The Crying of Lot 49 initially proved to be the most fruitful novel for musical adaptations, likely because its length made it more accessible to readers and because it has been around longer than any other Pynchon novel except for V. However, publishing this blog post and finding more references, Gravity’s Rainbow overtook The Crying of Lot 49. Gravity’s Rainbow’s opening sentence has been used for band names, album and track titles (it’s certainly easier to remember than the opening sentence of The Crying of Lot 49). V. also has a good number of entries but the more recent novels have not received the same kind of attention from musicians. The range of genres covered by these recordings spans jazz (remarkably little), experimental music of all kinds, new classical music, world music, and all sorts of pop/rock subgenres such as rock’n’roll, indie, punk, new wave, or metal. The references range from homages to quotations and from inspirations to adaptations.

Some were recorded by well-known or influential bands and musicians such as Laurie Anderson, Radiohead, Devo, Mark Knopfler, Bill Laswell, or Soft Machine, others by college bands and in bedroom studios. The fact that many of the works of music cataloged are from recent years can likely be explained by the better visibility lesser-known bands enjoy on the internet nowadays, particularly with websites such as Myspace (anyone still remember that?), Bandcamp, Soundcloud, and Youtube. I doubt that it took about fifty years after a novel was released to catch on in the music world. Most artists mentioned are based in Western Europe or North America. Although this may have to do with Pynchon’s popularity in these regions, it is more sensible to assume that I simply did not find artists whose references are in languages other than English. The reason that the adaptations of songs penned by Pynchon are predominantly recorded by lesser known artists may have to do with legal considerations. If little or no money is involved and the visibility of the artist is not so great, the author or the legal departments of the publishing houses may not care to intervene.

On the occasion of some of my New York and Philadelphia talks on the subject in 2015 and 2016 (and the Pynchon birthday party I organized at Cabaret Voltaire in Zürich), musician and poet Tyler Burba interpreted songs from different novels. When I presented my work on Pynchon’s saxophone and kazoo in Atlanta, local musicians Reese Burgan and Caleb Herron accompanied the talk on the respective instruments. There is no telling how many other artists have referenced Pynchon or recorded songs from his books or were simply inspired by his work, but if progeny is a mark of literary accomplishment, these albums, songs, and bands are testament to Pynchon’s wide-ranging appeal as a writer of sonic fiction.

The following list is ordered chronologically, first by novel, then by the work of music. My personal favorites are marked with a magenta heart, thus: ♥. I am certain that I overlooked a great many other examples, so please contribute in the comments section! I will periodically update this post.

Contents

1 Introduction (this page)
2 “Entropy” and V.
3 The Crying of Lot 49
4 Gravity’s Rainbow
5 Vineland, Mason & Dixon, Against the Day, and miscellaneous homages
6 Bibliography and Biography

Image credit (top of page): spread-open cover of Land of Kush’s 2009 album Against the Day.

Cook’s Tour – Richard Poirier’s 1963 Review of Thomas Pynchon’s V.

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Cook’s Tour

The New York Review of Books, June 1, 1963
by Thomas Pynchon
Lippincott, $5.95

Richard Poirier

Nothing more intricately conceived than Thomas Pynchon’s first novel has appeared in American fiction since the work in the thirties by Faulkner, Nathaniel West and Djuna Barnes, the last two being among the writers who have given him the courage of his artifices and of the assumptions that go with them. V. is full of self-mystified people consistently avoiding direct relations with one another through disguise or evasion, people living the disrupted existences either of the Cook’s Tour, in one plot or in the other, of a kind of contemporary tourism called “yo-yoing,” the pointless repetitive passage and return on any convenient ferry or subway. Neither of the two interwoven plots is presented in sequence. One involves a self-styled schlemihl named Benny Profane, his naval buddies, and a gang in New (sometimes “Nueva”) York who call themselves the Whole Sick Crew. The other is an international melodrama of spying that covers the years since 1898. It is reconstructed by Herbert Stencil – the name meaning that he is a copy of his father in the effort to keep track of the elusive V. He cannot be sure what V. is, whether she (or it) is not wholly a fantasy.

Even the title of the novel is thus cryptographic, V. comes to stand for anything to which, in the absence of love, one devotes his passion and curiosity. It can refer to a bar called V-note, where Benny and the Crew listen to a jazz player named McClintic Sphere; to Valetta on Malta; to a sewer rat, Veronica, so named by a Father Fairing who wants, in his efforts to convert the rats of New York to Roman Catholicism, to make Veronica his first saint and his mistress; to Venus, the goddess, the planet, the mons Veneris – to Venezuela and Queen Victoria, to Vesuvius and other volcanoes, to the mythical land of Vheissu with its iridescent spider monkeys. So far as Stencil is concerned, however, V. is a lady internationally renowned as spy, lover, transvestite and impersonator. She has been on the scene of various international crises since her first appearance in Cairo during the Fashoda incident in 1898. There, in her nineteenth year, and under the name Virginia Wren, she is deflowered by a British agent. The next year she is in Florence coincident with a manufactured crisis over Vheissu (and, of course, Venezuela), during which she seduces Stencil’s father at the British consulate, thereby becoming Stencil’s mother. In subsequent impersonations, she is identified in Paris in 1913 as the Lesbian fetishist lover of a dancer named Melanie l’Heuremaudit. Still later, she is placed in German Southwest Africa during a native rebellion in 1922, and in this instance is given two simultaneous identities by Stencil: as a child of sixteen with white-blond, hip-length hair and the information that “I am Hedwig Vogelsang, and my purpose on earth is to tantalize and send raving the race of man”; and as the older, more subtle Vera Meroving who sports a glass eye, the face of which is also a watch, and a star sapphire sewn into her navel on Malta in 1919 – she was known then as Veronica Manganese. She makes her last appearance, in Stencil’s increasingly weird dehumanization of the figure, again on Malta in 1939 when, disguised as a priest with a detachable gold foot, she is knocked unconscious in a bombing raid and disassembled by a group of children who are less mean than inquisitive.
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Can I Sue Thomas Pynchon?

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Julian Benfield is the owner of Julian’s Books, a rare and used book dealer in New York since 1997. Prior to that he worked for Xerox in engineering and marketing management, and as a computer consultant. He holds a Bachelor’s degree in Mechanical Engineering from The Cooper Union, and MBA from Rochester Institute of Technology. His coolest offering is currently a signed copy of Mason & Dixon.

Charity Auction booklet, 1999

In 1999 I was able to outbid other New York dealers and collectors to obtain a signed first edition of Mason & Dixon by Thomas Pynchon. This was offered by The Cathedral School of St. John the Divine, where his son was in attendance. The following year, I was able to repeat the feat to obtain a signed Crying of Lot 49, again at Cathedral School’s annual fundraiser. While the books were just signed on the title page, I was told, after the auction, that Pynchon would be happy to personally inscribe the books if I so desired. Since I was buying for resale, I thought that it might be best to not request that. Some may disagree, but that was my choice.

Fast track to a few years ago, when I was negotiating with a potential buyer for Crying Of Lot 49, and mentioned that I never took Pynchon up on his offer to personalize the book. My customer, who subsequently paid $23,500 for the signed Lot 49, immediately asked if Pynchon would inscribe it to him. That’s where my saga started.
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Playing Bridge with Thomas Pynchon

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Tom Schaub has taught at University of California Berkeley and University of Wisconsin Madison. He has been Executive Editor of Contemporary Literature since 1989, and has published widely on Thomas Pynchon, including Thomas Pynchon: The Voice of Ambiguity, and an MLA teaching volume, Approaches to Teaching Pynchon’s The Crying of Lot 49 and Other Works. He now spends as much time as possible in Maine, and tries to recollect what it felt like back then in the post-sixties lull, when the opportunities society had to offer seemed like threats to his well-being.

“This time, as a matter of fact, she has a confirmed Omar Sharif sighting, inside a tent, playing bridge and flashing that killer smile.”
Bleeding Edge, p. 406

My Initiation into The Quest

US First Edition, 1966

I read my first Thomas Pynchon novel after a day of hiking around Berkeley in 1967. Walking up Grove Street — events would soon change its name to Martin Luther King, Jr. Blvd — I saw what looked like a muted trumpet spray-painted on the cement support of an overpass, and a bit further a garbage receptacle stenciled with the word “WASTE.” Someone had added periods after each letter so it looked like this: “W.A.S.T.E.” That evening when I crashed on a friend’s floor I pulled a slim book off nearby shelves titled The Crying of Lot 49 by someone named “Thomas Pynchon.” Very soon I discovered the novel’s plot revolved around the very same graffiti I had seen that day outside. Here they were again inside a novel: the once-knotted posthorn with a mute in its bell, and the acronym “W.A.S.T.E.” I fell into sleep that night wondering how much of the story inside the novel — like the graffiti — was also outside the novel, in my world.

Desperately Seeking Pynchon

My own stint as a private eye took place at the peak of the mania to find Thomas Pynchon. His first two novels won major awards, but he himself remained stubbornly absent from public gaze or interview. When Pynchon published Gravity’s Rainbow in 1973, a bombshell of a novel that may have been the most unread bestseller ever, it was postmodernism’s answer to James Joyce’s Ulysses, and drew nominations for the National Book Award and the Pulitzer Prize. His novels V. and The Crying of Lot 49 had produced a cult following of devoted readers and the literati, but now he was national news. Emissaries from Time Magazine and LIFE went to California but came back empty-handed. In his place, Pynchon sent a comic, Professor Irwin Corey, to receive the National Book Award at the New York ceremony. There are dozens of essays, articles, and websites about the search for Pynchon, but after fifty years, all we have of him are a few pictures. At Pynchon Conferences, movies about him have been shown in which he never appears, the footage mostly clips of places Pynchon may have been. One movie ends with film of an older bearded man looking angrily at the camera. Is that Pynchon?
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Rocket Power – Gravity’s Rainbow Reviewed by Richard Poirier – 1973

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Illus. – Charles Shields

GRAVITY’S RAINBOW.
By Thomas Pynchon.
896 pages.
Viking. $15; paperback, $4.95.

This review, by American literary critic Richard Poirier (1925 – 2009), which first appeared in The Saturday Review (1924 – 1986) on March 3, 1973, is one of the first reviews of Thomas Pynchon’s third novel. It is detailed and insightful and is, in fact, a great read before tackling Gravity’s Rainbow for the first time. What I find truly amazing is Poirier’s depth of understanding of Pynchon’s 760-page novel which he’d probably had for maybe a month or so, as it was published on February 28, 1973.

From The New York Times Obituary: “Mr. Poirier (pronounced to rhyme with “warrior”) was an old-fashioned man of letters — a writer, an editor, a publisher, a teacher — with a wide range of knowledge and interests. He was a busy reviewer for publications from The New York Review of Books to The London Review of Books, and his reviews could sting.”

Poirier also wrote excellent reviews of V. (The New York Review of Books), The Crying of Lot 49 (New York Times), and Slow Learner (The London Review of Books).

□ □ □ □ □ □ □

The fantastically variegated and multi­-structured V., which made Thomas Pynchon famous in 1963 and the wonder ever since of anyone who has tried to meet or photograph or interview him, is the most masterful first novel in the history of literature, the only one of its decade with the proportions and stylistic resources of a classic. Three years later came The Crying of Lot 49, more accessible only because very much shorter than the first, and like some particularly dazzling section left over from it. And now Gravity’s Rainbow. More ambitious than V., more topical (in that its central mystery is not a cryptogram but a supersonic rocket), and more nuanced, Gravity’s Rainbow is even less easy to assimilate into those interpretive schematizations of “apocalypse” and “entropy” by which Pynchon’s work has, up to now, been rigidified by his admirers.

At thirty-six, Pynchon has established himself as a novelist of major historical importance. More than any other living writer, including Norman Mailer, he has caught the inward movements of our time in outward manifestations of art and technology so that in being historical he must also be marvelously exorbitant. It is probable that he would not like being called “historical.” In Gravity’s Rainbow, even more than in his previous work, history — as Norman 0. Brown proposed in Life Against Death — seen as a form of neurosis, a record of the progressive attempt to impose the human will upon the movements of time. Even the very recording of history is such an effort. History-making man is Faustian man. But while this book offers such Faustian types as a rocket genius named Captain Blicero and a Pavlovian behaviorist named Edward Pointsman, it is evident that they are slaves to the systems they think they master.

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The Science of Vectors, Spacetime, and Light in Pynchon’s Against the Day

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NOTE: This is the first of four parts of a discussion, originally written in 2007,  of some the science the shows up in Against the Day.

Part 1: The Michelson-Morley Experiment and the Failure of Classical Physics

Introduction

Thomas Pynchon is known for his dense and often obscure references to history, pop-culture, and especially science in his novels. His novel Against the Day is set around the beginning of the 20th Century, a time when our understanding of space, time, and light, rooted in classical physics, was completely overturned and replaced by a revolutionary new perspective based on the theories of special and general relativity. Pynchon takes the science of this period and incorporates it deeply into the language and structure of Against the Day, more so perhaps than in any of his other novels. Against the Day is suffused with meditations on light, space, and time, and often plays with the tension between different perspectives in math and physics – classical physics versus relativity, or Maxwell’s laws of electromagnetism described with the imaginary numbers of quaternions versus the real numbers of vector analysis. This material is not just filler – it’s critical to the core of Against the Day, a fact which has been underappreciated in early reviews of the novel. One reviewer claimed that a new generation of writers has a “grasp of the systems that fascinate Pynchon — science, capitalism, religion, politics, technology — [that] is surer, more nuanced, more adult and inevitably yields more insight into how those systems work than Pynchon offers here.” When it comes to science at least, this claim is absolutely not true – Pynchon’s achievement in Against the Day proves that he is peerless at deeply and knowledgeably working the most abstract scientific subjects into the context of our common humanity that is the ultimate concern of his novels.

My goal here is twofold: First, to illustrate how Pynchon goes beyond using science as simply a backdrop, or a way to show off his amazing erudition – he weaves scientific concepts into the language and structure of his book better than any other author working today. Second, I’ll lay out a primer on the basic scientific ideas so that readers of Against the Day can make their own discoveries about the novel. I cover four main topics: (1) the Michelson-Morley experiment and the breakdown of classical physics, (2) space-time and special relativity, (3) the development of vector analysis and the eclipse of quaternions (I’ll give you my guess of the ‘Baedeker’ that Pynchon ‘looted’ for his material on quaternions and vectors), and finally, Riemann surfaces.

These four topics cover most of the scientific references in Against the Day. Pynchon, clearly being a sucker for historical trivia, is mindful of the chronological development of these subjects, so I’ll cover most of them from a historical perspective, including some famous, now-rejected explanations proposed for the negative result of the Michelson-Morley experiment. It is also important to note the science Pynchon did not include in the novel – other important advances were being made at the time by some of the same scientists featured in the book, but Pynchon hardly mentions them – most notably those in statistical mechanics (and yes, entropy) made by J.W. Gibbs. In this book, Pynchon has chosen to focus on space, time, and light.

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Collecting Thomas Pynchon

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Collection
By Robert Nelson

If only measured by his influence on our culture, Thomas Pynchon is an iconic writer. His name is known to many who have never read a word of serious literature, and “Pynchonesque” seems to have as many interpretations as the identity of the mysterious V. in his first novel, V. Pynchon’s earliest writings leapt onto the scene to accolades rarely given to a new author, and he was hailed as one of the bright stars of a new literary generation. His first novel was a winner of major national awards and his magnum opus, Gravity’s Rainbow, nearly won a Pulitzer Prize (more on this later). His subsequent efforts have not failed that early promise.

Pynchon’s novels feature dense, convoluted plots, with wide-ranging allusions to history, science, technology, mathematics, and popular culture. One does not just “crank out” works that offer such challenges and rewards to their readers. Indeed, Pynchon has produced just eight novels over the past fifty years. Fortunately for the collector, the existence of variant forms of his novels and of many associated publications can make collecting Pynchon a challenge worthy of that found in reading his books.

Clifford Mead’s Extensive Pynchon Bibliography

Clifford Mead: Pynchon BibliographyAn essential reference for the Pynchon collector is Clifford Mead’s 1989 book, Thomas Pynchon: A Bibliography of Primary and Secondary Sources.[1] Although written 27 years ago, it remains the best description of the author’s early works. In addition, it includes the first appearance in book form of Pynchon’s juvenile writings. The presence of these contributions from young “Tom” to his high school newspaper makes Mead’s work a collectable Pynchon text as well as a bibliography.

 

Technical Writings for Boeing – Aerospace Safety and BOMARC Service News

Pynchon - Boeing Bomarc NewsNotorious for keeping his personal information private, Pynchon can make Salinger look like a publicity hound. It is known that he studied at Cornell, and that Vladimir Nabokov was one of his professors. Prior to pursuing his career in literature, Pynchon served in the U.S. Navy and then worked at the aircraft company Boeing as a technical writer. The abundance of military and technical references in his books indicates how much these experiences informed his writing. Pynchon’s articles in Aerospace Safety and BOMARC Service News are not only informative, but fun to read, even given their highly technical content.[2] BOMARC Service News poses an interesting challenge for both the academic and the collector, since none of its articles are credited. Textual analysis has identified articles that can be credited to Pynchon with varying degrees of certainty and the magazine issues containing these are rare and quite collectable.

[Read more…]

Thomas Pynchon & Kirkpatrick Sale – Their Unfinished Science Fiction Musical “Minstrel Island”

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NOTE: Inside parenthetical citations: [P] = material from Pynchon’s draft; [S] = passage from Kirkpatrick Sale’s draft

“Minstrel Island” by Thomas Pynchon & Kirkpatrick Sale

“Minstrel Island” is an unpublished, unfinished musical (it’s also been referred to as a “science fiction musical” and “operetta”) written by Thomas Pynchon and his friend John Kirkpatrick Sale while they were attending Cornell University. The materials — one folder of handwritten and typed notes, outlines, and draft fragments from sometime in the spring of 1958 — are in the collection of the Harry Ransom Humanities Research Center at the University of Texas, Austin.

Pynchon handwritten notes for Minstrel Island

The incomplete state of “Minstrel Island” allows us to observe something about the process that Thomas Pynchon and Kirkpatrick Sale followed as they tried to turn an idea into a piece of writing.  The following note sets out to demonstrate, as much as possible, the order in which the material was completed, something that allows us to discern at least one of the differences between Pynchon’s and Sale’s artistic sensibility.

[Read more…]

About ThomasPynchon.com

ThomasPynchon.com (formerly the HyperArts Pynchon Pages) came online in 1997. With the publication of Against the Day in 2007, the alphabetical guides to Pynchon's novels were migrated to the Pynchon Wikis.

This website is affiliated with neither Mr Pynchon nor his representatives; rather, it's aligned with the community of folks who enjoy reading Pynchon's work — and digging deeper.

About the Webmaster

ThomasPynchon.com was designed and developed, and is maintained, by Tim Ware, a musician and composer, fan of great literature, owner of HyperArts, lover of all things tiki, and an Oakland, California, resident. You can reach him via the contact form on this website.

Credits

Many have contributed to the content of ThomasPynchon.com and, ultimately, it's a team effort. Special thanks go to the folks at Pynchon-l at Waste.org, the long-standing list-serve dedicated to the ongoing discussion of Pynchon's works, with a shoutout to Allen "the Quail" Ruch and his seminal but, alas, departed theModernWord.com website

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