The Italian Wedding Fake Book

[Paul York]

Just wondering if someone could shed some light for me re this item 
which makes its appearance at the Wayvone wedding (Vineland pg. 97).  
Specifically, what is the significance of the authors' names (Deleuze & 
Guattari).  I am familiar with the concept of a fake book and am also 
somewhat familiar, if often left in the dark, with the work of D&G 
(specifically, _The Anit-Oedipus_ and bits of _A Thousand Plateaus_).  
I don't know, am I just trying to draw some sort of link where there 
isn't one?  Or, am I missing something here?

Some more general comments on _Vineland_:  I had the advantage(?) of 
reading this book before any of the others so that I was able to 
encounter it without feeling let down.  In one sense, it can be seen as 
a less ambitious book, in that it lacks the historical scope and 
complexity of the earlier novels.  Still, for a book published in 1990, 
it seems to offer a fairly acute look at the culture of paranoia as 
manifested more recently in the right-wing militia movements (which are 
just a more immediately obvious example) as well as the mainstream 
media's demonization of such movements, which serve to both play into 
such movements' hands with the notion that "They" really are after you, 
and to leave a considerable portion of the public feeling that perhaps 
certain civil-rights-hostile legislation is needed to protect the 
American people from enemies within and without.

Consider, from pg. 340:  "There was a weirdness here that Hector 
recognized, like right before a big drug bust, yes, but even more like 
the weeks running up to the Bay of Pigs in '61.  Was Reagan about to 
invade Nicaragua at last, getting the home front all nailed down, ready 
to process folks by the tens of thousands into detention, arm local 
'Defense Forces,' fire everybody in the Army and then deputize them to 
get around the Posse Comitatus Act?  Copies of these contingency plans 
had been circulating all summer, it wasn't much of a secret."

I think the fact that _Vineland_ is set in a time and place that 
is more historically and culturally immediate can leave one with 
the impression of transparency that is maybe a little deceptive.  Behind 
the glow of the tube is, I feel, is the true dark force of _Vineland_ 
(Brock, after all, lacks the sort of terrible presence that seems to 
permeate Pynchon's earlier books):  a system of paranoia that keeps 
people divided and asking the wrong questions.
	Paul