MDDM Gershom's Intervention

[jbor]

I can understand that Doug's still in damage control mode about the way
Pynchon does present GW in this text, and the implications that this might
have for other of the works, attitudes etc. But it's also an extremely
revealing scene in terms of Pynchon's literary craftsmanship.

The first speaker in Raleigh's Tavern on p. 572 begins "Even as Clearings
appear in the Smoke of a Tavern ... " (572.14)

As so often happens in Pynchon's fiction this literal statement is an echo
of the narratological strategy Pynchon has employed here, a cue to the
reader in other words. Through the smoky miasma of the poolroom the
characters cannot properly see or identify each other by sight, and Pynchon
has engineered the presentation of the dialogue in the scene to reify this
setting. Mason and Washington know that the other is there, and we know that
they are there. Thus, their remarks to one another are indicated by the
narrator. (572.30 and 573.15) However, they cannot see who else is there,
and others cannot see them, so other voices and exchanges between
individuals in the text are presented as disattached utterances.

But sight is not the only sense humans possess. George recognises and
definitively identifies Gersh by the sound of his voice, which, amongst
other things, indicates that the relationship between George and Gersh is an
intimate one, where George is alert to the tones and timbre of his friend's
voice. Like Mason, who repeats the lesson at 573.15 when he hears young
Nathe's voice, the reader is prompted to use a similar strategy to identify
who the other speakers are in the scene. And, like Mason, we know from our
earlier meeting with GW on the porch what he is like, his attitudes, the way
he speaks, how he might respond in a given situation, and so can likewise
identify him by his voice (and this is leaving aside the dynamics of what is
said in response to his "Civility, Sir!" challenge by both Gersh and Mason,
the question about why Gersh is there in the first place, and Chas's
giveaway "twitching").

Even though the "Bellows are never quite fast enough to reveal who" (573.11)
is actually speaking in the text, and the utterances are purposely left
unattributed to echo this, certain "Clearings" *do* appear in the "Smoke" of
Pynchon's narrative. And, of course, those who know, know. George knows
Gersh well enough to know it's he. Mason likewise with Nathe. And readers
who are intimate with and responsive to Pynchon's work, and with the way the
characters have been presented in this novel in particular, are equally
able, and prompted, to recognise the other speakers in this scene.

In postmodern fiction such as Pynchon's narrative agency and aspect are
indeed often indeterminate. By contrast, in a realistic scene, such as the
one in Ch. 58, spoken dialogue which is unattributable would just be sloppy
writing.

best