VLVL2 (1): Commentary and Questions (pp. 7 - 9)

[Tim Strzechowski]

This section offers numerous references to spirituality, both through the New Ageism of the Log Jam via the "change of consciousness" brought on by "George Lucas and all his crew" (7), and in the commune-like Cucumber Lounge property and Zoyd's memories of "Van Meter, a lifetime searcher for meaning" with whom Zoyd has once lived and "hoped for some Japanese-style serenity as a side effect" from the communal consciousness (9).  In effect, Pynchon juxtaposes and parallels the Zen-influenced consciousness of hippiedom with the New Age lifestyle of the early Eighties, establishing what Elaine B. Safer refers to as Pynchon's "movement from the sacred to the profane" throughout the whole novel.  She states:

"The materialistic spin that Pynchon's characters give to Zen is a corollary to the movement from the sacred to the profane that exists in the novel as a whole.  Allusions to Zen Buddhism in terms of its adoption by the New Age movement are evident in scenes ranging from the Log Jam bar [...] to the Bodhi Dharma Pizza Temple, where Prairie works.  The 'change of consciousness' mentioned by the bartender at the Log Jam refers to the New Age movement as a whole, a movement that has expensive sessions (like Shirley MacLaine's) on meditation, reincarnation therapy, and other means by which to 'feel the cleansing power of the stream of life'."

Adding to the irony of the satire is the overall humor and homoerotic tone of the Log Jam passage, wherein Pynchon makes deliberate mention of the "dangerous" loggers who are now "perched" on "designer barstools, sipping kiwi mimosas" and garbed in designer clothing, one of whom commenting to Zoyd that "from your fashion message I can tell that you are a sensitive type person who'll appreciate the problem we have here in terms of oriental vibes."  In contrast, Zoyd's visit to the back lot of the Cucumber Lounge revives memories of his attempts at communal serenity gone bad, spiraling into "unrelenting and high-decibel" bickering amongst the commune members in leiu of Zen-like tranquility.  Retrospectively, Zoyd sees how his youthful search for serenity collapsed in the face of reality; as readers, we suspect the same will happen eventually to Buster and the Log Jam clientelle. 
 
How does Pynchon's handling of Zoyd in this section help to establish the reader's trust in his character?

Why is that trust important to the moral bearings of the narrative?  Or is it?

Is Zoyd merely another Pynchonesque schlemihl?  Does he possess a depth of characterization that sets him apart from Benny Profane?  Oedipa Mass?  Tyrone Slothrop?

Does John Shade possess schlemihl-like tendancies?  How?  Does Charles Kinbote?  How?


 
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