VLVL (6) Sasha: Hollywood blacklists

[pynchonoid]

"Almost" only counts in ballroom dancing and hand
grenades, they say. The way Pynchon redeems these
all-too-human characters by leading them rather gently
-- even the "vile-minded" Zoyd and the fallen woman,
Frenesi  -- back to the bosom of a loving (of the
non-traditional, extended, "California" type)family by
the end of the novel communicates, clearly enough,
love for them and scorn for the wanna-be-totalitarian
government forces that hound them throughout the novel
to this denouement. Thus Pynchon leaves critics
looking silly, at least those who attempt to make the
novel's "hippies" and "workers" the bad guys of the
piece. "Who was saved?"--Frenesi, Zoyd, Prairie,
Sasha, for starters.

jbor:
>And, for me, the story of the failure of the IWW as a
>politically 
>active
>organisation throws new light on the
>historico-political symbolism or
>significance of that "Becker-Traverse" family picnic
>at novel's close, 
>in
>the midst of which the "fascist" Brock swoops in and
>almost manages to
>spirit away the willing American child.


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