VLVL2 (14) Transitions, an overview, 311-322

[Paul Nightingale]

Given ongoing (?) discussions of character and characterisation ...

The latter part of this chapter reminds us that, with regard to fate,
character isn't fixed but--open to negotiation, perhaps? Agency is often
rendered unintentional. There is something of an improvisational air to
proceedings, one that adds to the picaresque form.

Mucho is described as "born-again" (311); while Hector turns up as
something of a Corvairs "groupie" (312). Mucho then astonishes Zoyd by
'predicting' that a former movie star will become president (313).

Perceptions are no less susceptible to change. Musical priorities are
open to revision, Mucho informing Hector that "not even the Surfaris are
playing white anymore" (312); while "anything that could remotely please
any of your senses" can be declared out of bounds (313). As Zoyd has
already noted: "They didn't even start goin' after dope till Prohibition
was repealed" (312).

Once in Vineland, Zoyd has to "put together a full day's work, piece by
piece" (319); which might also apply to "newcomers, all cherry to the
labour market" (321). Here, the "once-ethereal girlfriends" might
include Trillion, rerouted once "revolution went blending into commerce"
(308). However, Prairie "didn't seem to miss the beach at all" (316; and
cf her greeting of Van Meter here with the way she greets her father,
before "finally [coming] to kiss him hello after all", 304).

The narrative focuses on transitions of one kind or another, perhaps
reminding the reader that individual subjects might make history, but
they don't always do so as expected or intended. The novel continues to
use location to make this point: the passage describing, and introducing
the reader to, Vineland (316-318) emphasises transformation, be it
evolutionary or otherwise. This is reminiscent of other first glimpses,
of the Gordita Beach house (22, "sturdier than it looked"--like Zoyd
himself?); the Wayvone estate (92); the Retreat (107-108). That Vineland
was "born to be suburbs" (319) might encourage the reader to recall the
fate of "a piece of former movie-studio lot", once it had "been
reclaimed by the serious activities of the World of Reality" (192). And
looking ahead, cf the description of Zoyd's and Prairie's home, "a
living thing he loved, whose safety he feared for" (358).