AtDTDA: [38] pgs. 1072: The Beginning of a Complicity That Might Bear Some Watching

[robinlandseadel at comcast.net]

In one more gesture towards fascism as described in Vineland, 
Renzo:
 
          . . . .had stopped wearing civilian clothes. He was now 
          in uniform all the time. Eagles seemed to be a prominent
          motif.

From: Raptor, Rapist, Rapture:

The Dark Joys of Social Control in Thomas Pynchon's Vineland
by Bill Not Bored

         Look, birds are everywhere in Vineland, from the message-
         laden carrier pigeons "taking off one by one" on the novel's 
         very first page to the "redtail hawk in an updraft soaring 
         above the ridgeline" on its very last. . . .

         There's a passing reference to the "shelter" snitches can 
         find in "the shadow of the federal wing," that is, under the 
         protection of the federal wing of the United States
         Government, here visualized as something similar to 
         the fatherly, even God-like giant bird in Prince von Bulow's 
         Memoirs: The World War and Collapse of Germany, 
         1909-1919.

                  An eagle spreads his wings
                  Over his young
                  So, ever and anon,
                  His might has covered me.

         But most of the birds in Vineland are predatory, not 
         protective. . . .

http://www.notbored.org/vineland.html

From: Cultural Trauma and the "Timeless Burst": 
Pynchon's revision of Nostaligia in Vineland.

By James Berger

         Published in 1972, Anti-Oedipus, like "Let it Be" and "Let it 
         Bleed," responds to the perceived catastrophic breakdown 
         of the 60s social movements. It is to the political, and 
         libidinal, utopianism of Herbert Marcuse and Norman O. 
         Brown what the Weathermen were to the earlier 
         communitarian idealism of the SDS. That is, it is a form 
         of theoretical terrorism conceived in the collapse of hope 
         in effective politics. The major problem Deleuze and 
         Guattari address, and the problem which for them 
         invalidates conventional political action and belief, is 
         precisely the problem raised by Frenesi and Brock's 
         relationship, that of an inner fascism which structures 
         sexuality, politics, and representation and which is 
         apparently inseparable from these latter structures. As 
         Michel Foucault writes in his Preface to Anti-Oedipus,

            the major enemy, the strategic adversary is 
            fascism. . . . And not only historical fascism, 
            the fascism of Hitler and Mussolini -- which 
            was able to mobilize and use the desire of 
            the masses so effectively -- but also the 
            fascism in us all, in our heads and in our 
            everyday behavior, the fascism that causes 
            us to love power, to desire the very thing 
            that dominates and exploits us.

http://www.themodernword.com/pynchon/papers_berger.html

Kit, no dumb bunny, wrestles with that knowledge, knowing
full well of his karma, of that desire for revenge that is in the 
blood. Next thing you know, Kit meets up with his blood. 
Reef, Yashmeen and Lujbica, show up in Torino, refugees 
from another war front, where Reef was literally taking the 
high ground for 

         ". . . .the Italian army up in a totally unreal Alpscape 
         rigging aerial cableways known in the army as 
         teleferiche. . .  . . .till next thing anybody knew, they're all 
         sitting on top of these very sharp white mountaintops 
         with their ass freezing in the wind, and noplace to go."

         "But into the sky," said Yasmeen

Kit invites the clan to stay as long as they like.

Yasmeen & Dally "were getting along just jake" and Reef [who's
already being through his fair share of gender-bent scenes] 
detects "the beginning of a complicity that might bear some 
watching."