Thomas Pynchon: Trending quotes (page 2)

First lines
Mason & Dixon (1997)
Context: Snow-Balls have flown their Arcs, starr'd the Sides of Outbuildings, as of Cousins, carried Hats away into the brisk Wind off Delaware, — the Sleds are brought in and their Runners carefully dried and greased, shoes deposited in the back Hall, a stocking'd foot Descent made upon the great Kitchen, in a purposeful Dither since Morning, punctuated by the ringing Lids of various Boilers and Stewing-Pots, fragrant with Pie-Spices, peel'd Fruits, Suet, heated Sugar, — the Children, having all upon the Fly, among rhythmic slaps of Batter and Spoon, coax'd and stolen what they might, proceed, as upon each afternoon all this snowy Advent, to a comfortable Room at the rear of the House, years since given over to their carefree Assaults.

Source: V. (1963), Chapter Two, Part II
Context: The rest of the Crew partook of the same lethargy. Raoul wrote for television, keeping carefully in mind, and complaining bitterly about, all the sponsor-fetishes of that industry. Slab painted in sporadic bursts, referring to himself as a Catatonic Expressionist and his work as “the ultimate in non-communication.” Melvin played the guitar and sang liberal folk songs. The pattern would have been familiar—bohemian, creative, arty—except that it was even further removed from reality, Romanticism in its furthest decadence; being only an exhausted impersonation of poverty, rebellion and artistic “soul.” For it was the unhappy fact that most of them worked for a living and obtained the substance of their conversation from the pages of Time magazine and like publications

Letter to Jules Siegel, published in Cavalier magazine (August 1965); republished in "Pynchon notes 15" and " "The World is at Fault" http://against-the-day.pynchonwiki.com/wiki/index.php?title=The_World_is_at_Fault at pynchonwiki.com http://pynchonwiki.com/
Context: When Marilyn Monroe got out of the game, I wrote something like, "Southern California's special horror notwithstanding, if the world offered nothing, nowhere to support or make bearable whatever her private grief was, then it is that world, and not she, that is at fault."
I wrote that in the first few shook-up minutes after hearing the bulletin sandwiched in between Don and Phil Everly and surrounded by all manner of whoops and whistles coming out of an audio signal generator, like you are apt to hear on the provincial radio these days. But I don't think I'd take those words back.
The world is at fault, not because it is inherently good or bad or anything but what it is, but because it doesn't prepare us in anything but body to get along with.
Our souls it leaves to whatever obsolescences, bigotries, theories of education workable and un, parental wisdom or lack of it, happen to get in its more or less Brownian (your phrase) pilgrimage between the cord-cutting ceremony and the time they slide you down the chute into the oven, while the guy on the Wurlitzer plays Aba Daba Honeymoon because you had once told somebody it was the nadir of all American expression; only they didn't know what nadir meant but it must be good because of the vehemence with which you expressed yourself.

Source: V. (1963), Chapter Seven, Part VII
Context: He had decided long ago that no Situation had any objective reality: it only existed in the minds of those who happened to be in on it at any specific moment. Since these several minds tended to form a sum total or complex more mongrel than homogeneous, The Situation must necessarily appear to a single observer much like a diagram in four dimensions to an eye conditioned to seeing the world in only three. Hence the success or failure of any diplomatic issue must vary directly with the degree of rapport achieved by the team confronting it. This had led to the near obsession with teamwork which had inspired his colleagues to dub him Soft-show Sydney, on the assumption that he was at his best working in front of a chorus line.
But it was a neat theory, and he was in love with it. The only consolation he drew from the present chaos was that his theory managed to explain it.

Source: Mason & Dixon (1997), Chapter 74
Context: Now, nothing in the Sky looks the same. "As to the Comet, — I cannot account for how, — but there came this night, to this boggy Miasmatick place, an exceptional Clarity of the Air, … a sort of optickal Tension among the Stars, that seem'd ever just about to break radiantly thro'… And there. In Leo, bright-man'd, lo, it came. It came ahead. And 'twould be but Prelude to the Finger of Corsica, — which now appear'd, pointing down from Heaven. And the place where it pointed was the place I knew I must journey to, for beneath the Sky-borne Index lay, as once beneath a Star, an Infant that must, again, re-make the World, — this time 'twas a Sign from Earth, not only from Heaven, showing the way.

Gravity's Rainbow (1973)
Context: Kekulé dreams the Great Serpent holding its own tail in its mouth, the dreaming Serpent which surrounds the World. But the meanness, the cynicism with which this dream is to be used. The Serpent that announces, "The World is a closed thing, cyclical, resonant, eternally-returning," is to be delivered into a system whose only aim is to violate the Cycle. Taking and not giving back, demanding that "productivity" and "earnings" keep on increasing with time, the System removing from the rest of the World these vast quantities of energy to keep its own tiny desperate fraction showing a profit: and not only most of humanity — most of the World, animal, vegetable, and mineral, is laid waste in the process. The System may or may not understand that it's only buying time. And that time is an artificial resource to being with, of no value to anyone or anything but the System, which must sooner or later crash to its death, when its addiction to energy has become more than the rest of the World can supply, dragging with it innocent souls all along the chain of life.

I wrote that in the first few shook-up minutes after hearing the bulletin sandwiched in between Don and Phil Everly and surrounded by all manner of whoops and whistles coming out of an audio signal generator, like you are apt to hear on the provincial radio these days. But I don't think I'd take those words back.
The world is at fault, not because it is inherently good or bad or anything but what it is, but because it doesn't prepare us in anything but body to get along with.
Our souls it leaves to whatever obsolescences, bigotries, theories of education workable and un, parental wisdom or lack of it, happen to get in its more or less Brownian (your phrase) pilgrimage between the cord-cutting ceremony and the time they slide you down the chute into the oven, while the guy on the Wurlitzer plays Aba Daba Honeymoon because you had once told somebody it was the nadir of all American expression; only they didn't know what nadir meant but it must be good because of the vehemence with which you expressed yourself.
Letter to Jules Siegel, published in Cavalier magazine (August 1965); republished in "Pynchon notes 15" and " "The World is at Fault" http://against-the-day.pynchonwiki.com/wiki/index.php?title=The_World_is_at_Fault at pynchonwiki.com http://pynchonwiki.com/

Source: Mason & Dixon (1997), Chapter 74

Source: Against the Day (2006), p. 802 <!-- (Penguin Books 2006) -->
Context: It went on for a month. Those who had taken it for a cosmic sign cringed beneath the sky each nightfall, imagining ever more extravagant disasters. Others, for whom orange did not seem an appropriately apocalyptic shade, sat outdoors on public benches, reading calmly, growing used to the curious pallor. As nights went on and nothing happened and the phenomenon slowly faded to the accustomed deeper violets again, most had difficulty remembering the earlier rise of heart, the sense of overture and possibility and went back once again to seeking only orgasm, hallucination, stupor, sleep, to fetch them through the night and prepare them against the day.

Gravity's Rainbow (1973)
Context: "You." A finger the size of a corncob, an inch from Slothrop's nose.
...
"Look," Slothrop's friend producing a kraft-paper envelope that even in the gloom Slothrop can tell is fat with American Army yellow-seal scrip, "I want you to hold this for me, till I ask for it back. It looks like Italo is going to get here before Tamara, and I'm not sure which one"
"At this rate, Tamara's gonna get here before tonight," Slothrop interjects in a Groucho Marx voice.
"Don't try to undermine my confidence in you," advises the Large One. "You're the man."

Source: The Crying of Lot 49 (1966), Chapter 6
Context: Who knew? Perhaps she'd be hounded someday as far as joining Tristero itself, if it existed, in its twilight, its aloofness, its waiting. The waiting above all; if not for another set of possibilities to replace those that had conditioned the land to accept any San Narciso among its most tender flesh without a reflex or cry, then at least, at very least, waiting for a symmetry of choices to break down, to go skew. She had heard all about excluded middles; they were bad shit, to be avoided; and how had it ever happened here, with the chances once so good for diversity? For it was now like walking among matrices of a great digital computer, the zeroes and ones twinned above, hanging like balanced mobiles right and left, ahead, thick, maybe endless. Behind the hieroglyphic streets there would either be a transcendent meaning, or only the earth. In the songs Miles, Dean, Serge and Leonard sang was either some fraction of the truth's numinous beauty (as Mucho now believed) or only a power spectrum. <!-- p. 150

The Rev^d Wicks Cherrycoke, Christ and History
Source: Mason & Dixon (1997), Ch. 35

Gravity's Rainbow (1973)
Context: This ascent will be betrayed to Gravity. But the Rocket engine, the deep cry of combustion that jars the soul, promises escape. The victim, in bondage to falling, rises on a promise, a prophecy, of Escape....
Moving now toward the kind of light where at last the apple is apple-colored. The knife cuts through the apple like a knife cutting an apple. Everything is where it is, no clearer than usual, but certainly more present. So much has to be left behind now, so quickly.

Source: The Crying of Lot 49 (1966), Chapter 1
Context: There'd been no escape. What did she so desire to escape from? Such a captive maiden, having plenty of time to think, soon realizes that her tower, its height and architecture, are like her ego only incidental: and what really keeps her where she is is magic, anonymous and malignant, visited upon her from outside and for no reason at all. Having no apparatus except gut fear and female cunning to examine this formless magic, to understand how it works, how to measure its field strength, count its lines of force, she may fall back on superstition, or take up a useful hobby like embroidery, or go mad, or marry a disc jockey. If the tower is everywhere and the knight of deliverance no proof against its magic, what else?

Source: V. (1963), Chapter Seven, Part I
Context: Perhaps history this century, thought Eigenvalue, is rippled with gathers in its fabric such that if we are situated, as Stencil seemed to be, at the bottom of a fold, it's impossible to determine warp, woof, or pattern anywhere else. By virtue, however, of existing in one gather it is assumed there are others, compartmented off into sinuous cycles each of which had come to assume greater importance than the weave itself and destroy any continuity. Thus it is that we are charmed by the funny-looking automobiles of the '30's, the curious fashions of the '20's, the particular moral habits of our grandparents. We produce and attend musical comedies about them and are conned into a false memory, a phony nostalgia about what they were. We are accordingly lost to any sense of continuous tradition. Perhaps if we lived on a crest, things would be different. We could at least see.

Pynchon's response to Jules Siegel about the complexity of V, as quoted in "Who Is Thomas Pynchon... And Why Did He Take Off With My Wife?", Playboy (March 1977)

Source: Slow Learner: Early Stories

First lines
Source: Gravity's Rainbow (1973)

Source: Mason & Dixon