72 pages • 2 hours read
Thomas PynchonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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Paranoia, broadly speaking, is defined as a baseless suspicion of others, their motives, or their actions. However, the novel presents a thematic paranoia that is both more complex and more extreme, resembling a psychotic symptomatology: suspicions (and perhaps delusions) of persecution, surveillance, or self-importance, often involving elaborate conspiracy theories or organized systems of oppression. The novel is never explicit or precise about such a diagnosis in any character, nor does Pynchon seem concerned with any literal, clinical pathology—but this special inflection of paranoia, elaborate and compulsive, pervades the narrative.
In this vein, Slothrop is a very paranoid person, living in a very paranoid society. Characters attribute their suffering to conspiracy theories and believe that they are being followed, monitored, or otherwise targeted by the mysterious group known only as Them. They are never described in detail; each character has a different interpretation of Them, based solely on their own unique paranoias and beliefs. To Slothrop, They are a mixture of intelligence agencies, chemical companies, and antagonistic individuals all conspiring to target him. As a result of his paranoia, he blames Them for everything that goes wrong. Stolen clothes, unexpected abductions, minor injuries, regular inconveniences, and cases of mistaken identity are all the result of the grand conspiracy with Slothrop at the center. Due to the nature of paranoia, many other characters feel the same way. The paranoid turns each character into a protagonist in their own unique story, in which they are the most important figure who is worthy of surveillance.
The irony of Slothrop’s paranoia is that he is justified. He is being surveilled by government agencies, he was subject to psychological experimentation as a child, and many people across the Zone are watching him closely and trying to prevent him from reaching his goals. The nature of Slothrop’s paranoia, however, means that They remain undefined. He rarely has substantial evidence that he is the target of a grand conspiracy, so his conspiracy theories remain only theories. To some extent, Slothrop is aware of his paranoia. He describes himself as paranoid and sees no point in pretending otherwise. His delusions, if they are delusions, therefore operate similarly to the Zone: His paranoia is nebulous, vague, and completely justified, illustrating the extent of his separation from the conventions of society and how he is operating in a wholly unique way. He is beyond paranoia, beyond truth, and beyond evidence. He becomes the embodiment of a new kind of paranoia that is at once delusional and justified.
The problems with paranoia in Gravity’s Rainbow illustrate the problems inherent to a paranoid society. Paranoia can become so overwhelming that it completely takes over a person’s life, leaving them with nothing else. Lyle Bland obsesses over conspiracy theories until he leaves his family behind to completely embrace the mystical. Similarly, Slothrop becomes so intertwined with his own paranoia that his identity becomes fragmented and scattered. The paranoia threatens to become the identity, leaving nothing behind of any meaning other than the paranoid delusions that attempt to draw organizing meaning from disparate and unconnected ideas. Because this harried search for meaning in an alienated society draws connections where they do not exist, connections are not satisfying or nourishing. Paranoia becomes a metastasizing problem, growing and spreading like the Zone until all that remains is a tangled and unsubstantiated web of delusions and accusations rather than a society, a person, or anything else. Eventually, paranoia is everything.
The characters who inhabit the world of Gravity’s Rainbow recognize its strangeness and absurdity. After the trauma of two World Wars, they feel that everything around them is so irregular, unexpected, and inhumane that they no longer understand their role in society or their own identity. Their quest to relearn their identity becomes an important theme in the novel as the search for self-understanding motivates many of the characters. They seek out new ways to define themselves, unsure how to self-identify in a postwar world that has changed beyond all recognition (and, at the same time, changed them). Roger Mexico, for example, creates his new identity around his affair with Jessica, then has a crisis when she leaves him. Pointsman frames his identity around his research but, after becoming disgraced, no longer knows who he is. Blicero is a towering figure of pain and trauma, but he wants to use Rocket 00000 to break free of humanity’s conventions that he feels restrict his identity. Enzian, ultimately, realizes that his identity is to be the sacrificial hero of the Herero people by encasing himself in a rocket, which may or may not save his people. These experimental attempts to forge new identities in a world that no longer makes sense to its inhabitants may or may not succeed. However, the search itself is an important theme in the novel.
One way in which Slothrop searches for his identity is by changing his clothes. At various points, he is dressed as a representative of at least three different militaries, a pig, a fictional character of his creation called Rocketman; at other points, he wears no clothes at all. The ease with which Slothrop slips in and out of new identities with the changing of his clothes shows the flimsiness of the identities themselves. A character needs little substantive change to become someone completely new when they are so alienated and estranged from society that identity is moot.
Slothrop’s search for identity ends in failure. The Slothrop who begins the novel (and whom the counterforce sets out to save) cannot be recovered. Instead, he becomes scattered across the Zone, spread too thin to any longer be regarded as whole. He has undergone too many identities and suffered too much to still be the person known as Slothrop. Instead, he is something else: He is the Zone, the hollow human embodiment of a place without metaphysical or moral touchstones.
Sex and trauma are never far apart in Gravity’s Rainbow. Ironically, one of the few sources of physical pleasure available to the characters often results in the most psychological harm as the characters abuse, torture, and traumatize one another. Slothrop’s connections to sex and trauma are evident. He is introduced to the novel as a sexual being; his sexual arousal has a predictive power, and his frequent trysts with women seem to prophesy the falling of the German rockets. Death and destruction follow Slothrop’s experiences of sex. Furthermore, the researchers at the White Visitation suggest that Slothrop’s ability may be linked to the psychological experiments performed on him by Laszlo Jamf when he was a young child. Slothrop was changed by these abusive experiments, and he has repressed the traumatic memories. The only legacy of the trauma manifests whenever he has sex, as Jamf conditioned him to be sexually aroused at certain unspecified times. Slothrop’s unique ability is the result of childhood abuse while his enjoyment of sex is tempered by trauma in the past (the experiment) and the future (the imminent fall of the rocket).
During his journey, Slothrop meets many sexually active people. As well as having sex with women like Margherita and Katje (both of whom have their own traumatic pasts), he encounters several orgies. During these, the narrative breaks down in a similar fashion to the social mores of the characters. These moments—such as the one on the Anubis—show the extent to which the characters are no longer bound by traditional attitudes toward sex, as the narrative devolves into lurid, breathless descriptions of sexual acts that are often transgressive in every possible way. Those aboard the Anubis describe their past traumas for Slothrop to explain their sexual experimentation. Everything is permitted among the traumatized; they do not see any value in society, so they feel no need to play by its rules. This link between trauma and sex often creates a self-fulfilling loop in which those traumatized by sex eventually traumatize others. Slothrop is part of this process. He has sex with the underage Bianca, thus creating trauma in a young girl who already has an unhealthy attitude toward sex. If Bianca had lived, she may have perpetuated the same violent cycle of trauma and sex that trapped her parents, Slothrop, and the other characters on the Anubis.
Characters often struggle to distinguish between sex, trauma, and romantic love. For example, Katje, Enzian, Gottfried, and others all equate sex, abuse, and love, particularly with regard to their abusive relationships with Blicero. During his life, Blicero sexually abused, raped, and tortured all three characters. Enzian was a child when Blicero first abused him, Katje was a prisoner, and Gottfried is eventually killed by Blicero as part of his final ritualistic attempt to break free of social convention. Their trauma leaves them physically and emotionally scarred, numbed by the patterns of abuse inflicted upon them by Blicero’s sadomasochism. After leaving him, the characters find that sadomasochism is the only way they can feel something—and pain is better than numbness for these traumatized characters. Blicero acts as a traumatizing force, the embodiment of the modern society’s ability to harm under the guise of love, abusing others to the point where they can no longer distinguish between love and trauma.
By Thomas Pynchon
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