Biblioklept

I finished reading Thomas Pynchon’s 2013 novel Bleeding Edge a few minutes before I started typing up this blog. I’d jotted down a few notes as I was reading the book over the past two weeks, thinking about writing a review or an essay about the novel, but lately I seem to sit on such notes and never hatch them into anything real.

Today, 8 May 2020 is Thomas Ruggles Pynchon’s 83rd birthday. Folks online like to celebrate with something called Pynchon in Public Day, which this year, thanks to These Paranoid Times, has become Pynchon in Private Day. Instead of doing a big list of links, images, and excerpts, this blog about Bleeding Edge will be my minor contribution.

Reviews usually offer some kind of plot summary, right? Here’s a really short summary: Bleeding Edge is Pynchon’s New York novel, his 9/11 novel, his internet novel. Not enough? Well…

Bleeding Edge is nearly 500 pages long and seems to have almost as many subplots—but the gist of the novel is that Maxine Tarnow, a now-unlicensed fraud examiner, undertakes a sprawling investigation that leads her to what may-or-may-not-be evidence of unidentified conspirators collaborating in some way to facilitate the 9/11 World Trade Center attacks. As is the case with any Pynchon, the gist isn’t the point—the subplots are the real point, those threads that tangle off into some other invisible tapestry, unrevealed to protagonist and reader alike. I’ll lazily borrow from the jacket blurb to offer a smattering of those subplots:

She soon finds herself mixed up with a drug runner in an art deco motorboat, a professional nose obsessed with Hitler’s aftershave, a neoliberal enforcer with footwear issues, plus elements of the Russian mob and various bloggers, hackers, code monkeys, and entrepreneurs, some of whom begin to show up mysteriously dead.

Tellingly, there’s even a tangle in the blurb: The neoliberal enforcer is Nicholas Windust (who uses a cattle prod to enforce his ideology on citizens of developing nations); the guy with “footwear issues” is Eric Outfield, a hacker and podophiliac. There are so many characters in Bleeding Edge that we can forgive even the jacket’s condensing a few into each other.

And yet for all its myriad subplots, Bleeding Edge is one of Pynchon’s more cohesive novels. It’s plot is not as baggy as the behemoth Against the Day, or as complicated as Gravity’s Rainbow, or as confusing as Inherent Vice, the novel that preceded it.

Like Inherent Vice, and Pynchon’s second novel, The Crying of Lot 49, Bleeding Edge is a detective novel, albeit a highly unconventional one. Our detective Maxine Tarnow is a compelling central figure, and Pynchon sticks closely to her consciousness; indeed, Maxine is maybe the closest thing to a first-person-viewpoint Pynchon has given us. Maxine, who occasionally worries about her Yenta tendencies, is a mother of two near-adolescent boys, Otis and Ziggy. At the novel’s outset, she’s estranged from her husband Horst, but he soon re-enters the picture.

The domestic contours of Bleeding Edge are touching. Maxine plays video games with her children, tries to understand the culture that her boys are growing into, riffs on Beanie Babies and Pokemon and first-person shooters with them. (It’s hard not to map some of Pynchon’s bio here: Like Maxine, Pynchon lives on the Upper West Side, and his son Jackson is around the same age as Ziggy and Otis. I will refrain from more biographical speculation, mea culpa.) Bleeding Edge opens in the pre-tragic spring of 2001, with Maxine walking the boys to school. She wants to protect her boys, and in a telling image, she “drifts into a pick” to guard them from any hypothetical traffic.

That domestic theme resonates until the novel’s end—indeed, with its many tangled subplots, the most satisfying resolution happens in the last pages, when, a year later, Maxine’s boys walk to school by themselves. It’s a bittersweet moment, one in keeping with the novel’s balance of tragedy and comedy, zaniness and horror. Ultimately, Bleeding Edge is a comedy in the classical sense, signaling the restoration of family (families, really).

The domestic plot helps to frame Bleeding Edge, but it also stands in contrast to Maxine’s adventures after dark as her investigation into possible fraud at an internet startup leads her into ever-more bizarre territory. There are mysterious videotapes and immersive video games that may-or-may-not contain the souls of those who’ve departed “meatspace”: there are time-traveling soldiers and debauched internet launch parties. There is that “ideological enforcer,” Nick Windust, who Maxine finds herself imporbably drawn to. And, it’s a Pynchon novel, so there’s plenty of drugs, sex, and songs. Like New York City, Bleeding Edge is packed, crammed with details that evoke not just the city’s form, but also its ever-changing spirit.

Of course, the 9/11 World Trade Center attacks loom over the plot, especially the first two-thirds, where they are foreshadowed repeatedly. (Otis and Ziggy eat lunch with their father and his friend Jake at the top of the WTC early in the novel. It’s a windy day, and the boys are nervous as the building sways, but Jake assures them, ironically, that it’s “built like a battleship.”) Pynchon’s handling of the attacks is remarkably restrained—instead of pages and pages of those strange hours, he instead nimbly constructs the moments beforehand and the moments after. A few paragraphs before the attack, Horst, Ziggy, and Otis watch the Colts beat the Jets on Monday Night Football, a wonderfully banal detail that Pynchon explores in more sentences than the actual attack. The days after offer a New Yorker’s cold perspective on the swiftly-mutating jingoism that exploded across the nation after 9/11.

The 9/11 attacks, and America’s response to them, ultimately serve to recapitulate neoliberalism and late capitalism. Pynchon repeats these terms throughout Bleeding Edge, adding them to his lexicon of old standbys like paranoia, invisible, and convenience. Indeed, Bleeding Edge can be read as a sustained how against late capitalism. But the howl also repeatedly shows the complicity of all the howlers: Who doesn’t want convenience? Who doesn’t want the latest fad, the comfort of mass-produced “culture”? Bleeding Edge is littered with the detritus of late-nineties-early-oughts “culture”: Furbies, Britney Spears, Doom, Ambien sex, Bone Thugs-n-Harmony, Nas, the Mamma Mia! Broadway musical, Pokemon, etc. etc. etc. Pynchon has always compounded high and low culture into something new, but Bleeding Edge seems to insist that the twentieth century’s ideals of “high” culture no longer obtain.

Some of his characters find optimism of a new culture, one outside the proscriptions of late capitalism, in the internet. A “game” called DeepArcher takes on a mystical quality in Bleeding Edge, a dwelling place for lost souls. Yet some characters are not optimistic about the future of the internet, including Maxine’s father Ernie, who warns her that the internet was born from the military-industrial-complex, and to the military-industrial-complex it will return. Ernie’s elegy for the internet is prescient, and reads like Pynchon looking back from the future, back from 2010, 2011, 2012, when the money guys had already sewed the seeds of ruination.

Indeed, many of the characters in Bleeding Edge come off as mouthpieces for Pynchon’s own viewpoints, whether it’s Ernie riffing on ARPANET or the decline of labor in the US, or Maxine’s zen therapist Shawn, who rails that late capitalism is a scam headed towards its own exhaustion at the price of our planet. It’s the arrangement of these voices that makes the novel strong though—Pynchon shows the complicity of each voice, even as he shows their resistance to the ideological machine they were born into.

It’s really only Maxine that comes through as a fully-achieved, human, character. She’s complex as both a detective, and a mother. Like Doc Sportello of Inherent Vice, she’s already an outsider, having had her license revoked. Despite her general anti-establishment tendencies, she’s nevertheless attracted to the nefarious agent of neoliberal violence, Nicholas Windust. The attraction here echoes Frenesi Gates’ relationship with Brock Vond in Vineland (or even Doc Sportello’s “partnership” with Bigfoot in Inherent Vice), suggesting an ambiguous, amorphous delineation between “good” and “evil” in Pynchon’s characters. Windust is a villain, but Maxine—and Pynchon—try to redeem him.

Other villains are a bit more one-note, like the geek billionaire Gabriel Ice. It being his New York novel, Rudy Giuliani is a frequent target, as is “the paper of record,” the New York Times. George W. Bush and his gang are minor players here; keeping with its NYC theme, Bleeding Edge suggests the corruption of figures like Elliot Spitzer and Bernie Madoff are part and parcel of a corrupt and corrupting system. Maxine’s job is to search out that corruption, but she doesn’t have the tools to cure it.

I had two false starts over six years before finally finishing Bleeding Edge. I’ll admit that I didn’t think it was that good on those starts, but after finishing it today I’d say that it’s very good. It’s not Gravity’s Rainbow or Mason & Dixon, but what novels are? I also have to admit that the material in the book is maybe too close to many of us to fully assess. I was graduating college in the spring of 2001, when the novel begins. In early September, I was living in my parents’ house, waiting to move to my first “real” job in Tokyo. I was supposed to leave on 9/14. I ended up leaving a week later. Pynchon captures a time in America during which I was, at least theoretically, becoming an adult (a becoming which may or may not have happened yet). Reading Bleeding Edge helped evoke all the weirdness the 2000s were about to lay out for us. It made me angry again, or reminded me of the anger that I’d sustain for most of the decade. It reminded me of our huge ideological failure after 9/11, an ideological failure we are watching somehow fail even more today.  But I also loved the novel’s unexpectedly sweet domestic plot, and found a kind of solace even in its affirmation of family, even as its final image pointed to the kind of radical inconclusiveness at the heart of being a parent.

There are about a million things I wanted to riff on in this blog about this book. I’ve failed to remark on how funny the book is, how insightful, and how, at times, frustrating. On one page Pynchon would make me laugh out loud, a page or two later I’d groan at one of his bad puns (Pynchon has no problem picking the lowest-hanging fruit), and then maybe I’d be cringing at something (like, a rap song he wrote!) a few pages later, before getting transfixed by a beautiful, strange prose sequence. It’s a big book.

Bleeding Edge isn’t Thomas Pynchon’s best novel, nor is it a great starting place for readers new to Pynchon, but I’m glad I finally read it. And I really, really hope that it isn’t his last one.