the postsituational ontology of emptiness

I used to think something, feel something, hope for something when I listened. Now I only feel the despair; I feel the inherent need for an “ontology” but I reject that it must be so. I say it is a weak mind, a weak revolution, a weak generation. an identity that is too far off the charts to be seen anywhere around these parts, but just a petty bourgeois in the other. you want to talk movement,

fuck movement, fuck mobilization.

our dreams are post situational, that its beings and events are all locked
across the river
in some thanatoid dream.
but we don’t know it and we can’t remember why.

an ontology of the permanently fucked.
talk to me about praxis on the couch; don’t expect it to be a remedy for bliss
–a writing project that soothes the blisters of forgotten history.

art is supposed to hurt
everything hurts
everything hurts

i don’t deliver anything. the post-evental sanglots des violins,
a solitary chest heaving,
but always empty of the wind that had transported it,
foolish with the thought that it might ever be more than a dead leaf.

Three snarky comments, sitting in a tree

Today is Sunday. It is raining out. There is some yarn sitting on this desk. I’m thinking about all of the books that I’ve read, and I’m thinking about how I got down to Ocean Avenue this morning. I didn’t always live with the Internet. In fact, I might have had one of the longest non-internet lives in my generation. Didn’t even have cable. Maybe that’s what really did it. These days, especially in the would-be writer community, cultural kitsch is the premier frontispiece. You gotta know obscure and you gotta know a lot of it: where the hell did people get all of this time? It makes me wonder about the quality of musical analysis that might be going on, because it all sort of sound self-referential in the sense that there aren’t really any markers that specifically address context and cultural epoch. That’s not true, I’m just saying that. But still, I’m not very good at research. I was listening to the radio today and heard an interview with Craig Finn. He sort of intruiges me but not really. Musically, he seems to be sort an anachronism, and even more than that, he uses the same narrative structures and musical arrangements over and over in order to tell a different story. And I’m not hating on the Hold Steady, I think they’ve got some good stuff. The real issue is something more wide-spread than the Hold Steady; it’s an over dependence on variety by enumeration instead of variety by qualitative differentiation within the work.

I’m thinking about my childhood and how I didn’t watch much of a variety in my TV. In a lot of ways I think the only real skill that I developed when other kids had the money to play the piano or run five miles in a youth soccer league was learn how to think critically. And more than that, I learned how to tell myself stories. I became overly familiar with public TV movie reruns, and therefore the archetypal movie structures. I was always trying to imagine stories where the “mood” was just right and eternal. I tried to live my somewhat dreary 9-14 year-old life inside a mood, but they never lasted because the daylight always changed so damned much. It was impossible. Then, somehow, my friends started listening to “cool music” in New Jersey and I was just this podunk weirdo from Ohio. At first it seemed like a linear progression in high school, because by the time I was graduating I’d gotten involved with a kid whose entire room was filled with obscure cultural artifacts from that in-between the 80′s and the 90′s, which I’ve started to piece together as the two-year nuclear radius around the Fall of the Wall.

Why is it so bad not to like research, not to like kitsch? I’m an outsider of my own generation. I’m never going to have a lot of friends, a lot of connections, and I’ll probably always look at you kind of funny when you one-up me in the book conversation at the party. I just can’t get involved with that shit, but sure makes creative writing hard in 2010. Nobody wants to read you. And now I’m starting to think that I’m even too obscure to read my own stuff.

ghost fields

And why had Vond left too suddenly? The morning after a night of adolescent dream-flirtation bore Praire out into the forest and the small, shimmering meadow. The power trip was over, the dream was just a ghost memory–she wouldda fallen for it the same as maybe her mom did.

Is Prairie the shimmering meadow, safely shrouded in the cracks of a red wood reunion (the family reunion like Sister Rochell says, like Takeshi and DL have)? Or was her night dreaming set in 1984, after saying goodbye to Alexei and Billy really just like the first time for Takeshi and DL–always too focused on Vond to notice. At least, would be too focused for the next however many ghost field outings in Northern California.

It’s weird. I’m still thinking about the ending of Vineland. What’s really fascinating to me is the ending of the novel, since it offers so much in all of its fits and starts, about the future of the place and the people who have their utopian reunion, well beyond the “present moment”  in the end. In Pynchon, time swirls all around itself: Prairie ends up courting the Thanatoid from the sixties in order to keep some memory of the radiant strawberry past glowing in their respective fantasies.

And, in the end, politics is mended and bridged for all of those non-hardcore types. For Sasha, it’s all about gender differences that are real and that should be negotiated as such. Frenesi, Zoyd, and Flash all operate on a sexual level; they are recuperated on the family scape. Takeshi and DL are not incorporated into that schema. While they do play out the reunion among the ghosts of the sixties and the ever-increasing backlash from the Nixonian, and then the Reaganite Repression, they are in self-possession; at least, they are aware that they are dispossessed.

We are still left wondering where to imagine the pretenses of a Utopia outside of these relationships and times and spaces. There is brief mention of Praire and Weed wandering the Toid village: is that a curse or a dream? Brought together by the almost unbearable imagination of what had happened much to the pleasure of white noise ghost-hippies is the same image that completely rips the wind out of the Living Breathing Future for Prairie. What is it that kept the then 14, now 30 year-old guilty? Was it the impossible mother-sister, was she like DL who still hadn’t realized what had begun until the first half was over? Or was it just that the fire-wind of unbridled power and oppression had simply been sapped, and now we must look to some more heavily (although systematically dispersed) coded and office-type enforcement?

More Vineland: the mothers and fathers of power and utopia

Zoyd I something of comical caricature, but at the heart of it, when it comes time between the figuring out if perhaps there is a “play-dumb” shelter from ideological constraints, deals, sell-outs; Zoyd proves that there just isn’t. Goofy, reintegrated, maybe; but never, never prey.

“…[A]nd Zoyd, who at the last minute had dropped just a quarter of a tab of acid on the chance of glimpsing something cosmic that might tell him he wouldn’t die, gazing mind-blown at the newborn Prairie, one of her eyes plastered shut and the other rolling around wild, which he took to be a deliberate wink, the lambent faces of the women, the paisley patterns on Leonard’s Nehru shirt, the colors of the afterbirth, the baby with both eyes open now looking right at him with a vast, an unmistakable, recognition.” (285)

Mirrored, paralleled with:

“It was in those hours of hallucinating and defeat that Frenesi had felt Brock closer to her, more necessary, than ever. With his own private horrors further unfolded into an ideology of the mortal and uncontinued self, Brock came to visit, and strangely to comfort, in the half-lit hallways of the night, leaning darkly in above her like any of the sleek raptors that decorate fascist architecture.” (287)

“So Hun decided, ‘Heck with it, history can go on Pause for a little while’…” (ibid)

The birth of Prairie ushers in a sort of Historical Pause in the sense that the new field of leftist possibility is reckoned with in terms of generational turns and failures. The Men and the Women here do a lot. The Women have “control” of the situation it seems, but then again so do the Men. Women, silent and unspoken authority with the men floundering around, popping acid tabs, making phone calls after the fact. At the end, what is closer to the truth is that they are two sides of the same coin. Revolution or family in Hubbel’s case; Sasha manages a quiet type of domestic radicalism that is continued in Frenesi. But this isn’t exactly a positive vibe either, because she is already mastered within a paradigm that shifted away from the comforts of home to a kind of impulse managed within the sphere of ideology that offers “immunity” for the price of loyalty. What this turn really is a kind of immunity from the law so far as it does not cross community borders: perhaps this is why Brock’s power dynamics are completely managed within a psychoanalytic sphere? And perhaps why Frenesi, after she “hid” (but effectively surrendered) within the family unit, was properly relocated within and time and space dynamic that proved that she was just an animal with “full sensory perception,” and onto the second quarter of life, no promise of return. Context muddles everything.

an addendum: even fascists have Utopias

So that in addition to immunity from the law, another selling point for hiring on would turn out to be this casual granting of the wish implied in the classical postcollegiate Dream of Autumn Return, to one more semester, one more course credit required, another chance to be back in school again–yes, as long as it was paid for in services useful enough to them, the FBI even put you on the time machine if that’s what you wanted, is how heavy those coppers were even back in those days.

Brock Vond’s genius was to have seen in the activities of the sixties left not threats to order but unacknowledged desires for it. While the Rube was proclaiming youth revolution against parents of all kinds and most viewers were accepting this sotry, Brock saw the deep– if he’d allowed himself to feel it, the sometimes touching–need only to stay children forever, safe inside some extended national Family. The hunch he was betting on was that these kid rebels, being halfway there already, would be easy to turn and cheap to develop. They’d only been listening to the wrong music, breathing the wrong smoke, admiring the wrong personalities. They needed some reconditioning.” (268-69)

Vineland

Spending some quality time with Pynchon changes a lot of easy pre-suppositions about his writing style, about his philosophical point of view, and about his engagement with “nostalgia;” but what Vineland really conducts is an exhaustive search for the Utopian in all of its hiding places. And for that very reason, Pynchon is also irrevocably engaged with the American ideological “apparatus” (although this suggests a structuralism that I’m not at all implying). The casual granting of the Dream of Autumn Return exposes that even fascists have Utopian impulses that must be managed. Well, if in fact the lesser participants, or “symptomatic” characters like Frenesi are not properly fascist, they are at least indoctrinated into a system of exchange that acknowledges a security-blanketed space between family and government.

I think that the real killing point here is not at all that there is a sort of ideological blinder. Brock knows his opponent because he shares in the same impulse. Who was it exactly who got to play out postcollegiate fantasies if it wasn’t Vond, himself? Often times, there’s a sort of idealized causalist relationship that the Left has with the Right. This might be a fragment of a certain type of pre-causal, even structural conception of the Left, but really, what Pynchon really seems to be hazarding is a type of admission. What if, against all of our hopes and fears, that the blind Utopian impulse, the impulse to rebel, to “youth revolution” in the 60s really was just “unacknowledged desires for” order? This isn’t a vlaue judgement on the absolute status of the Utopian impulse in itself, but the way in which ideology is permeated in the Left as it is the Right, as an interchangeable weapon, as always an ideological apparatus that contains the Utopian. In granting the wish to return to the university, DOJ Polical Intelligence Office is already completing the first half of “immunity.”

What about the university is more appealing from an outside perspective than its implications for social immunity? The attitudes, the desire to be more than a profession or a strictly quantifiable unit of (ever-increasingly imaginary) production in a larger cog of production and free time, are rarely offered outside the limits of the university. This is no poster for Experimenting in College; what I’m talking about is a real and hard look at life that can’t be immediately quantified in dollar amounts, where there is at least an opportunity (perhaps if only heuristically) to learn for learning’s sake. In a university setting, we see a doubled effect of what Pynchon narrates as the Utopian purblind effect. In the university, it is possible to imagine that the Utopian agents of the university are safeguarded and “passed down” through a process of inversion: the students revert into an ever-extending time-capsule that we call graduate school, and with much holdings back of the gates, manage to preserve this or that period and specialization only to represent it as a real alternative, which it cannot be in late capitalism (this is the place where if I were writing an essay I would write another essay and then cite it in a footnote). So, what I mean to demonstrate here is that the Utopian purblindness cannot take into account the ideological apparatus that in fact dominates it at every turn; so that “finding a crack” is impossible, or at very best, unsustainable, because it can always be reintegrated into the ideological apparatus through previously “unacknowledged desires.” These “desires” are of course more than just a notable feature of Western Capitalist Culture, but rather the foundation for a world economy.

What Brock Vond–indeed, what post-sixties ideology–is really commensurate with is the project of re-remembering the real revolutionary impulse that in its truest form destroys ideological and dogmatic binds for a Utopian sense of being as an already-read bedtime story about ideological massage and transmission. When Pynchon says “if he’d allowed himself to feel it, the sometimes touching–need only to stay children forever, safe inside some extended national Family,” that exposes an alternate Dream. Up to this point, it’s relatively difficult for an already-Left reader to walk away from the projects of revolution (in Pynchon’s terms) without a type of nostalgia, or at the very least without a desire to defend nostalgia and impulse.

The dangerous thing about Impulse here is not that the Utopian will always crumble into the fold of the dominant ideological apparatus, but that it somehow always locates itself in a Left that imagines itself to exist outside of it. In that sense, Pynchon’s discussion of the Dream of the Autumn Return is not answerable in mashed terms of DOJ nor in the campus revolutionaries of the Film Collective. In fact, what this passage really gets at is the all too strongly commensurate ideological undercurrent in the 1960′s counterculture.

So the question, for Pynchon and for the university (maybe even revolution) more generally, becomes a question of  impulse and of Reckoning With the Opposition. I don’t think that many people on the Left would seriously contemplate  an Enlightenment Style of ideological stripping: even if this stripping were somehow spontaneous possible (the systematic deconstruction of a capital universe) still always presupposes a type of re-arming or educating. And here we see tactical parallels with Vond’s Political Reeducation Project. The university can only become a true Utopia once is comes to terms with its own qualifications in capital society. The possibilities and Dream of the Autumn Return are only secured as far as the semester that binds us, and we are bound by the “one more course credit required.” But even that validation is a dead give away to the fact that we are all in essence a type of Thanatoid cloud in the dusty hallways, ever more expensive to study in and ever fewer positions to transmit what really might be the only thing to save us.