47 pages • 1 hour 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.
On Christmas Eve, 1955, Benny Profane happens to pass through Norfolk, Virginia. He has recently been discharged from the Navy, and while traveling “up and down the east coast like a yo-yo” (2), he decides to visit a familiar bar named the Sailor’s Grave. A fight is already in progress when he arrives; he is greeted by the barmaid Beatrice and complains that Ploy, a short, toothless man who is “always picking fights with the biggest people” (3), is the person who started the brawl. At the Sailor’s Grave, all the barmaids are called Beatrice, and every payday night, the bar hosts Suck Hour, where sailors suckle on the foam rubber breasts that are fitted to the beer taps. Ploy introduces Profane to Dewey Gland, who sings a song to commemorate Profane’s recent discharge. Pig Bodine, Profane’s former shipmate, interrupts the song. They discuss Paola Hod (nee Maijstral), a teenager from “the island of Malta” (4) who lied about her age to gain entry to America and is now working at the Sailor’s Grave. Bar owner Mrs. Buffalo announces the beginning of Suck Hour; “carnage” (6) breaks out until the police arrive. Profane, Pig, Ploy, Paola, and Dewey escape through the back of the bar.
The group spends the next week drinking heavily together in a nearby apartment. Paola refuses the attentions of Pig and Dewey; she asks Profane to “be good” (7) to her in a way her ex-husband was not. On New Year’s Eve, Profane and Paola drink black coffee on a ferry to Norfolk and watch the snow fall. They meet up with Pig and Dewey and find a bar to drink in.
Profane wakes up alone on the floor of Pig’s apartment. Pig is outside in an alley, revving the engine of a motorbike. Profane is reminded of his former girlfriend Rachel Owlglass, a “sulky and voluptuous” (8) woman from a wealthy family. Profane met Rachel when she “nearly ran him over” (9) while he worked for a Brazilian restaurant boss and militant Zionist named Da Conho. Rachel invited him to go for a ride with her and Profane was horrified by her wild driving style. They met intermittently over the course of a summer. Eventually, Profane “finagled” (11) himself into loving Rachel but she only loved her sports car. Now, she works as a receptionist in New York. Profane still thinks about Rachel “at random” (12) and feels drawn to her.
On New Year’s Eve, the group bribes their way into an expensive boat party. Military police break up the party just after midnight. As the police arrest many guests, Profane lays down to sleep. He wakes up on the deserted ship, covered in a “thin layer of snow” (13) and crawls below decks to get warm. While disabling the ship’s mousetraps, he sneakily makes coffee while avoiding the guard. Leaving the ship, he finds Paola on the ferry. They buy two one-way bus tickets to New York. In the bus station, Profane gets a call from Rachel on the public telephone. She is at a party with Raoul, Slab, and Melvin—a group that Profane knows as The Whole Sick Crew—who often drink at a bar named the Rusty Spoon. Profane travels to New York with Paola, telling her that Rachel will set her up with a job.
Profane searches for a job in New York, riding the subway “like a yo-yo” (15). Some young people suggest he “hunt alligators” (16) in the sewers of the city. When one of them, Fina, invites him home, Profane feels that his luck has finally turned and that he is no longer the “schlemihl” (17) he believes himself to be. Profane visits the apartment Fina shares with her family and sleeps in the bathtub. He meets Fina’s brother Angel and his friend Geronimo. They drink heavily and watch women in the local park. Angel has a job hunting alligators “all over the sewer system” (18), and he agrees to ask his boss to hire Profane.
Rachel walks through New York “as if she were nose-deep in snowdrifts, and yet on route to meet a lover” (19). She is returning from a meeting with a cosmetic surgeon named Shale Schoenmaker, whom she accused of trying to drive her friend Esther Havitz into debt with needless surgeries. She has helped her roommate Esther “out of more financial crises than either could remember” (21). Her friend Slab claims that Rachel helps Esther so she can feel like a mother.
Rachel goes to a party, where she sits on the floor at the center of the crowd. A young man named Herbert Stencil watches her and worries that she does not like him. Rachel does not like “the way he looks at Paola” (22), her and Esther’s new roommate, but Rachel is misunderstanding Stencil’s interest in the young Maltese girl. His father Sidney Stencil is a former British spy who worked in Malta and died while investigating the June Disturbances in 1919. Since his father’s death, Stencil has read his father’s diaries and become obsessed with the identity of a mysterious woman named only V. His “grim, joyless” (23) pursuit of this mystery has no real purpose. Stencil knows that Schoenmaker owns a “vital piece of the V. jigsaw” (24), and, until Schoenmaker is prepared to share this information, Stencil passes the time by investigating the Whole Sick Crew. To Stencil, they seem to be lazy, uninteresting performance artists.
Elsewhere in the city, Paola visits a bar with Roony, Charisma, and Fu. They watch a jazz musician named McClintic Sphere perform.
Stencil is obsessed with “the pursuit of V.” (26). His life as a spy seems dull to him, and he refers to himself always in the third person to blend in among his many false identities. After hearing about the death of Porpentine, one of “his father’s colleagues” (27), he travels to Egypt, where his investigations have led him to a series of eight people located in Egypt in the late 1800s. In this chapter, he attempts to reconstruct their viewpoints and experiences from that time.
P. Aieul, a “café waiter and amateur libertine” (27), watches two Englishmen, the badly dressed Porpentine and Goodfellow, discuss a mysterious woman. Goodfellow plans to “seduce” (28) a woman named Victoria Wren, whose husband or father Sir Alastair Wren is a British politician. Aieul wonders whether Porpentine and Goodfellow are anarchists who plan on assassinating Sir Alastair.
Yusef is an anarchist who runs the punch table at the Austrian consulate on the night of a party. That night, his eyes are drawn to an Englishwoman named Victoria. Sitting next to Victoria and her sister Mildred, Yusef sees Porpentine and Goodfellow in disguises. Yusef wonders what they are planning. When Porpentine falls over, a man in blue glasses and a disguise mocks him.
Maxwell Rowley-Bugge sits in the corner of the restaurant Fink. He is a conman and a pedophile whose presence is tolerated in the city as part of the local “color” (30). He eavesdrops on a conversation between Porpentine, Goodfellow, Victoria, Mildred, and an “emaciated” (32) Egyptologist named Hugh Bongo-Shaftsbury. Lepsius, a man in blue glasses, also briefly appears. When the restaurant closes, Maxwell asks Porpentine for money but then declines what is offered.
Aboard a train from Alexandria to Cairo, a “highly religious” (34) conductor named Waldetar inspects the tickets of Porpentine and Hugh Bongo-Shaftsbury. When Hugh pulls back his sleeve to show Mildred the wires in his arm, she runs away in horror to her father’s cabin. A fight breaks out elsewhere in the train. Porpentine rushes to disarm an Arab man before he can shoot Goodfellow.
Gebrail is a poor taxi driver with a horse-drawn carriage. His passenger is a rich Englishman with “dead skin” (36) peeling off his burned face. They pull up in front of Shepherd’s Hotel, and the Englishman fetches his “fat friend” (37).
Girgis is a clown by day and a thief by night. He crouches in the bushes beside Shepherd’s Hotel and watches an Englishman (Porpentine) with skin peeling from his face clamber out a window, fall to the ground, and then twice try to climb up again. When Girgis approaches, Porpentine mistakes him for Hugh and complains that Goodfellow “and the girl” (38)—Victoria—are together on his bed.
Hanne is a “stout and blond” (39) barmaid in a German beer hall in Cairo. She dates Lepsius, who tells her that he is a salesman. Lepsius complains that a competitor is underselling him with inferior merchandise. This competitor is Porpentine, who visits the beer hall and talks loudly about a plot to “assassinate Cromer” (40), the Austrian Consul-General. They are joined by Mildred Wren, who insists that Victoria loves Goodfellow and that her father will be furious if he learns about the relationship. Mildred also claims to love Goodfellow.
In the Ezebekiyah Garden Theater, Lepsius enters a private box. Porpentine and Goodfellow enter the box next to Lepsius, quickly followed by Mildred. She leaves in tears a few minutes after, pursued by Goodfellow. Then, Porpentine emerges with a smoking gun in his hand. He enters Lepsius’s box and a fight breaks out. A shadowy figure revealed to be Hugh Bongo-Shaftsbury shoots and kills Porpentine.
The opening chapters of V. establish the novel’s absurdist, maximalist tone. Pynchon’s world is frequently surreal: Strange details like breast-shaped beer pumps and the mouse-trap-laden luxury boat suggest that society has become a series of absurdist incidents that are impossible to scrutinize in any great detail. Everything, in effect, has become the Suck Hour. Because Pynchon’s alienated characters can never be quite sure what is real, they have abandoned any meaning or purpose, choosing nihilism over the alienating effects of the world around them. In the present, we follow the decadent, nihilistic adventures of Benny Profane. The defining image of Profane’s life is the yo-yo (mentioned several times in the text and in the title of the first chapter), as his peregrinations take him back and forth without any progress or point. Even the Whole Sick Crew, ostensibly an artist collective, do nothing but drink heavily and argue. Rather than creating work that will offer insight into the human condition, they make pictures of cheese pastries or poorly received theater pieces—a send-up of Postmodern art’s rejection of greater meaning. Characters feel the pressure of Existing at the End of History, as all of post-WWII America feels exhausted and directionless.
The narrative takes place in two time frames, which underscore the tension between subjective and objective truth. As Profane meanders, the obsessive Herbert Stencil assembles a version of sensationalist events in 19th-century Egypt from the testimony of different sources. His investigation is a search for fact—the true identity of V. With nothing to give meaning to the present, Stencil looks to the past and his invented historical mystery. For Stencil, history has ceased its forward momentum, and the past has become addictively appealing. In this sense, the structure of the novel mirrors the characters’ obsessions, as it cannot continue forward without returning to the past. However, Stencil’s version of history is not always accurate. He is an unreliable collator of sources, criticized for embellishing, misinterpreting, or inventing parts of his narrative. In essence, he transforms objective reality into the imaginative reconstruction of subjective perspectives. True objectivity does not exist in V., and Stencil can only stitch together a series of subjective perspectives and claim that they are objective—it is a stenciled outline of objective truth, not the substantive reality.
The text’s structure intersects with or highlights its themes and key images. Its bouncing between past and present echoes the voyage of a yo-yo, a predetermined movement that returns to a stable and motionless point in time. At the same time, as the two time frames slowly move towards each other and merge, another image of its structure emerges—the letter V, in which two separate lines meet and intersect. Finally, since Chapter 3 is actually a version of “Under the Rose,” an earlier short story by Thomas Pynchon, in repurposing this narrative, Pynchon is performing a similar act to Stencil: He is stitching together something new from old materials, extracting meaning from the past to provide validation to the present.
By Thomas Pynchon
Addiction
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Appearance Versus Reality
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Colonialism & Postcolonialism
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European History
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Fathers
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Memory
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Order & Chaos
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Satire
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The Future
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War
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