Slow Learner

Slow Learner

Thomas Pynchon

INTRODUCTION

THE SMALL RAIN

LOW-LANDS

ENTROPY

UNDER THE ROSE

THE SECRET INTEGRATION

As NEARLY as I can remember, these stories were written between 1958 and 1964. Four of them I wrote when I was in college —the fifth, "The Secret Integration" (1964), is more of a journeyman than an apprentice effort. You may already know what a blow to the ego it can be to have to read over anything you wrote 20 years ago, even cancelled checks. My first reaction, rereading these stories, was
oh my God
, accompanied by physical symptoms we shouldn't dwell upon. My second thought was about some kind of a wall-to-wall rewrite. These two impulses have given way to one of those episodes of middle-aged tranquility, in which I now pretend to have reached a level of clarity about the young writer I was back then. I mean I can't very well just 86 this guy from my life. On the other hand, if through some as yet undeveloped technology I were to run into him today, how comfortable would I feel about lending him money, or for that matter even stepping down the street to have a beer and talk over old times?

It is only fair to warn even the most kindly disposed of readers that there are some mighty tiresome passages here, juvenile and delinquent too. At the same time, my best hope is that, pretentious, goofy and ill-considered as they get now and then, these stories will still be of use with all their flaws intact, as illustrative of typical problems in entry-level fiction, and cautionary about some practices which younger writers might prefer to avoid.

"The Small Rain" was my first published story. A friend who'd been away in the army the same two years I'd been in the navy supplied the details. The hurricane really happened, and my friend's Signal Corps detachment had the mission described in the story. Most of what I dislike about my writing is present here in embryo, as well as in more advanced forms. I failed to recognize, just for openers, that the main character's problem was real and interesting enough to generate a story on its own. Apparently I felt I had to put on a whole extra overlay of rain images and references to "The Waste Land" and
A Farewell to Arms
. I was operating on the motto "Make it literary," a piece of bad advice I made up all by myself and then took.

Equally embarrassing is the case of Bad Ear to be found marring much of the dialogue, especially toward the end. My sense of regional accents in those days was primitive at best. I had noticed how in the military voices got homogenized into one basic American country voice. Italian street kids from New York started to sound like down-home folks after a while, sailors from Georgia came back off leave complaining that nobody could understand them because they talked like Yankees. Being from the North, what I was hearing as a "southern accent" was really this uniform service accent, and not much else.

I imagined I had heard
oo
for
ow
in civilian voices around Tidewater Virginia, but didn't know that in different areas of this real or civilian South, even in different parts of Virginia, people spoke in a wide number of quite different accents. It is an error also noticeable in movies of the time. My specific problem in the barroom scene is not only that I have a Louisiana girl talking in Tidewater diphthongs imperfectly heard to begin with, but worse, that I insist on making it an element of plot — it makes a difference to Levine, and therefore to what happens in the story. My mistake being to try to show off my ear before I had one.

At the heart of the story, most crucial and worrisome, is the defective way in which my narrator, almost but not quite me, deals with the subject of death. When we speak of "seriousness" in fiction ultimately we are talking about an attitude toward death - how characters may act in its presence, for example, or how they handle it when it isn't so immediate. Everybody knows this, but the subject is hardly ever brought up with younger writers, possibly because given to anyone at the apprentice age, such advice is widely felt to be effort wasted. (I suspect one of the reasons that fantasy and science fiction appeal so much to younger readers is that, when the space and time have been altered to allow characters to travel easily anywhere through the continuum and thus escape physical dangers and timepiece inevitabilities, mortality is so seldom an issue.)

In "The Small Rain" characters are found dealing with death in pre-adult ways. They evade: they sleep late, they seek euphemisms. When they do mention death they try to make with the jokes. Worst of all, they hook it up with sex. You'll notice that toward the end of the story, some kind of sexual encounter appears to take place, though you'd never know it from the text. The language suddenly gets too fancy to read. Maybe this wasn't only my own adolescent nervousness about sex. I think, looking back, that there might have been a general nervousness in the whole college-age subculture. A tendency to self-censorship. It was also the era of
Howl, Lolita, Tropic of Cancer
, and all the excesses of law enforcement that such works provoked. Even the American soft-core pornography available in those days went to absurdly symbolic lengths to avoid describing sex. Today this all seems a dead issue, but back then it was a felt constraint on folks's writing.

What I find interesting about the story now is not so much the quaintness and puerility of attitude as the class angle. Whatever else the peacetime service is good for, it can provide an excellent introduction to the structure of society at large. It becomes evident even to a young mind that often unacknowledged divisions in civilian life find clear and immediate expression in the military distinction between "officers" and "men." One makes the amazing discovery that grown adults walking around with college educations, wearing khaki and brass and charged with heavy-duty responsibilities, can in fact be idiots. And that working-class white hats, while in theory capable of idiocy, are much more apt to display competence, courage, humanity, wisdom, and other virtues associated, by the educated classes, with themselves. Although cast in literary terms, Lardass Levine's conflict in this story is about where to put his loyalties. Being an unpolitical '50's student, I was unaware of this at the time - but in hindsight I think I was working out of a dilemma that most of us writing then had, in some way, to deal with.

At the simplest level, it had to do with language. We were encouraged from many directions — Kerouac and the Beat writers, the diction of Saul Bellow in
The Adventures of Augie March
, emerging voices like those of Herbert Gold and Philip Roth - to see how at least two very distinct kinds of English could be allowed in fiction to coexist. Allowed! It was actually OK to write like this! Who knew? The effect was exciting, liberating, strongly positive. It was not a case of either/or, but an expansion of possibilities. I don't think we were consciously groping after any synthesis, although perhaps we should have been. The success of the "new left" later in the '6o's was to be limited by the failure of college kids and blue-collar workers to get together politically. One reason was the presence of real, invisible class force fields in the way of communication between the two groups.

The conflict in those days was, like most everything else, muted. In its literary version it shaped up as traditional vs. Beat fiction. Although far away, one of the theatres of action we kept hearing about was at the University of Chicago. There was a "Chicago School" of literary criticism, for example, which had a lot of people's attention and respect. At the same time, there had been a shakeup at the
Chicago Review
which resulted in the Beat-oriented
Big Table
magazine. "What happened at Chicago" became shorthand for some unimaginable subversive threat. There were many other such disputes. Against the undeniable power of tradition, we were attracted by such centrifugal lures as Norman Mailer's essay "The White Negro," the wide availability of recorded jazz, and a book I still believe is one of the great American novels,
On the Road
, by Jack Kerouac.

A collateral effect, for me anyway, was that of Helen Waddell's
The Wandering Scholars
, reprinted in the early '50's, an account of the young poets of the Middle Ages who left the monasteries in large numbers and took to the roads of Europe, celebrating in song the wider range of life to be found outside their academic walls. Given the university environment of the time, the parallels weren't hard to see. Not that college life was dull, exactly, but thanks to all these alternative lowlife data that kept filtering insidiously through the ivy, we had begun to get a sense of that other world humming along out there. Some of us couldn't resist the temptation to go out and see what was happening. Enough of us then came back inside with firsthand news to encourage others to try it too - a preview of the mass college dropouts of the '60's.

I enjoyed only a glancing acquaintance with the Beat movement. Like others, I spent a lot of time in jazz clubs, nursing the two-beer minimum. I put on hornrimmed sunglasses at night. I went to parties in lofts where girls wore strange attire. I was hugely tickled by all forms of marijuana humor, though the talk back then was in inverse relation to the availability of that useful substance. In 1956, in Norfolk, Virginia, I had wandered into a bookstore and discovered issue one of the
Evergreen Review
, then an early forum for Beat sensibility. It was an eye-opener. I was in the navy at the time, but I already knew people who would sit in circles on the deck and sing perfectly, in parts, all those early rock'n' roll songs, who played bongos and saxophones, who had felt honest grief when Bird and later Clifford Brown died. By the time I got back to college, I found academic people deeply alarmed over the
cover
of the
Evergreen Review
then current, not to mention what was inside. It looked as if the attitude of some literary folks toward the Beat generation was the same as that of certain officers on my ship toward Elvis Presley. They used to approach those among ship's company who seemed likely sources -combed their hair like Elvis, for example. "What's his message?" they'd interrogate anxiously. "What does he want?"

We were at a transition point, a strange post-Beat passage of cultural time, with our loyalties divided. As bop and rock'n'roll were to swing music and postwar pop, so was this new writing to the more established modernist tradition we were being exposed to then in college. Unfortunately there were no more primary choices for us to make. We were onlookers: the parade had gone by and we were already getting everything secondhand, consumers of what the media of the time were supplying us. This didn't prevent us from adopting Beat postures and props, and eventually as post-Beats coming to see deeper into what, after all, was a sane and decent affirmation of what we all want to believe about American values. When the hippie resurgence came along ten years later, there was, for a while anyway, a sense of nostalgia and vindication. Beat prophets were resurrected, people started playing alto sax riffs on electric guitars, the wisdom of the East came back in fashion. It was the same, only different.

On the negative side, however, both forms of the movement placed too much emphasis on youth, including the eternal variety. Youth of course was wasted on me at the time, but I bring up the puerility angle again because, along with imperfectly developed attitudes about sex and death, we may also note how easily some of my adolescent values were able to creep in and wreck an otherwise sympathetic character. Such is the unhappy case with Dennis Flange, in "Low-lands." In a way this is more of a character sketch than a story. Old Dennis doesn't "grow" much in the course of it. He remains static, his fantasies become embarrassingly vivid, that's about all that happens. A brightening of focus maybe, but no problem resolution and so not much movement or life.

It is no secret nowadays, particularly to women, that many American males, even those of middle-aged appearance, wearing suits and holding down jobs, are in fact, incredible as it sounds, still small boys inside. Flange is this type of a character, although when I wrote this story I thought he was pretty cool. He wants children — why isn't made clear - but not at the price of developing any real life shared with an adult woman. His solution to this is Nerissa, a woman with the size and demeanor of a child. I can't remember for sure, but it looks like I wanted some ambiguity here about whether or not she was only a creature of his fantasies. It would be easy to say that Dennis's problem was my problem, and that I was putting it off on him. Whatever's fair — but the problem
could
have been more general. At that time I had no direct experience with either marriage or parenting, and maybe I was picking up on male attitudes that were then in the air — more documentably, inside the pages of men's magazines,
Playboy
in particular. I don't think this magazine was the projection, exclusively, of its publisher's private values: if American men had not widely shared such values,
Playboy
would have quickly failed and faded from the scene.