Vineland

De: Thomas Pynchon

Narrado por: Graham Winton

Vineland, a zone of blessed anarchy in Northern California, is the last refuge of hippiedom, a culture devastated by the sobriety epidemic, Reaganomics, and the Tube. Here, in an Orwellian 1984, Zoyd Wheeler and his daughter, Prairie, search for Prairie's long-lost mother, a '60s radical who ran off with a narc.

Vineland is vintage Pynchon, full of quasi-allegorical characters, elaborate unresolved subplots, corny songs ("Floozy with an Uzi"), movie spoofs (Pee-wee Herman in The Robert Musil Story), and illicit sex (including a macho variation on the infamous sports car scene in V.).

©1990 Thomas Pynchon (P)2018 Recorded Books

Pynchon is the best

I loved this book. With Thomas Pynchon is more about the journey than the destination. So just kick back, don’t worry about the plot, and enjoy.

Underrated Pynchon

Vineland is an insane, rollicking story, like most of Pynchon’s books but if you hang with it, the journey is thoroughly enjoyable. Thomas is the GOAT

Perfect Narration of Most Readable Pynchon

How was the Narrator?

The narrator of this audio book really did a bang-up job! 1st off, they nailed all the songs which is a must for any Thomas Pynchon! Each character had a real voice and Through the clarity of the narrator's reading, the themes, motifs and such came through far easier than some other of Pynchon's audio book narrators. Bravo!

Digression as the Choice Tool for Storytelling

An intimate epic about outside forces threatening familiar connections, Vineland follows an array of characters connected through intricately spun backstories that span decades. Its style is fresh, fun, and engaging, readable as a page-turner, while also challenging attention spans playfully and rewarding us for our patience. Endless character sub-arcs and hours of hilarious digressions, succinct yet complex at times, cause Vineland to both occupy and challenge traditional/period writing styles and, evoking laughs the whole way, transcend into something lofty, yet within sight and, maybe even, reachable? A+ Enjoy!!!

a great sequel to crying of lot 49

the narrator reads wonderfully adding a lot of life to the story with different accents and voices.

Middle Period Pynchon Holds onto '60s Aesthetic

This is, as far as I can tell, middle-period Pynchon, maybe, excepting Mason & Dixon, the only middle-period Pynchon. There’s the late stuff, the fun genre send-ups of Inherent Vice and Bleeding Edge. And there’s the early stuff, V and Gravity’s Rainbow, that developed a new model of fiction and established him as a potential Nobel laureate. I haven’t read a few key ones of those, particularly Gravity’s Rainbow, but I still have a sense of where his career started and ended.

What’s new to me is the degree to which Pynchon seems committed to celebrating the aesthetics of the counter culture. You see traces in the early novels, I suppose, and in the way he famously declined the National Book Award, sending Professor Irwin Corey in his stead. They get amplified in Inherent Vice, where our middle-aged ex-hippie hero takes a turn as a private investigator.

I read Vineland around the time it came out, but I simply wasn’t mature enough to recognize how flat-out funny this is, how relentlessly it plays with the stereotypes and expectations of the late 1960s stereotype. Then, I tried to see it as a sort of sequel to V, as a novel experimenting with post-modern form. Now I see it as what reviewers of the time suggested it was: a slighter version of what Pynchon had been doing in his early novels, a book from a writer who’d seemed to resign his station as great-American-novelist in favor of over-the-top entertainer.

This is entertaining, and it does seem to be exploring the form of what I like to call the rhizomatic novel, but above all it seems to be insisting – in the middle of the Reagan era – that the ideals of the original counter culture weren’t as misplaced as contemporary opinion had it. The political revolutionaries of the time may have been sell-outs, the gurus may have “died” in some form, the rock and rollers may have turned out to be little more than lounge singers with worse haircuts and tackier suits, but something in their aesthetic remains valid.

The more I read, the more I got the sense of Pynchon seeing himself in some perverse way as a kind of “Milton of the Movement,” a true-believer (though in this case a true believer in a kind of studied nonsense rather than in Protestant predestination) who set out to write enduring literature within the aesthetic of the cause.

In other words, I think that’s what Pynchon’s middle career means – an abandonment of his early literary ambition but a renewed claim on the legacy of the 1960s rock-and-roll moment. I reserve the right to change that opinion if I ever do read Mason & Dixon or Against the Day, but that’s what stands out to me here: an unironic embrace of Zoyd as the stoner-innocent, a gesture of affection if not quite respect for what must have seemed the wave of tomorrow when he was a young man trying to find his own voice.

It doesn’t bother me that this one is a mess, not when it’s as funny line by line as it is, but I am somewhat bothered by the easy sexism of making Frenesi, the angel of the early movement, a woman who can’t resist the cruel sexuality of a jack-booted government agent. (And, to make things worse, [SPOILER] that her daughter Prairie ends the novel discovering the same shameful impulse.) Zoyd gets to carry the banner of the better-the-world-through-rock-and-dope belief, but the women in his world fall short of that.

So, yeah, this is enormous fun, but it feels dated too. Pynchon was better when he was younger, and I think he was probably less restrained in his later years. Here in his transition, he mostly got it right, but I think he’s also learned something since this as well.

A masterpiece well performed

In his 1990 review of Vineland, Salman Rushdie called it “free-flowing and light and funny and maybe the most readily accessible piece of writing the old Invisible Man ever came up with”. Refer to its Wikipedia page if you desire a plot summary before wading in. This is Pynchon’s California style in its fullest flowering. If you’re looking for an entry point to his oeuvre, this is an excellent place to start.

Graham Winton’s performance is exemplary. It only suffers by comparison to Ron McLarty’s top-shelf rendition of Inherent Vice, which is Vineland’s younger (and less ambitious) sibling. My main complaint is that Winton’s tempo is, only slighty, too fast. Pynchon is one of the supreme wordsmiths, and the reader wants to linger more over the music built into the sentences. Speaking of music, the songs are satisfactorily rendered; most of the other audio versions of Pynchon’s books have the song lyrics read, not sung, which is a loss. But Winton’s musical performance suffers, again, by comparison to McLarty’s. Nevertheless, I’d be very happy if Winton were to be the reader for V., for which, as yet, there is no audio version. Hint hint.

Audible regularly sends emails notifying me that there’s a new book by “an author I like”. Often these are for authors I’ve purchased a single book by, and didn’t review. I have all the Pynchon books Audible offers, and have written reviews of most of them, yet I received no such notification in this case. I learned this book was available, by chance, four months after its release. Strange.

Absolutely Great Narration...Totally Entertaining

Pynchon is not the easiest writer to get through, but Graham Winton's narration makes experiencing this book a really joyful activity. I hope he does the narration for Pynchon's V and also for BLEEDING EDGE (Ms. Berlin's narration is abysmal.) Come on, Graham, do the rest of the Pynchon books and a redo of BLEEDING EDGE.

You're missing a real treat with this combination of Pynchon and Winton.

Excellent rendering

If you're looking for audio Pynchon then it's a safe bet that you understand the challenges of reading aloud Pynchonean text; the multiple character, flashbacks and flashforwards in mid-sentence, the songs. This reader does it all with panache

long and pointless

it was funny at times but in the end just seemed series of long interrelated but pointless stories.