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V. Summer Reading Group Discussion - Chapter Eight

Chapter Eight

In which Rachel gets her yo-yo back, Roony sings a song, and Stencil calls on Bloody Chiclitz.
I
Here’s Profane sweating his ass off back on street level, dream-street, having recently parted ways with Angel, Geronimo, the dwindling prospects of the urban crocodile hunter, and the profaned Fina.
Fina’d offered him a job clerking for her boss Winsome at Outlandish Records, a job he deemed too good for him much as he deemed Fina too good for him, until she wasn’t. Now he's looking for more work through agencies and not finding it. Nor has he had any luck with women. “The eyes of New York women do not see wandering bums or the boys with no place to go”—a prose reprisal of a song he sang to lucent Lucille of chapter six; and this dual depression, no job, no woman—a state he’d been pining after, wombing after—doesn’t suit him.
Profane, not one to theorize about history, does. In a previous chapter someone had posted regarding the influence of Edmund Wilson’s To the Finland Station on Pynchon, a book which purports to not only be a history, as so many shelf-breakers are, but to posit a theory of history and social transformation. Wilson’s method seems (to one who hasn’t read the book in a while) to combine aspects of Marx and Freud (e.g. the fixation on Bakunin’s sexual life, or lack thereof, as a political barometer) with a dose of racial stereotyping (Marx the scholastic Jew).
Profane’s own thesis reads similarly, what today we might interpret as Marx meets pick-up artist, “all political events: wars, governments, and uprisings, have the desire to get laid as their roots.” Which is about as sophisticated as other theories. We might also detect in it something of Proust’s pronouncement that, more than anything else, it is unrequited love that has moved the world. Or at least I think Proust said that. Money, Profane argues, isn’t for the getting of more inanimate things—a tenet of the capitalist system he circulates within, even the germinal cause of the Depression of his nostalgia—but for “animate warmth.” Women, sex—women he describes variously as “dolls” or “windup woman” (recalling the body horror of the clockwork doll Bongo-Shaftsbury)—so there is even in his lovelornness for the animate a tension with a presently irreconcilable objectification (cf Lucille blending into the pool table).
Needing to figure out where to go next, and trusting himself to fate, Profane plays a crude version of Sortes Vergilianae with his boner and a newspaper and heads to the Space/Time Employment Agency, a name that seems to invite and evade an acronym. We might see in this method of selection a precursor to the fatidic phallus of one Tyrone Slothrop of Gravity’s Rainbow. For who does it lead him to but back to Rachel Owlglass, with the dream-identification of phallus with umbilical chord. Curiously, it doesn’t seem as if Profane recognizes Rachel or she him, though she wears an ambiguous “little frown” and there is on his part the immediate assumption of impending carnality: “Already they were in bed; he could see nothing but a new extemporized daydream.” Whereas the girls at the Feast of San’ Ercole dei Rinoceronti had no faces (but nice asses; 146), Rachel has a sad face, a personhood, and we’re reminded that she had always held for Profane something of the mother, much as Fina had been mother-saint to the Playboys. He registers her power over him: he “began to doubt his own animateness.” So Rachel gets her yo-yo.
She sets him up with an interview at Anthroresearch Associates working for Oley Bergomask. “Bergamasque” refers to either one from Bergamo, Italy; its dialect; or certain of its cultural products, as, for instance, a style of dance. Bergamo is thought to be the source of the harlequin of the Italian commedia dell’arte, and it might be useful to think of Profane as a kind of harlequin, both as obsequious servant to a maid (Rachel? V?) and as one who must constantly extricate himself from troubles of his own making.
II
Winsome worries he’s living a menage à trois. He finds Mafia and Pig discussing her Theory. But something’s up. He knows it. That Pig’s a raunchy character, wants to be a porn star. Grand historico-political, corporate, and universal conspiracy boxes itself into mere spousal suspicion.
He recalls a story about Bodine in which the latter rattled off bizarre pornographic tales over an emergency naval comm. Eventually, karmically, for sleeping on duty, he gets passed onto various undesirable jobs and it is discovered that he possesses the talent of being able to sleep with sea legs while standing.
Back in his apartment, Winsome runs through a train of thought beginning with a song on the radio about Davy Crockett, the coonskin hat craze, to his autobiographical parody of the song in which he is “king of the decky-dance.”
I have to confess that I have no idea what a decky-dance is. Decadence?
It might be of significance that this chapter features several kings. Besides Winsome, king of the decky-dance, there is also the bum Profane encounters sprawled across the aisle of the subway, “king of the subway,” and later Mafia will tell Profane that “You may be the descendant of kings. Who knows.”
From the song we learn that Winsome grew up in Durham (North Carolina, probably), is 9 years older than Profane, experienced and participated in violent racism; moved to Winston-Salem (North Carolina), got a girl knocked up, joined the army, sat things out in a chateau, moved to New York, got a crap job like so many doubled men, met Mafia, married, started a label, and lived happily ever after.
So why’s he still thinking about Paola? Paola disparue. He’s not only jealous of Pig’s investment in Mafia and her crotch but also Pig’s leering after Paola, who “had the passive look of an object of sadism” (238). Winsome enacts some of Pig’s imagined sadism on Mafia, “coy and half-scared,” and foregoes the accustomed contraception (cf 132-3). Perhaps we can detect in this newfound interest in sadism a return to when, as a child, he “whooped” a black person, in which case there is a Pynchonian scrambling of signs—racial sadism enacted upon a lady writer of the Aryan uber-mensch.
III
A continuation of section I, section III sees Rachel curating the existence of her yo-yo. There is no “animate warmth” in this sequel to their reunion; only gestures of small kindness, a salami, a subway fare, a place to sleep. So Profane sleeps at Winsome’s (menage à quatre, poor Winsome-losesome) and eats at Rachel’s, where one day he reunites with Pig and they resume their deviance: “what have I brought him to?” Rachel wonders (240).
Next day Winsome attempts a ruse to convince Rachel to pimp Paola out to him, sad sack that he is, in need of some feminine rejuvenation. Paola, days missing, returns, trots by, inflames something youthful in Winsome. Returning home he finds now Profane and Mafia talking. Mafia says he might have the blood of kings, but Profane knows he’s a schlemihl, “Job founded my line” (242). A party starts up, and eventually Profane finds a corner to sleep in, good and drunk.
This chapter (and the book in general) features many examples of hunting or searching or investigation. There is of course Stencil's search for V., Profane's search (and repudiation of a search) for love, husband hunting, crocodile hunting, job hunting. Here Profane succeeds in his search for a job and it leads to his reunion with Rachel. Stencil is still hot on the trail of V. and even has a new lead. In typical anti-climactic fashion, Pig and Winsome are looking for Paola, and instead of finding her she just happens to walk in on Rachel and Winsome confabbing. Rachel's motivation here, especially regarding Profane, seems as obscure as ever, at least beyond his explanation of her need to mother him. Hunters usually kill what they catch.
IV
The final section of the chapter begins with a historical preface seemingly unrelated or perhaps tangential to the narrative. Pynchon would use this technique in later novels, most notably Against the Day (cf 595: "That winter, in St. Petersburg, troops at the Winter Palace fired on thousands...")
Crisis is brewing between Egypt and Israel. Grace Kelly (not worthy) marries Prince Rainier III. From headlines people construct their own versions of history, only some of which seem to have the power of being brought into being.
But “Stencil fell outside the pattern” (243). He spends his days “waiting for Paola to reveal how she fitted into this grand Gothic pile of inferences.” He proceeds with his investigation, aimlessly, intuitively, couchfully. “It would be simple in Rusty Spoon-talk to call him contemporary man in search of an identity” (244; cf 137 “What do you think of Sartre’s thesis that we are all impersonating an identity?”).
Stencil muses on the nature and identity of V., almost as if by clarifying hehis/its identity he might clarify his own. He’s not even sure what sex V. is. Female seems the most likely, but “V. might be no more a she than a sailing vessel or a nation” (244).
We then get the history of Chiclitz’s company Yoyodyne, Inc. What follows is a familiar Pynchon subgenre—the history of capitalist expansion, metamorphosis, metastasization, and incongruity. Yoyodyne began as a simple toy maker but Chiclitz learned that his toy gyros could be repurposed for government consumption, namely for military and comms applications. “He kept expanding, buying, merging” (245). What had been an innocent enterprise becomes entangled in the military-industrial complex, and hence Yoyodyne—yo-yo force.
While touring a Yoyodyne plant Stencil stumbles upon an engineer by the name of…holy…Kurt Mondaugen, who worked at Peenemünde on the V-1 and V-2 rockets, the latter of which occupies the narrative of Gravity's Rainbow. Could this imply other visitations by characters of the Pynchon-verse? Even Him?
Questions

  1. What purpose does the historical prelude in IV serve? Why, of all things to happen around that time, should Pynchon choose Middle East affairs and Grace Kelly’s wedding?
  2. What do you make of Davy Crokett in the chapter, especially the “bushy Freudian hermaphrodite symbols on their heads.”
  3. Did you assign any significance to the fact that Rachel works at the Space/Time agency?
  4. Any favorite lines or scenes?
  5. How does Profane's theory of history line up on the one hand with the narrative logic of the book and on the other what you've gleaned of Pynchon's theory of history as developed in this or other works?
  6. Seriously, what is a decky-dance??
submitted by BudgetHero to ThomasPynchon

[Essay Contest][Spoilers] Legoshi, The Ultimate SJW: Power Politics and Social Justice in Beastars

Introduction
Beastars is an anime with amazing voice acting, incredible characters, gripping cinematography, a memorable soundtrack, fantastic symbolism, and immersive worldbuilding. Unfortunately, that might not be the first thing to pop into your mind. If you haven’t read the manga or watched the anime, most people know it as that one furry show their friends can’t stop talking about. And it’s a damn shame, because Beastars might be one of the most interesting shows to come out of the medium in the last few years.
That being said, try to put that furry label away for this essay. Anyone who has watched this show knows that this is not your simple Zootopia clone. When the first scene of the show literally shows a goat running for its life, you know that this isn’t going to be a happy-go-lucky buddy-cop adventure. And the show doesn’t hold back either: it keeps piling on the taboos episode by episode, ranging from doping, black markets, human (or in this context, animal) trafficking, and, yes, sex. This is where I think Beastars really shines as a show: instead of a romp through a fantasy animal utopia, we get the grim reality that animals eat other animals, and that any society that is built from that premise will probably be ugly.
This setting makes for some incredible character development, because we can already empathize with the problems the characters are pushing up against. The three main characters of the show all grapple with real, human emotions through the context of their society, and society pushes back and tells them how they should behave. It’s so well done that you can actually draw connections between the actions of the characters and the actions of marginalized communities in our own world, lending the show a whole other layer of believability.
Now I know the Internet gets angry when people try to shove social justice into people’s interests, but hear me out here. I think these ideas are already in there, and really make the show something different than your typical show about high school shenanigans. I’m going to write out my thoughts about these motifs, and feel free to disagree with me. Just remember that at the end of the day, this show is known as an anime for furries, nothing more.
Louis’ Double Consciousness
Beastars takes place at Cherryton Academy, a normal boarding school where students enroll in clubs, hold festivals, and live out their youth. Of course, there is no good story without a nice helping of drama, and so the show starts off with a student being murdered by some unidentified individual. Why? We assume because the victim was a goat, and the murderer some predator looking for lunch.
The whole show is set up where everyone is split up into two different categories: carnivores and herbivores. There is a constant tension between these two groups, as the murder of an herbivore usually means that it came at the hand of a carnivore, usually senselessly and without meaning. At the school, and in the show’s wider society, it’s clear from the first episode that there is a pecking order: carnivores at the top, and herbivores at the bottom.
One of the characters that gets the spotlight (quite literally) is Louis. Louis is the president of the drama club and exudes confidence to the point of arrogance. Aggressive in everything he does, he gets the utmost respect from his club members and the school community at large. Everyone shuts up when he enters the room, and nobody dares fight him. He fits the perfect mold for what you would expect from a carnivore... except Louis is not a carnivore. Louis is a deer.
Much of Louis’s character development and self-conflict can be traced back to his position as an herbivore. Louis’s goal is to become a Beastar, the most prestigious rank an animal can achieve in this world. To achieve this, Louis expects perfection in everything from everyone, especially himself. We see this exemplified in his character arc, where he manages to perform as the lead protagonist in his club’s play despite a broken ankle (a death sentence for a normal deer in our world).
While his composure brings him popularity and fangirls alike, you can tell that Louis is dissatisfied. He wants to be able to change the world, but he is constantly reminded how he can never reach the heights that a carnivore can reach. Among others, there is a scene where he is pinned down by Juno, a carnivore in the drama club, to show her superiority over him. Despite being completely at her whims, he puts on a face of respect, as if he’s trying to assume an equal playing field. Louis has this obsession of trying to be better than himself, which, while admirable, is a losing battle no matter how you look at it. Louis knows this, and as a result of his complex he vacillates between admiration and detest for carnivores; wanting to pose as a carnivore, but also strike out on his own as himself. Louis sees carnivores’ strength as unfair, but necessary to emulate. What Louis experiences is a form of double-consciousness, a type of thinking that is prevalent among oppressed groups in society. The gist is that oppressed groups have two lines of thinking: there is the line of thinking that is personal to the oppressed group (in this case, being an herbivore), and the line of thinking that is shown outwardly to society (becoming a Beastar). As a result, Louis very often struggles to do what he thinks is right, because his mind is being pulled in both directions. This is exemplified in the final arc, when Louis just cannot make up his mind on what to do- whether to do what he thinks is right, or submit to society.
”I’ve been deceiving myself up until now, but the more I train, the more I’m breaking down. I’m finally being confronted by the harsh reality. My body’s not made for fighting; I’ve known that since I was born. In the end, I’m prey. No matter how hard I try… I’ll never be a predator.”
While it would have been easy to just make Louis a revenge-focused character, wanting nothing but the destruction of this unjust society (like so many anime antagonists), we see that his psychology matches what you would expect of a ‘model minority’. Louis is simultaneously lost and driven; weak and strong; herbivore and carnivore. And even despite his early history where it’s clear society doesn’t care an ounce about him, throughout the show we see him trying to fit a mold he just doesn’t fit.
Haru’s Strength Through Sex
However, not everyone has a dream of changing society. For those on the lowest rung of the hierarchy, the only goal is to survive. This is the position that we find Haru in, a white dwarf rabbit who has no chance of ever surviving if caught unaware. Haru is very clever and scrappy girl. In the first episode, we learn that Haru is bullied relentlessly by other herbivores and, as a byproduct, doesn’t have the best reputation. Despite all that, we do see that Haru does have some sort of resilience. She doesn’t let the bullying get under her skin and can actually dole out insults better than her bullies can. She carries on with her duties in the gardening club, minds her own business, and is entirely self-sufficient.
Oh, and she fucks.
This is the part that people call furry-bait on, and you know what, fair enough. It is certainly surprising the first time you see it, but I think this sexual deviancy is such a relief from the usual ‘flustered panic’ moments we see in other high school anime, primarily because it’s a significant part of Haru’s character. While other anime might just shoehorn in lewd scenes to try and increase viewership, Haru’s promiscuity is actually a coping mechanism. As a rabbit, she never really feels any sense of autonomy: all her tasks are done for her for fear that she’ll hurt herself, and nobody takes her seriously because of her short stature. The reason she sleeps around so much is because the bed is the only place where she can be treated as a true equal to others.
I find Haru’s reasoning so refreshing, especially compared to how popular media portrays women and sex. Off the top of my head, there are only three scenarios for women: 1) woman has sex with the man he loves, and they both live happily ever after; 2) woman is coerced/tricked/forced into sex, and she is forever traumatized; or 3) woman has sex indiscriminately, and is labelled a slut with no real worth. For the characters in the show (and for many viewers), Haru falls under the third category. But let’s go a little bit deeper.
If we’re talking about character motivations, the popular narrative is that females unequivocally aim for love (the first scenario). However, this doesn’t reflect reality. Women enjoy getting off just as much as men do, and yet it is difficult to find anime with female leads that acknowledge this fact without the female being a crazy psychopath (and aren’t made for the appeal of male consumers.) There is a clear disconnect between the portrayal between sexes; after all, male protagonists are always gunning for sex, and while they may be seen as perverts, they always act like it’s a total win. Which begs the question: why can’t a woman have sex indiscriminately without being seen as slut?
Similar to feminists in our time, Haru uses sex as empowerment. For a defenseless bunny, sex is a sign of personal strength, and quite literally (both psychologically and biologically) a survival strategy. Opposite of Louis, Haru couldn’t give a shit about what society thinks, because her lot in life is doomed to be consumed by someone bigger than her- might as well spend her life seeing eye to eye with animals in bed rather than constantly looking up and being treated as expendable. Her mental resolve is further emphasized near the end of the series when she is kidnapped. Forced into submission, naked, shivering, beaten, and staring into the mouth of death, she still puts her foot down to reclaim her power:
”Humiliation stirs the blood and makes me taste better? Unfortunately I am very calm now. I heard you’re a gourmet- sorry that I ruined your dinner. You’re gonna have to eat the meat of not-humiliated and unashamed female.”
I know the phrase is memed to death, but that’s a strong female character.
Legoshi, Social Justice Warrior
The reason why Louis and Haru are such compelling characters is because they both exist as tragic heroes in their own right. On their own they are great characters, but what makes these characters shine is their connection to our main character Legoshi, a carnivore. If you haven’t watched the show, you might guess that with all my talk of unjust society that Legoshi might be some Übermensch character meant to lead the way to virtue. Well, not exactly.
Legoshi is not your typical wolf. He’s unconfrontational, an overthinker, and extremely timid. He outright fails as a carnivore on multiple occasions simply by nature of never putting himself forward. Instead, he has the mindset of an herbivore: keep your head low and stay out of trouble.
As you might imagine, with a society based around this stereotyping of carnivores and herbivores, we see Legoshi continuously grappling with who he is. Throughout the show it is pointed out to him again and again how he doesn’t assert himself enough; he has the strength and power to do so much more, and yet he consistently chooses to stay out of the limelight. This is actually reflected in Legoshi’s placement on the drama club as the person in charge of lighting: never taking the spotlight himself, but instead choosing to cast it on others.
As you can imagine, Legoshi’s meek personality goes against Louis’s entire philosophy. To Louis, seeing a strong wolf like Legoshi deferring to others is a waste of potential. Louis envies Legoshi so much that in the height of his character arc, he pushes Legoshi up against a wall, and demands that he bites him, something illegal to do in their world. After seeing the reflection of himself in Legoshi’s canine teeth, Louis quickly pulls back, recognizing his place. Legoshi profusely apologizes (despite the fact that Louis pushed him into the situation to begin with), and lays out his own motif:
”I… need to be sneaky. There’s nothing good about wolves being strong. But you’re different. You being strong bears a great meaning. Everyone’s coming to see that tomorrow [in the play]- to see that righteous strength.”
It’s evident from this quote that he knows that he lives in an unjust world, and actively tries to take the steps to move towards a better place. We see this a few times, especially in contrast to another carnivore in the drama club, Bill. When a small group of them stumble upon the black meat market in town, Bill is brimming with excitement while Legoshi is absolutely horrified. Earlier on, when Bill takes over for Louis’ role the second night of the play and reveals that he is ingesting herbivore blood to give him a primal edge, the normally conflict averse Legoshi takes huge offense and pummels him on stage to prove a point.
While we like to throw around the term ‘social justice warrior’ on the Internet as a pejorative for self-righteous snobs, Legoshi does the fighting for legitimately good reasons- and we know this because we can hear his thoughts. The guy is a classic overthinker, going over whether or not he should or shouldn’t do something in nearly every episode. Instead of spouting vitriol like your typical anime protagonist, Legoshi is constantly thinking about the correct thing to do. It’s only when something goes too far does he put his foot down and really unleash his wild side.
We see this side of him in his interactions with Haru. Despite nearly eating her in the first episode, Legoshi develops a crush on her, creating a bag of mixed intentions in his head. He doesn’t know what he wants: whether he wants Haru in his arms because he loves her, or because he wants to devour her. It’s a battle of rationality versus instinct for him, and his overthinking really gets in the way of him having a normal friendship with her. However, it’s through Haru’s own self-assuredness and honesty that Legoshi learns to have confidence in himself. Near the end of show when Haru gets kidnapped, Legoshi has no reservations about rushing into the literal lion’s den to save her.
Haru also learns from Legoshi, recognizing a bit more about what she finds valuable. Haru lives the hedonistic lifestyle because it’s been drilled into her that she could be killed at any point. While being initially attracted to Louis for his grand ideals and strength, towards the end she starts to appreciate the kindness and respect Legoshi gives her. This is proven when Legoshi declares war on Louis and goes through the gauntlet to save Haru. In Haru’s eyes, while Louis’s façade is admirable, it’s Legoshi’s conviction that really saved her. And while she may feel insignificant in the face of the word, she also learns that she’s valued by those above her:
”You’re the only one who recognized a rabbit like me in this world. You are responsible for it, Legoshi. I can no longer live without you. You idiot wolf…”
Legoshi’s actions get through to Haru, showing that while she is still the small rabbit she always was, she still has a presence in the world that shouldn’t be surrendered so easily. She recognizes that Legoshi truly has her best intentions in mind, in a way that Louis cannot bring himself to show.
Legoshi is the ultimate social justice warrior because he recognizes he will never understand what it’s like to be an herbivore, but he’s always trying to figure out the best way to use his own elevated status to lift them up. It’s not about being a white knight and presenting the image of an ‘ally’, it’s about taking action.
Conclusion
”Haru… I will get stronger. Because I want to make you happy without getting defeated by this society or my instinct. I will get stronger.”
Despite being a world of cartoon animals, it’s rare to see a show that captures our society so well. It’s one thing to create an immersive world and draw viewers into a power struggle, but it’s a whole other ballpark to portray the individual psychoses people develop as a result. Beastars not only creates a believable world, but it also finds a way to address real-world analogues of racism and sexism without getting caught up in the politics.
Through this lens, Beastars is a story of characters discovering themselves. For Louis, it is about trying to deal with a society that pushes him down. For Haru, it is about coping with her own victimization and mortality as a frail object. And for Legoshi, it’s about finding out how to be the best you can be without hurting others. These are all real lessons that all people have to come to grips with in society, and Beastars doesn’t shy away from showing how hard it is, especially when the cards are stacked against you. And honestly, the fact that it can do that with a story about a school for animals is impressive.
…Not exactly what you would expect from a show for furries.
submitted by habattack00 to anime

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