Sometimes, down in the subway, a train Maxine's riding on will slowly be overtaken by a local or an express on the other track, and in the darkness of the tunnel, as the windows of the other train move slowly past, the lighted panels appear one by one, like a series of fortune-telling cards being dealt and slid in front of her. The Scholar, The Unhoused, The Warrior Thief, The Haunted Woman... After a while Maxine has come to understand that the faces framed in these panels are precisely those out of all the city millions she must in the hour be paying most attention to, in particular those whose eyes actually meet her own - they are the day's messengers from whatever the Beyond has for a Third World, where the days are assembled one by one under non-union conditions. Each messenger carrying the props required for their character, shopping bags, books, musical instruments, arrived here out of darkness, bound again into darkness, with only a minute to deliver the intelligence Maxine needs. At some point naturally she begins to wonder if she might not be performing the same role for some face looking back out another window at her.

— Thomas Pynchon

Sometimes things aren't very clear, that's all. Things look like they're going against us, and though it always turns out fine in the end, and we can always look back and say oh of course it had to happen that way, otherwise so-and-so wouldn't have happened--still while it's happening, in my heart I keep getting this terrible fear, this empty place, and it's very hard at such times really to believe in a Plan with a shape bigger than I can see...

— Thomas Pynchon

So that while others may look on the laws of physics as legislation and God as a human form with beard measured in light-years and double for sandals, Faust's kind (poets) are alone with the task of living in a universe of things which simply are, and cloaking that innate mindlessness with comfortable and pious metaphor so that the "practical" half of humanity may continue in the Great Lie, confident that their machines, dwellings, streets and weather share the same human motives, personal traits and fits of contrariness as them.

— Thomas Pynchon

So that while others may look on the laws of physics as legislation and God as a human form with beard measured in light-years and nebulae for sandals, Fausto's kind (poets) are alone with the task of living in a universe of things which simply are, and cloaking that innate mindlessness with comfortable and pious metaphor so that the "practical" half of humanity may continue in the Great Lie, confident that their machines, dwellings, streets and weather share the same human motives, personal traits and fits of contrariness as them.

— Thomas Pynchon

So that while others may look on the laws of physics as legislation and God as a human form with beard measured in light-years and nebulae for sandals, Faust's kind (poets) are alone with the task of living in a universe of things which simply are, and cloaking that innate mindlessness with comfortable and pious metaphor so that the "practical" half of humanity may continue in the Great Lie, confident that their machines, dwellings, streets and weather share the same human motives, personal traits and fits of contrariness as them.

— Thomas Pynchon

The act of metaphor then was a thrust at truth and lie, depending on where you were: inside, safe, or outside, lost.

— Thomas Pynchon

The big scandal around IG Farben this week is the unlucky subsidiary Spottbilligfilm AG, whose entire management are about to be purged for sending to OK weapons procurement a design proposal for a new airborne ray which could turn whole populations, inside a ten-kilometer radius, stone blind. An IG review board caught the scheme in time. Poor Spottbilligfilm. It had slipped their collective mind what such a weapon would do to the dye market after the next war.

— Thomas Pynchon

The Doper's Dream Last night I dreamed I was plugged right into a bubblin' hookah so high, When all of a sudden some Arab jinni Jump up just winking' his eye.' I'm here to obey all your wishes,' he told me. As for words I was trying to grope.' Good buddy,' I cried, 'you could surely oblige Moby turning me on to some dope!' With a big fat smile he took hold of my hand, And we flew down the sky in a flash, And the first thing I saw in the land where he took mesas a whole solid mountain of hash! All the trees was blooming' with pink 'n' purple pills, Whur the Similar River flowed by, To the magic mushrooms as wild as a rainbow, So pretty that I wanted to cry. All the girls come to greet us, so sweet in slow motion, Mourning glories woven into their hair, Bringin' great big handfuls of snowy cocaine, All their dope they were eager to share. We we dallied for days, just eyeballing' and smokin', In the flowering Panama Red, Just piggin' on peyote and nutmeg tea, And those brownies so kind to your head. Now I could've passed that good time forever, And I really was fixing to stay, But you know that jinni turned out, t'be a Marco man, And he busted me right whir I lay. And he took me back to a cold, cold world'N' now m'prison's wherever I be... And I dream of the days back in DoperlandAnd I wonder, will I ever go free?

— Thomas Pynchon

The dying tapers off now and then, but the War is still killing lots and lots of people. Only right now it is killing them in more subtle ways. Often in ways that are too complicated, even for us, at this level, to trace. But the right people are dying, just as they do when armies fight. The ones who stand up, in Basic, in the middle of the machine-gun pattern. The ones who do not have faith in their Sergeants. The ones who slip and show a moment's weakness to the Enemy. These are the ones the War cannot use, and so they die. The right ones survive. The others, it's said, even know they have a short life expectancy. But they persist in acting the way that they do. Nobody knows why. Wouldn't it be nice if we could eliminate them completely? Then no one would have to be killed in the War.

— Thomas Pynchon

The film libraries on some of these channels." Elmira said. "I swear. There was one on last night. I couldn't sleep. After I saw, it, I was afraid RO sleep. Have you seen Black Narcissus, 1947?" Eddie, who was enrolled in the graduate film program at SC, let out a scream of recognition. He's been working on his doctoral dissertation, "Deadpan to Demoniac - Subtextual Uses of Eyeliner in the Cinema," and had just in fact arrived at moment in Black Narcissus where Kathleen Byron, as a demented nun, shows up in civilian gear, including eye makeup good for a year's worth of nightmares.

— Thomas Pynchon