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When Sportello's ex-girlfriend turns to him for help in anticipation of her billionaire boyfriend's future kidnapping, things quickly and naturally get complicated in the winter of 1970. Let's just say it involves a motley crew of surfers, strippers, junkies, scammers, hippies, and loonies, a shady posse known as the Golden Fang that are either mafioso or dentists, 20 kilos of heroin, and a coffin full of funny money with Nixon's face on it. Of course, the Sherlock Holmes to Doc's Watson and also the perpetual rain on his parade is straight-laced cop cowboy Bigfoot Bjornsen. Bigfoot and Doc's fundamentally different worldviews put them in constant conflict on the same case, leaning on one another while stepping on each other's toes. McLarty doesn't miss a beat in his portrayal of their hilarious and timeless debate between authoritarianism and communalism.
There are trademark Pynchon motifs throughout the story that devotees of the author will be glad to see. The Southern California setting is where Pynchon is at his very best, and his deep knowledge of music is definitely in evidence. McLarty is even forced to sing several surf rock tunes, which he does with surprising alacrity. There is the author's usual consideration of race wars and imperialism, where McLarty does convincing Hispanic and Asia-Pacific accents of various kinds common to the region. There is the extensive set of acronyms and anagrams, where McLarty somehow manages not to laugh while referring to things like the hippy-busting cop squad known as "P-DIDdies", short for "Public Disorder Intelligence Division".
This is Pynchon at his most readable, and he sticks to driving the plot with relatively few digressions. Still, this is also Pynchon at his most recognizable. Though the tale is finely tuned to resemble such cult gems as The Big Lebowski, no other author could have cranked it out quite so colorfully. Thomas Pynchon isn't taking any easy outs with this one. He took a beloved story and crafted a fleshy parallel, which Ron McLarty lovingly gives voice to a style that will not disappoint even the most die-hard fans of either Pynchon or Lebowski. Megan Volpert
It's been awhile since Doc has seen his ex-girlfriend. Suddenly, out of nowhere, she shows up with a story about a plot to kidnap a billionaire land developer whom she just happens to be in love with. Easy for her to say.
It's the tail end of the psychedelic sixties in L.A., and Doc knows that "love" is another of those words going around at the moment, like "trip" or "groovy", except that this one usually leads to trouble. Despite that, he soon finds himself drawn into a bizarre tangle of motives and passions whose cast of characters includes surfers, hustlers, dopers and rockers, a murderous loan shark, a tenor sax player working undercover, an ex-con with a swastika tattoo and a fondness for Ethel Merman, and a mysterious entity known as the Golden Fang, which may only be a tax dodge set up by some dentists....
Customer ReviewsMost Helpful
By Phil Selman on 08-22-09
If you enjoyed The Crying of Lot 49...
If you enjoyed The Crying of Lot 49, then Inherent Vice is right up your alley. It follows the same kind of surreal yet linear structure of Pynchon's more accessible works, and, like The Crying of Lot 49, you will probably find that several passes are required to digest the novel. The best description I can give of the nature of Inherent Vice is that it is the kind of book you could imagine Hunter S. Thompson writing if he had any gift for fiction. It is an excellent piece of literature.
13 of 13 people found this review helpful
By Darryl on 08-21-09
Fun Pynchon, don't be afraid
This is a rather un-Pynchon-like Pynchon, but very good. The "plot" echoes Crying of Lot 49 a little and there are allusions to other novels, Vineland, Against the Day, Gravity's Rainbow, but they are unobtrusive nods, and the story is very linear and enjoyable. Think Big Lebowski crossed with a noir-ish mystery, a little Chinatown, a little Big Sleep..etc. There are some funny moments along the way and the plot gets convoluted like the old noirs, but the stoned surfer type detective and the dialogue is really what's of interest. There are plenty of allusions and puns and word plays, but again not for the most part obtrusive. There are many Pynchonesque themes ( paranoia enhanced perhaps by the drugs; entropy; and communication; and mechanization/computerization; government conspiracy) but these won't get in the way for non-Pynchon-ers. I found myself getting nostalgic with all the late 60's pop-culture references to movies and television shows and music of the time. Gravity's Rainbow is another kettle of fish entirely. Lot 49 is also very accessible and even V., and i'm looking forward to Against the Day to see which way it leans, Gravity or Vice.
16 of 17 people found this review helpful