For novels like Gravity’s Rainbow, or novels within the tradition of novels like Gravity’s Rainbow, where the length or complexity thereof acts to a certain extent as a deterrent, endings are difficult things. Finnegans Wake, Ulysses or Infinite Jest are densely referential, intricate and occasionally intractable narratives and the very notion of ending them can seem antithetical to the impulse that motivates an author to write a book that brushes up against a thousand pages.
For each of the novels I’ve named above, different strategies are adopted where the notion of an ending is elided or dodged. Those who are familiar with Finnegans Wake will know that Joyce deliberately constructed the novel to have a circular structure, where the ending, in theory, brings the reader back to the beginning. I say ‘in theory.’ I have to doubt myself that any reader who, having made her way through the Wake in its entirety finds herself now naively leafing back to the front page, on and on ad infinitum. This is to leave aside Joyce’s final inscriptions on Ulysses and the Wake with the city he wrote the novel in, and the years spent writing it. As such, the circularity of the Wake can only really be conceptual. All novels have to end, so it is, as I said, a dodge. But an interesting dodge.
The final lines of the Wake read as follows:
“We pass through grass behush the bush to. Whish! A gull. Gulls. Far calls. Coming, far! End here. Us then. Finn, again! Take. Bussoftlhee, mememormee! Till thousendsthee. Lps. The keys to. Given! A way a lone a last a loved along the”
The beginning reads:
“riverrun, past Eve and Adam’s, from swerve of shore to bend of bay, brings us by a commodius vicus of recirculation back to Howth Castle and Environs.”
If we were to read these lines sequentially, we can detect a definite shift in tone, the ending is told in almost a fervent hush, lots of haitch sounds and staccato repetitions. I’m never usually one for syllabic analysis, but ‘grass behush the bush to’ seems to insist on a certain mutedness, a sense of petering out. So too the elegiac ‘Coming, far! End here. Us then’ Equally I suppose, it could summon memories of Father Ted‘s ‘small, far away’ schema. The final ‘sentence’ ‘a way a lone a last,’ seems particularly evocative, rather than serving an adjectival function, as in ‘alone’ or ‘away,’ they become nouns, alone-ness or last-ness incarnated, before we are rushed forward into the panorama of Dublin Bay once again, Howth Castle and Environs where Bloom proposed to Molly, and at the same time evoking the generative, fertile image of H.C.E., which stands for a lot of things in the course of the Wake, but may as well, for the moment, mean Here Comes Everybody.
Speaking of the Blooms, in Ulysses, Molly is permitted to close things out, with an extended soliloquy of sixty some pages, with about eight full-stops. It’s an ingenious structural technique, especially after the comparatively ‘dry’ episodes that precede the final ‘Penelope’ episode, ‘Eumaeus,’ and ‘Ithaca,’ the latter of which takes the form of a series of questions and answers that seem to pride themselves on the cool detachment, pedantry of their tone. In this way, Molly’s closing sentences seem more like a celebration of the fecundity of language and the body, without wishing to get too Earth Mother about it.
“then I asked him with my eyes to ask again yes and then he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could feel my breasts all perfume yes and his heart was going like mad and yes I said yes I will Yes.”
One should note that Molly have Bloom’s proposal in mind as she thinks this, equally, she might be thinking about her other great love when she was younger in Gibraltar. Either this is an affirmation of her relationship with Bloom, that there may be hope for them to re-kindle their ailing (depends on how you look at it, all the same) relationship, or she might continue to feel nostalgia for past loves, what might have been. Or both. They’re not mutually exclusive. On a final note, that ‘s’ sound transmutes fairly easily into the opening salvo, ‘Stately plump Buck &c.’
Infinite Jest presents us with an interesting negotiation of this issue, its one hundred pages of footnotes means we have a choice when deciding what ‘the ending’ is. I don’t have a copy to hand right now, but I think I remember the last footnote being arch and self-aware in some way. The final sentence of the prose narrative proper, takes place I think a few years, maybe a decade before the thrust of the actual narrative gets underway, it consists of a flashback of a extended drug binge the venerable Don Gately indulges on in some point during his years spent in the Massachusetts drug scene. But Foster Wallace has us in deciding on a beginning too, the start of the novel takes place a few months after the main events of Infinite Jest have concluded, long after the Quebecois separatists have shown up at the Enfield Tennis Academy and after the dust has settled with everything regarding the samizdat, that great scene with Hal Incandenza failing to make himself understood to a panel of interviewers working in the University of Arizona. With all these conflicting, interwoven chronotopes based around establishing the novel’s beginning or ending, Foster Wallace seems to have pulled off a successful elision of finishing Infinite Jest; the novel ends more or less arbitrarily, leaving the reader to try and figure out the chronology of the action-packed climax that the novel has supposedly been building to. Not only does Infinite Jest not have a proer beginning or end-point, there isn’t really a coherent middle-point to speak of either.
The ending to Thomas Pynchon’s Gravity’s Rainbow takes a different, no less self-conscious tack. Much of the novel’s arc is concerned with Lieutenant Tyrone Slothrop’s attempts to get to the bottom of the mystery of an experimental V-2 rocket, and a component thereof known as the Schwarzgerät, or ‘black device.’ Many, many other things happen too, this being a Pynchon novel, but I will endeavour to keep myself focused on the ending, which relates the actual launching of the device at a cinema, a real-life actual event in Antwerp, where 567 people were killed. Just as the rocket is about to strike, the jovial correspondent narrator halts its momentum in mid-air:
“And it is just here, just at this dark and silent frame, that the pointed tip of the Rocket, falling nearly a mile per second, absolutely forever and forever without sound, reaches its last unmeasurable gap above the roof of this old theatre, the last delta-t.
There is time, if you need the comfort, to touch the person next to you, or to reach between your own cold legs…or, if a song must find you…here’s one…sung to a simple and pleasant air of the period. Follow the bouncing ball:
There is a Hand to turn the time,
Though thy Glass to day be run,
Till the Light that hath brough the Towers low
Find the last poor Pret’rite one…
Till the Riders sleep by ev’ry road,
All through our crippl’d Zone,
With a face on ev’ry mountainside,
And a soul in ev’ry stone…
I don’t think it’s too extravagant to view these last two words as an invective to the reader, to every potential reader, to partake in the communal sing-song, one that is quite morbid, not to mention laden with references to the narrative that precedes it. The fact that it takes place in the briefest moment before the rocket’s impact adds to the poignancy, and casts all the other apparently whimsical vaudeville old-Hollywood sing-alongs in an altogether different pall, perhaps they are just for the purposes of distracting ourselves from our own demise, whether it be for the onanist or the happily coupled. In the pages leading up to this, we get a throwaway reflection on the nature of endings:
“He thinks of their love in illustrations for children, in last thin pages fluttering closed, a line gently, passively unfinished,”
which is of course what we get in the above hyphen. It would be a straightforward matter, also, to link this with the Hansel & Gretel pantomime that Roger Mexico and Jerssica Mossmoon attend with Jessica’s nieces, during the production, (significantly, just before Gretel is about to dispose of the witch by beating her into the furnace) the Germans bomb a building down the street. The children become distressed, and the actor playing Gretel leads the crowd in another, seemingly innocent tune, which addresses the fact of our existences as transitory and contingent:
“And the lamps up the stairway are dying,
It’s the season just after the ball…
Oh the palm trees whisper on a beach somewhere,
And the lifesaver’s heaving a sigh,
And the voices you hear, Girl and Boy of the Year,
Are of children who are learning to die…”
This is only an excerpt of the song, and there is plenty of it to unpack, but I’ll stick to the topic for the moment. The fact that Gravity’s Rainbow‘s ending is caught in a moment of indefinite postponement, a kind of narrative caprice, is crucial, bearing in mind what Pynchon encourages the reader to dwell upon in the moments leading up to it, and in sections of the novel that anticipate the ending. Namely, death. Which is omnipresent, and inescapable. We all know this, and singing songs about it are all very well and good to distract us, but Pynchon seems to be focusing on the ending as an instrument through which we can re-assimilate our understanding. Death is an ending, of course, but an ending doesn’t have to be death. It, like the moment of Molly Bloom’s yes, can be just as affirmative and celebratory as a story’s beginning.