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Shadow Ticket

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Hardcover
6.4"W x 9.55"H x 1.04"D   | 19 oz | 12 per carton
On sale Oct 07, 2025 | 304 Pages | 9781594206108

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The new novel from Thomas Pynchon, bestselling and award-winning author of Gravity's Rainbow, The Crying of Lot 49, Vineland, and Inherent Vice.

“A masterpiece.” —The Telegraph

“Bonkers and brilliant fun.” —The Washington Post

“Late Pynchon at his finest. Dark as a vampire’s pocket, light-fingered as a jewel thief, Shadow Ticket capers across the page with breezy, baggy-pants assurance — and then pauses on its way down the fire escape just long enough to crack your heart open.” —Los Angeles Times

Milwaukee 1932, the Great Depression going full blast, repeal of Prohibition just around the corner, Al Capone in the federal pen, the private investigation business shifting from labor-management relations to the more domestic kind. Hicks McTaggart, a onetime strikebreaker turned private eye, thinks he’s found job security until he gets sent out on what should be a routine case, locating and bringing back the heiress of a Wisconsin cheese fortune who’s taken a mind to go wandering. Before he knows it, he’s been shanghaied onto a transoceanic liner, ending up eventually in Hungary where there’s no shoreline, a language from some other planet, and enough pastry to see any cop well into retirement—and of course no sign of the runaway heiress he’s supposed to be chasing. By the time Hicks catches up with her he will find himself also entangled with Nazis, Soviet agents, British counterspies, swing musicians, practitioners of the paranormal, outlaw motorcyclists, and the troubles that come with each of them, none of which Hicks is qualified, forget about being paid, to deal with. Surrounded by history he has no grasp on and can’t see his way around in or out of, the only bright side for Hicks is it’s the dawn of the Big Band Era and as it happens he’s a pretty good dancer. Whether this will be enough to allow him somehow to Lindy-hop his way back again to Milwaukee and the normal world, which may no longer exist, is another question.
Thomas Pynchon is the author of V.; The Crying of Lot 49; Gravity’s Rainbow; Slow Learner, a collection of short stories; Vineland; Mason & Dixon; Against the Day; Inherent Vice; Bleeding Edge; and Shadow Ticket. He received the National Book Award for Gravity’s Rainbow in 1974. View titles by Thomas Pynchon
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1

When trouble comes to town, it usually takes the North Shore Line. What with tough times down the Lake in Chicago, changes in the wind, Prohibition repeal just around the corner, Big Al in the federal pokey in Atlanta, Outfit affairs grown jumpy and unpredictable, anybody needing an excuse to get out of town in a hurry comes breezing up here to Milwaukee, where it seldom gets more serious than somebody stole somebody's fish.

Hicks McTaggart has been ankling around the Third Ward all day keeping an eye on a couple of tourists in Borsalinos and black camel hair overcoats up from the home office at 22nd and Wabash down the Lake, the Chicago Outfit handling whatever needs to be taken care of in Milwaukee since Vito Guardalabene cashed in his chips ten years ago, though Vito's successor Pete Guardalabene is still considered head man in the Ward, gets his picture in the social pages smiling at weddings and so forth.

Loitering in the alleyway in back of Pasquale's Bella Palermo, Hicks can hear sounds of noodle-flexing sociability, smell spaghetti sauce and garlic frying and sfinciuni bagherese baking over an olive-branch fire, and it's making him hungry, though this close to payday his lunch menu is a thermos of coffee and a buttermilk cruller stashed in a pocket someplace.

The explosion when it comes seems to be from somewhere across the river and nearer the Lake. Forks and glassware pause between tabletop and mouth, as if everybody's observing a moment of stillness, and nobody seems surprised.

It's still the topic of conversation a little later when everybody comes piling out into the street.

"Come up lookin for a little peace and quiet, next thing you know . . ."

"Startin to sound like Chicago around here."

Everybody is looking at everybody else like they're all in on something. Beyond familiarity or indifference, some deep mischief is at work.

Over the next few hours till the happiness twins are back on the train again, Hicks gets to hear a number of different stories, related to gangland matrimonials or hooch heists everybody's heard about before, not much of it helpful, even at the combination drug and hardware store plus lunch counter known as Oriental Drugs, heart and soul of the East Side and Hicks's usual source of reliable lowdown in Milwaukee, and sometimes lunch when it isn't too close to payday, which sends him instead over to Otto's Oasis, a speak disguised as a neighborhood Imbisswagen, with a refreshments list ranging from hours-old bathtub product to blockade-run imports of the real McCoy, where by dumb luck he does happen to arrive next to the kitchen door just at the exact moment Otto's wife Hildegard is bringing a platterful of free lunch items out to the bar area, so while others are making grabs at Hildegard, Hicks, still brooding about the Sicilian food back at Pasquale's, manages to divert enough eats his way to see him through a couple more hours at least.


Later at the Unamalgamated Ops detective agency, Hicks finds his boss, Boynt Crosstown, waiting on the doorsill, shoes beating a nervous eight to the bar.

"Flash bulletin," grabbing Hicks and pretending to pull him by the necktie through the length of the shop and into his office, "just a minute's all I ask."

Hicks trying to stay professional, "Don't suppose you happened to hear anything back around lunchtime . . ."

"Pineapples come and pineapples go, never mind that Santa Flavia Chamber of Commerce meeting, write me a memo, small change anymore, got us a ticket just in and it's a lulu, I'm telling you this is the one'll put us all swimming in the gravy . . ." and so forth.

"Wish you wouldn't come to work when you're like this, Boynt."

"Sure, sure, well, this isn't just daydreaming through the Depression for a change, I guarantee you there's money in this, big money, I've seen it!"

With Boynt this usually turns out to be an illegible IOU written in pencil on a wet bar napkin. Hicks tries to keep the doubts out of his face.

"This time it's the goods, right there on the table, and green? Wisconsin before they started logging it off should only've been this green."

"Too bad about my mattress, already over legal capacity, corners of bills hanging out, sure you understand-"

"You always worked too cheap," Boynt headwagging, "even before the Crash you were dime-a-dance." Reaching for a switch on his intercom, "Thessalie, would you mind fetching us in that file?"

"Whole different tax bracket up there in Shorewood, you people, ain't it." Boynt has come in for a major share of the class needling around here, which goes on at industrial sewing-machine tempo and pretty much nonstop, ever since a page from his confidential file mysteriously folded itself one day into a paper airplane and went sailing into the room where the mimeograph machine is, and before you could blink, copies found their way to everybody in the office, announcing Boynt's yearly income at a bit north of ten grand, plus profit sharing in a number of side ventures we may someday hear the end of but not anytime soon.

Thessalie Wayward comes breezing in with a file folder of some size, which Boynt opens dramatically. Hicks spots a familiar tabloid clipping.

"What's this, ol' Bruno back in the picture once more?" referring to local multimillionaire Bruno Airmont, known throughout the dairy industry as the Al Capone of Cheese in Exile since one middle of the night not that many years ago having packed a trunk full of banknotes and skipped, "Supposed to be taking it easy in a hammock," Hicks pretends to recall, "some remote tropical island nobody's sure which, drinkin Singapore Slings out of a fire hose. What's up, retirement's making him a li'l restless?"

"Actually this one's more about his daughter Daphne, with whom, if I'm not too misinformed, you have some history."

"Long time ago," reaching smokes out of his shirt pocket, latching one onto his lip, lighting up. "What's she up to now?"

"Seems your old romance has just run off with a clarinet player in a swing band."

"Keepin busy. Last I saw, she was supposed to be engaged to some North Shore loophound."

"Just off the phone in fact with that happy fiancé himself, G. Rodney Flaunch of the Glencoe Flaunches, acting as spokesman for an assortment of interested parties who've just hired us, and let me point out, for this crowd the fee scale doesn't seem like much of an object."

"And the job would be . . ."

"To locate Miss Airmont wherever she's off to, smooth-talk her out of her involvement with this clarinet player, bring her back. Simple pickup and delivery."

"Lot of fun for somebody, too bad that matrimonials, as you'll recall, were never my line-"

Back when he was getting into the business, one of the first things Hicks noticed was how many pre-divorcées just in Milwaukee and Waukesha counties alone seemed disposed to linger over forbidden liquids, going into all the intimate details as if mistaking him for a lawyer that doesn't charge much, with muscle thrown in for free, leading to romantic outcomes easy to imagine, except for the ones Hicks never saw coming, after enough of which he found himself more than ready to hand matrimonials off to energetic junior hires like Zbig Dubinsky, who regards the invention of the trouser-front zipper as a major advance in civilization and can put up with any long sad story that promises the least possibility of domestic cinder disposal.

Ignoring which as usual, Boynt continues.

"Except for your personal connection with the lady, of course-excuse me, what's this expression on your face?"

"This? Close attention, I think."

"No, if it's anything it's 'poor old Boynt,' and insincere at that. Who are you to act so virtuous? You're the one with the glamorous, some might even say lurid, past here."

"Making me even less qualified-"

Sudden commotion in the outer office now, as in through the door without an appointment comes running Skeet Wheeler, a flyweight juvenile in a porkpie hat, with Thessalie close behind attempting grabs which Skeet doesn't seem all that eager to avoid.

"Hicksie! Ya gotta do somethin! You heard it, right?"

"Sure, everybody in town must've heard it, but what was it?" Anybody has the straight dope it'll be Skeet.

"Stuffy Keegan's hooch wagon-somebody rolled a bomb, blew it all to hell."

"Language," Boynt murmurs.

"Stuffy's all right?"

"Nobody's sayin nothin, the hush is on. If he hasn't skipped town, if he's still alive, he ain't advertising."

Hicks has known, at least kept a mental file on, Stuffy Keegan since his early career as a petty offender and eventually MPD snitch who can be bought for a song, which is seldom "Puttin' on the Ritz." By the standards of these times and this neck of the woods, Stuffy's rap sheet, while technically criminal, is nothing special except for the number of paranoid lapses of judgment including the one that landed him here to begin with. Out on some otherwise routine run, possibly owing to lack of sleep, he began to observe in the rearview mirror growing numbers of law enforcement which, even if that's what it really was, might not really've been planning to pull Stuffy over, or even notice him at all, but by the time he got to Waukesha it was too much for his nerves, so he found a telephone and called the police and asked them to just please come and get it over with.

"It was highway coppers, I tell ya, a whole armored division, lights 'n' sirens 'n'-"

"Sure, Mr. Keegan, we understand, now don't worry, we'll take steps."

Convinced there was something screwy about his rearview mirror, every time he looked into which now he had started seeing something he didn't want to see, Stuffy traded in the rig he was driving for a REO Speed Wagon with a normal rearview mirror, soon familiar among the tattered convoys out in the wind between here, Detroit, and Toledo carrying a load typically of pint bottles, whose rectangular cross-section allowed more to fit into the limited cargo space, bought for $2 in Canada, sold on this side for $7 to retailers who then diluted the contents two, sometimes three to one. Return trips from Toledo often brought a wagonload of Lake Erie perch under ice, to be listed on local fish-joint menus as "Lake Michigan perch," the real critter having in recent years been pretty much fished out.

"That rig," Skeet looking forlorn, "got him out of so many bad situations . . . Called it his li'l tramp freighter of the streets and in the end a blown-up wreck with zero resale value."

"Getting sentimental, kid, better watch 'at, once."

Boynt meanwhile, having run his usual unsociable O-O of Skeet, "Recall there's a Depression on, we can only afford so much pro bono work anymore, there was a memo, I handed you it myself." Taking the runaway cheez heiress file, tapping Hicks gently on the head with it, handing it over and heading for his office. "Soon as you've had a look through this, Hicks, let me know what you think." Doesn't quite slam the door, but there is some emphasis to the way it shuts.

"Was that steam comin out his ears? Did I barge in on somethin again?"

"Nothin that can't wait. New watch, I see."

"Hamilton, glows in the dark too."

"Pretty classy there, Skeet."

"Can't help it, she just thinks I'm cute. Her way of showing it."

"Uh-huh." As likely lifted off somebody staggering out of a speak, but with Skeet you never know, so Hicks only makes with the avuncular beaming. Skeet is one of the modern young breed of dip, no longer interested in the pocket watches of the old and inattentive, finding more challenge in lifting a watch right off of a wrist in broad daylight, where any trick buckle or extra keeper can slow you down by some fatal splinter of a second.

Skeet lights up a cigar stub that never seems to change length much, the very blackest of Italo fumigators, dense as a rock, goes out if you don't keep puffing on it so after a while you let it go out, but keep it in your kisser anyway.

"OK, how do we approach this?" coming out of somewhere with a snub nose service .32, and pretending to check to see if it's loaded.

"Gosh sakes, Skeet."

"Kids' Special."

"You've been firing this thing much?"

"Only out at the dump so far. But keep your shirt on, one of these days you'll be readin all about it on the front page of the Journal."

Hicks used to talk like this back in high school. For a minute and a half he's taking a bounce back in time, and looking at himself as a kid.

"OK, OK now, Skeet, now about this bomb, what'd be your guess?"

"There was some talk of a Third Ward type of person."

"Uh-uh." Out with the cautionary finger. "Still want to be a detective when you grow up, first thing to learn is keep an open mind. Maybe for the MPD and them, bomb always equals Italian no matter what, but in real life there's bomb rollers in all parts of town, even among the German and Polish races. Now what about money, social life, how much does Stuffy owe and who to and is he carryin on with some big shot's sweetie."

"Love life among the grown-ups, better ask a newsie, you really want to know. Those guys are the ones that get around."

Though Skeet doesn't read the papers much, he manages to follow gang wars like some kids follow pennant races, carrying in his wallet a photo of Al Capone, clipped from the Journal, across which Skeet, or somebody, has inscribed, "To my old goombah Skeet, who taught me everything I know, regards and tanti auguri, always, Al."

Mostly his news of current events comes from keeping an ear aimed at the radio and staying in everyday touch with the kid underworld-drifters, truants, and guttersnipes, newsboys at every corner and streetcar stop-who in turn have antennas of their own out. "It's like Mussolini," Skeet explains, "the little ones report to bigger kids, who report to me, then I report to you, then on up the pyramid."

"And . . . the Mussolini here again being who, Pete Guardalabene?"

"You know better. Pete is no more'n mid-level, same for Joe Vallone-both bein run like everybody else in this burg by remote control from Chicago."

Hicks and Skeet go back a couple years, to one of those spells of bank robberies and pineapple detonations that now and then would sweep through town, leaving civilian nervous wreckage in its wake. Hicks had put his nose into a recently stuck up bank on Wisconsin Avenue on behalf of a client whose bank account had just disappeared, either in the robbery or into some soon to be ex-spousal pocketbook.
“Bonkers and brilliant fun . . . rollicking, genially silly and ultimately sweet . . . Of all living novelists, Pynchon may have the most distinct voice — a clipped tough guy patois delivered with the rhythms of borscht belt comedy, amplified by an endless appetite for linguistic play — that has proved largely inimitable. It’s not just that no one else writes quite like Pynchon; it’s that no one even tries. The endless accumulation of incident pulls you along, but sometimes you have to stop to marvel at any given sentence, much as you might at a 170-foot-tall bottle of ketchup that suddenly looms above you during a road trip.” The Washington Post

“Late Pynchon at his finest. Dark as a vampire’s pocket, light-fingered as a jewel thief, Shadow Ticket capers across the page with breezy, baggy-pants assurance — and then pauses on its way down the fire escape just long enough to crack your heart open. Only now can we finally see that Pynchon has been quietly assembling — one novel at a time, in no particular order — an almost decade-by-decade chronicle no less ambitious than Balzac’s La Comédie Humaine, August Wilson’s Century Cycle or the 55 years of Garry Trudeau’s Doonesbury. This is his Pynchoniad, a zigzagging epic of America and the world through our bloodiest, most shameful hundred years. Perhaps suffering from what Pynchon called in V. our ‘great temporal homesickness for the decade we were born in,’ he has now filled in the only remaining blank spot on his 20th century map: the 1930s.” Los Angeles Times

“A masterpiece . . . Between the novel’s sheer weirdness, its obscurity, its evocative 1930s setting and its joyously Raymond Chandler-esque dialogue – pinging back and forth between hard-boiled men and harp-tongued broads, I enjoyed Shadow Ticket more than any other Pynchon . . . The fact that Shadow Ticket is brilliant and prescient isn’t a surprise; that it exudes so much joy and sensuousness is. To have had the career Pynchon had, and still be so invigorated by your work, is all any novelist can ask. I hope this isn’t his last hurrah – but if it is, what a way to go out.” The Telegraph (5/5 stars)

“A literary triumph . . . A gloriously language-driven detective novel that waits for no one.” The Boston Globe

"Everything is connected in Shadow Ticket, Thomas Pynchon’s fleet-footed noir fiction about a lindy-hopping detective in prohibition-era Wisconsin . . . Most likely it connects to the current moment as well, albeit wryly and slyly, with a nonchalant swing. That’s the implied final move of this merry dance of a book: the point where the past links its hands with the present. Shadow Ticket is a Pynchon novel – the 88-year-old’s first in 12 years; his ninth overall – and so it naturally connects to the man’s back catalogue, too, and its abiding fascination with conspiracy, chaos and the churn of American pop culture . . . Pynchon’s yarn sets out with a song in its heart and mischievous spring in its step, but it edges into darkness and its final forecast is bleak. The writer knows what’s to come and where this roll of foul history will eventually lead . . . Cheese fraud is a front and period details provide cover. But the fascist past isn’t dead, it’s stinking up the joint right this minute." —The Guardian

"Shadow Ticket is brisker than Thomas Pynchon’s other work, but it’s full of his usual vaudevillian sensibility, and it addresses his favorite theme: how to live freely under powerful systems of control." —The New York Review of Books

"Bombs, xenophobic spies, Champagne cocktails, motorcycle gangs, jazz critics, and cult leaders abound . . . It’s impossible not to project the parallels of the creeping fascism in 1930s America in Shadow Ticket onto our current political climate . . . Our world does not seem all that different from a Pynchon novel . . . Pynchon knows how to drive his readers towards deluded suspicion. No one is free from paranoia when the world descends into chaos." —GQ

"Pynchon has written his most urgent novel yet thanks to a newfound narrative grounding that maintains his distinctive style of cartoonish maximalism and high-flown beauty. It is filled with his famously overstuffed paragraphs, often one thrumming sentence each. But his words go down a bit more smoothly than usual without sacrificing any of his crackle. The result is a Pynchonian reduction simmered to delectation." —Vulture

“A swaggering, hard-boiled caper . . . [Pynchon's] writing simultaneously promises esoteric insight into how the world really works — that it’s governed by unseen forces and powerful players moved by dark motives that lurk in the languages and devices of science, technology, finance and politics — and relentlessly satirises any effort to make sense of how the world really works . . . This is Pynchon’s genius: what seems ridiculous at first glance might just also be a faithful rendering of earnest American culture." —Financial Times

“Wised-up bewilderment is the quintessential temperament of Mr. Pynchon’s P.I.s—the people paid to follow leads learn to accept that they have no idea where they’re going—so a lot of the book relies on the freshness of the comic embellishments. I liked them . . . Why, in what may be his final novel, has Mr. Pynchon chosen this time period, ‘the last minutes of a break’ before historical darkness descends? On a few occasions the author tips his hand, implying connections between interwar Europe and the America of today . . . Readers will have to decide whether this is reflexive Pynchonian paranoia—the endless search for meaningful patterns—or an earnest warning from an author who has seen the world catch up to his wildest imagination.” —Wall Street Journal

"With his casually playful and chillingly resonant ninth novel, Pynchon delivers a warning against global fascism, a slapstick symphony whose antic comedy can’t begin to conceal its hopelessly broken American heart . . . Belying his reputation as an intimidating genius of weighty ideas and unresolved plots, Pynchon is simply telling it like it is: life is crushing, and nothing’s ever over. The novel’s heart-freezing finish is as plaintively moving as anything he’s ever done. Irresistible and deeply satisfying, this makes clear Pynchon’s powers remain undiminished." Publishers Weekly, starred review

"For all the frenzy, multidimensional strategy, and wit, there is deep longing here for truth, light, and peace as unlikely yet crucial alliances and love persist in spite of chaos, cons, betrayals, and bloodshed. And all is shadowed by the gathering forces of fascism and genocide. Pynchon’s rollicking, virtuoso, knowing, subtly philosophical private-eye caper is a fun-house-mirror reflection of a treacherous and tragic time unnervingly relevant to our own." Booklist, starred review

"[Shadow Ticket is] short, it's funny, and its core plot—private eye chases runaway dame—is familiar enough to give a cautious reader something to cling to as the book gets stranger . . . Shadow Ticket is eminently quotable, and I could probably lay down another couple thousand words relaying good lines . . . But at some point I'd just be retyping the book, and who needs that? Better to go straight to the source. And to savor it." Reason Magazine

"Who’d have thought that what we needed in this mean literary-political season, now that American fascism has entered its Reichstag fire and 'Action Against the un-German Spirit' phase, was a new novel by Thomas Pynchon, set in the US in 1932 and populated by Nazis, gangsters, corrupt businessmen, and technological novelties? . . . Many of Shadow Ticket’s pleasures come from immersion in its period, to a point way beyond parody or pastiche and into some wildly imagined but sedulously recalled (or researched) level of precision . . . But most impressive is the language, a mix of authentic slang and Pynchon’s own coinages that makes every page a joy and just demands to be noted and recited." —4Columns

"Like the best of Pynchon’s work, [Shadow Ticket] tackles humanity’s capacity for violence and cruelty, our sadness and stupidity, with an unflinching yet compassionate eye." —NewCity Lit

About

The new novel from Thomas Pynchon, bestselling and award-winning author of Gravity's Rainbow, The Crying of Lot 49, Vineland, and Inherent Vice.

“A masterpiece.” —The Telegraph

“Bonkers and brilliant fun.” —The Washington Post

“Late Pynchon at his finest. Dark as a vampire’s pocket, light-fingered as a jewel thief, Shadow Ticket capers across the page with breezy, baggy-pants assurance — and then pauses on its way down the fire escape just long enough to crack your heart open.” —Los Angeles Times

Milwaukee 1932, the Great Depression going full blast, repeal of Prohibition just around the corner, Al Capone in the federal pen, the private investigation business shifting from labor-management relations to the more domestic kind. Hicks McTaggart, a onetime strikebreaker turned private eye, thinks he’s found job security until he gets sent out on what should be a routine case, locating and bringing back the heiress of a Wisconsin cheese fortune who’s taken a mind to go wandering. Before he knows it, he’s been shanghaied onto a transoceanic liner, ending up eventually in Hungary where there’s no shoreline, a language from some other planet, and enough pastry to see any cop well into retirement—and of course no sign of the runaway heiress he’s supposed to be chasing. By the time Hicks catches up with her he will find himself also entangled with Nazis, Soviet agents, British counterspies, swing musicians, practitioners of the paranormal, outlaw motorcyclists, and the troubles that come with each of them, none of which Hicks is qualified, forget about being paid, to deal with. Surrounded by history he has no grasp on and can’t see his way around in or out of, the only bright side for Hicks is it’s the dawn of the Big Band Era and as it happens he’s a pretty good dancer. Whether this will be enough to allow him somehow to Lindy-hop his way back again to Milwaukee and the normal world, which may no longer exist, is another question.

Creators

Thomas Pynchon is the author of V.; The Crying of Lot 49; Gravity’s Rainbow; Slow Learner, a collection of short stories; Vineland; Mason & Dixon; Against the Day; Inherent Vice; Bleeding Edge; and Shadow Ticket. He received the National Book Award for Gravity’s Rainbow in 1974. View titles by Thomas Pynchon

Excerpt

1

When trouble comes to town, it usually takes the North Shore Line. What with tough times down the Lake in Chicago, changes in the wind, Prohibition repeal just around the corner, Big Al in the federal pokey in Atlanta, Outfit affairs grown jumpy and unpredictable, anybody needing an excuse to get out of town in a hurry comes breezing up here to Milwaukee, where it seldom gets more serious than somebody stole somebody's fish.

Hicks McTaggart has been ankling around the Third Ward all day keeping an eye on a couple of tourists in Borsalinos and black camel hair overcoats up from the home office at 22nd and Wabash down the Lake, the Chicago Outfit handling whatever needs to be taken care of in Milwaukee since Vito Guardalabene cashed in his chips ten years ago, though Vito's successor Pete Guardalabene is still considered head man in the Ward, gets his picture in the social pages smiling at weddings and so forth.

Loitering in the alleyway in back of Pasquale's Bella Palermo, Hicks can hear sounds of noodle-flexing sociability, smell spaghetti sauce and garlic frying and sfinciuni bagherese baking over an olive-branch fire, and it's making him hungry, though this close to payday his lunch menu is a thermos of coffee and a buttermilk cruller stashed in a pocket someplace.

The explosion when it comes seems to be from somewhere across the river and nearer the Lake. Forks and glassware pause between tabletop and mouth, as if everybody's observing a moment of stillness, and nobody seems surprised.

It's still the topic of conversation a little later when everybody comes piling out into the street.

"Come up lookin for a little peace and quiet, next thing you know . . ."

"Startin to sound like Chicago around here."

Everybody is looking at everybody else like they're all in on something. Beyond familiarity or indifference, some deep mischief is at work.

Over the next few hours till the happiness twins are back on the train again, Hicks gets to hear a number of different stories, related to gangland matrimonials or hooch heists everybody's heard about before, not much of it helpful, even at the combination drug and hardware store plus lunch counter known as Oriental Drugs, heart and soul of the East Side and Hicks's usual source of reliable lowdown in Milwaukee, and sometimes lunch when it isn't too close to payday, which sends him instead over to Otto's Oasis, a speak disguised as a neighborhood Imbisswagen, with a refreshments list ranging from hours-old bathtub product to blockade-run imports of the real McCoy, where by dumb luck he does happen to arrive next to the kitchen door just at the exact moment Otto's wife Hildegard is bringing a platterful of free lunch items out to the bar area, so while others are making grabs at Hildegard, Hicks, still brooding about the Sicilian food back at Pasquale's, manages to divert enough eats his way to see him through a couple more hours at least.


Later at the Unamalgamated Ops detective agency, Hicks finds his boss, Boynt Crosstown, waiting on the doorsill, shoes beating a nervous eight to the bar.

"Flash bulletin," grabbing Hicks and pretending to pull him by the necktie through the length of the shop and into his office, "just a minute's all I ask."

Hicks trying to stay professional, "Don't suppose you happened to hear anything back around lunchtime . . ."

"Pineapples come and pineapples go, never mind that Santa Flavia Chamber of Commerce meeting, write me a memo, small change anymore, got us a ticket just in and it's a lulu, I'm telling you this is the one'll put us all swimming in the gravy . . ." and so forth.

"Wish you wouldn't come to work when you're like this, Boynt."

"Sure, sure, well, this isn't just daydreaming through the Depression for a change, I guarantee you there's money in this, big money, I've seen it!"

With Boynt this usually turns out to be an illegible IOU written in pencil on a wet bar napkin. Hicks tries to keep the doubts out of his face.

"This time it's the goods, right there on the table, and green? Wisconsin before they started logging it off should only've been this green."

"Too bad about my mattress, already over legal capacity, corners of bills hanging out, sure you understand-"

"You always worked too cheap," Boynt headwagging, "even before the Crash you were dime-a-dance." Reaching for a switch on his intercom, "Thessalie, would you mind fetching us in that file?"

"Whole different tax bracket up there in Shorewood, you people, ain't it." Boynt has come in for a major share of the class needling around here, which goes on at industrial sewing-machine tempo and pretty much nonstop, ever since a page from his confidential file mysteriously folded itself one day into a paper airplane and went sailing into the room where the mimeograph machine is, and before you could blink, copies found their way to everybody in the office, announcing Boynt's yearly income at a bit north of ten grand, plus profit sharing in a number of side ventures we may someday hear the end of but not anytime soon.

Thessalie Wayward comes breezing in with a file folder of some size, which Boynt opens dramatically. Hicks spots a familiar tabloid clipping.

"What's this, ol' Bruno back in the picture once more?" referring to local multimillionaire Bruno Airmont, known throughout the dairy industry as the Al Capone of Cheese in Exile since one middle of the night not that many years ago having packed a trunk full of banknotes and skipped, "Supposed to be taking it easy in a hammock," Hicks pretends to recall, "some remote tropical island nobody's sure which, drinkin Singapore Slings out of a fire hose. What's up, retirement's making him a li'l restless?"

"Actually this one's more about his daughter Daphne, with whom, if I'm not too misinformed, you have some history."

"Long time ago," reaching smokes out of his shirt pocket, latching one onto his lip, lighting up. "What's she up to now?"

"Seems your old romance has just run off with a clarinet player in a swing band."

"Keepin busy. Last I saw, she was supposed to be engaged to some North Shore loophound."

"Just off the phone in fact with that happy fiancé himself, G. Rodney Flaunch of the Glencoe Flaunches, acting as spokesman for an assortment of interested parties who've just hired us, and let me point out, for this crowd the fee scale doesn't seem like much of an object."

"And the job would be . . ."

"To locate Miss Airmont wherever she's off to, smooth-talk her out of her involvement with this clarinet player, bring her back. Simple pickup and delivery."

"Lot of fun for somebody, too bad that matrimonials, as you'll recall, were never my line-"

Back when he was getting into the business, one of the first things Hicks noticed was how many pre-divorcées just in Milwaukee and Waukesha counties alone seemed disposed to linger over forbidden liquids, going into all the intimate details as if mistaking him for a lawyer that doesn't charge much, with muscle thrown in for free, leading to romantic outcomes easy to imagine, except for the ones Hicks never saw coming, after enough of which he found himself more than ready to hand matrimonials off to energetic junior hires like Zbig Dubinsky, who regards the invention of the trouser-front zipper as a major advance in civilization and can put up with any long sad story that promises the least possibility of domestic cinder disposal.

Ignoring which as usual, Boynt continues.

"Except for your personal connection with the lady, of course-excuse me, what's this expression on your face?"

"This? Close attention, I think."

"No, if it's anything it's 'poor old Boynt,' and insincere at that. Who are you to act so virtuous? You're the one with the glamorous, some might even say lurid, past here."

"Making me even less qualified-"

Sudden commotion in the outer office now, as in through the door without an appointment comes running Skeet Wheeler, a flyweight juvenile in a porkpie hat, with Thessalie close behind attempting grabs which Skeet doesn't seem all that eager to avoid.

"Hicksie! Ya gotta do somethin! You heard it, right?"

"Sure, everybody in town must've heard it, but what was it?" Anybody has the straight dope it'll be Skeet.

"Stuffy Keegan's hooch wagon-somebody rolled a bomb, blew it all to hell."

"Language," Boynt murmurs.

"Stuffy's all right?"

"Nobody's sayin nothin, the hush is on. If he hasn't skipped town, if he's still alive, he ain't advertising."

Hicks has known, at least kept a mental file on, Stuffy Keegan since his early career as a petty offender and eventually MPD snitch who can be bought for a song, which is seldom "Puttin' on the Ritz." By the standards of these times and this neck of the woods, Stuffy's rap sheet, while technically criminal, is nothing special except for the number of paranoid lapses of judgment including the one that landed him here to begin with. Out on some otherwise routine run, possibly owing to lack of sleep, he began to observe in the rearview mirror growing numbers of law enforcement which, even if that's what it really was, might not really've been planning to pull Stuffy over, or even notice him at all, but by the time he got to Waukesha it was too much for his nerves, so he found a telephone and called the police and asked them to just please come and get it over with.

"It was highway coppers, I tell ya, a whole armored division, lights 'n' sirens 'n'-"

"Sure, Mr. Keegan, we understand, now don't worry, we'll take steps."

Convinced there was something screwy about his rearview mirror, every time he looked into which now he had started seeing something he didn't want to see, Stuffy traded in the rig he was driving for a REO Speed Wagon with a normal rearview mirror, soon familiar among the tattered convoys out in the wind between here, Detroit, and Toledo carrying a load typically of pint bottles, whose rectangular cross-section allowed more to fit into the limited cargo space, bought for $2 in Canada, sold on this side for $7 to retailers who then diluted the contents two, sometimes three to one. Return trips from Toledo often brought a wagonload of Lake Erie perch under ice, to be listed on local fish-joint menus as "Lake Michigan perch," the real critter having in recent years been pretty much fished out.

"That rig," Skeet looking forlorn, "got him out of so many bad situations . . . Called it his li'l tramp freighter of the streets and in the end a blown-up wreck with zero resale value."

"Getting sentimental, kid, better watch 'at, once."

Boynt meanwhile, having run his usual unsociable O-O of Skeet, "Recall there's a Depression on, we can only afford so much pro bono work anymore, there was a memo, I handed you it myself." Taking the runaway cheez heiress file, tapping Hicks gently on the head with it, handing it over and heading for his office. "Soon as you've had a look through this, Hicks, let me know what you think." Doesn't quite slam the door, but there is some emphasis to the way it shuts.

"Was that steam comin out his ears? Did I barge in on somethin again?"

"Nothin that can't wait. New watch, I see."

"Hamilton, glows in the dark too."

"Pretty classy there, Skeet."

"Can't help it, she just thinks I'm cute. Her way of showing it."

"Uh-huh." As likely lifted off somebody staggering out of a speak, but with Skeet you never know, so Hicks only makes with the avuncular beaming. Skeet is one of the modern young breed of dip, no longer interested in the pocket watches of the old and inattentive, finding more challenge in lifting a watch right off of a wrist in broad daylight, where any trick buckle or extra keeper can slow you down by some fatal splinter of a second.

Skeet lights up a cigar stub that never seems to change length much, the very blackest of Italo fumigators, dense as a rock, goes out if you don't keep puffing on it so after a while you let it go out, but keep it in your kisser anyway.

"OK, how do we approach this?" coming out of somewhere with a snub nose service .32, and pretending to check to see if it's loaded.

"Gosh sakes, Skeet."

"Kids' Special."

"You've been firing this thing much?"

"Only out at the dump so far. But keep your shirt on, one of these days you'll be readin all about it on the front page of the Journal."

Hicks used to talk like this back in high school. For a minute and a half he's taking a bounce back in time, and looking at himself as a kid.

"OK, OK now, Skeet, now about this bomb, what'd be your guess?"

"There was some talk of a Third Ward type of person."

"Uh-uh." Out with the cautionary finger. "Still want to be a detective when you grow up, first thing to learn is keep an open mind. Maybe for the MPD and them, bomb always equals Italian no matter what, but in real life there's bomb rollers in all parts of town, even among the German and Polish races. Now what about money, social life, how much does Stuffy owe and who to and is he carryin on with some big shot's sweetie."

"Love life among the grown-ups, better ask a newsie, you really want to know. Those guys are the ones that get around."

Though Skeet doesn't read the papers much, he manages to follow gang wars like some kids follow pennant races, carrying in his wallet a photo of Al Capone, clipped from the Journal, across which Skeet, or somebody, has inscribed, "To my old goombah Skeet, who taught me everything I know, regards and tanti auguri, always, Al."

Mostly his news of current events comes from keeping an ear aimed at the radio and staying in everyday touch with the kid underworld-drifters, truants, and guttersnipes, newsboys at every corner and streetcar stop-who in turn have antennas of their own out. "It's like Mussolini," Skeet explains, "the little ones report to bigger kids, who report to me, then I report to you, then on up the pyramid."

"And . . . the Mussolini here again being who, Pete Guardalabene?"

"You know better. Pete is no more'n mid-level, same for Joe Vallone-both bein run like everybody else in this burg by remote control from Chicago."

Hicks and Skeet go back a couple years, to one of those spells of bank robberies and pineapple detonations that now and then would sweep through town, leaving civilian nervous wreckage in its wake. Hicks had put his nose into a recently stuck up bank on Wisconsin Avenue on behalf of a client whose bank account had just disappeared, either in the robbery or into some soon to be ex-spousal pocketbook.

Praise

“Bonkers and brilliant fun . . . rollicking, genially silly and ultimately sweet . . . Of all living novelists, Pynchon may have the most distinct voice — a clipped tough guy patois delivered with the rhythms of borscht belt comedy, amplified by an endless appetite for linguistic play — that has proved largely inimitable. It’s not just that no one else writes quite like Pynchon; it’s that no one even tries. The endless accumulation of incident pulls you along, but sometimes you have to stop to marvel at any given sentence, much as you might at a 170-foot-tall bottle of ketchup that suddenly looms above you during a road trip.” The Washington Post

“Late Pynchon at his finest. Dark as a vampire’s pocket, light-fingered as a jewel thief, Shadow Ticket capers across the page with breezy, baggy-pants assurance — and then pauses on its way down the fire escape just long enough to crack your heart open. Only now can we finally see that Pynchon has been quietly assembling — one novel at a time, in no particular order — an almost decade-by-decade chronicle no less ambitious than Balzac’s La Comédie Humaine, August Wilson’s Century Cycle or the 55 years of Garry Trudeau’s Doonesbury. This is his Pynchoniad, a zigzagging epic of America and the world through our bloodiest, most shameful hundred years. Perhaps suffering from what Pynchon called in V. our ‘great temporal homesickness for the decade we were born in,’ he has now filled in the only remaining blank spot on his 20th century map: the 1930s.” Los Angeles Times

“A masterpiece . . . Between the novel’s sheer weirdness, its obscurity, its evocative 1930s setting and its joyously Raymond Chandler-esque dialogue – pinging back and forth between hard-boiled men and harp-tongued broads, I enjoyed Shadow Ticket more than any other Pynchon . . . The fact that Shadow Ticket is brilliant and prescient isn’t a surprise; that it exudes so much joy and sensuousness is. To have had the career Pynchon had, and still be so invigorated by your work, is all any novelist can ask. I hope this isn’t his last hurrah – but if it is, what a way to go out.” The Telegraph (5/5 stars)

“A literary triumph . . . A gloriously language-driven detective novel that waits for no one.” The Boston Globe

"Everything is connected in Shadow Ticket, Thomas Pynchon’s fleet-footed noir fiction about a lindy-hopping detective in prohibition-era Wisconsin . . . Most likely it connects to the current moment as well, albeit wryly and slyly, with a nonchalant swing. That’s the implied final move of this merry dance of a book: the point where the past links its hands with the present. Shadow Ticket is a Pynchon novel – the 88-year-old’s first in 12 years; his ninth overall – and so it naturally connects to the man’s back catalogue, too, and its abiding fascination with conspiracy, chaos and the churn of American pop culture . . . Pynchon’s yarn sets out with a song in its heart and mischievous spring in its step, but it edges into darkness and its final forecast is bleak. The writer knows what’s to come and where this roll of foul history will eventually lead . . . Cheese fraud is a front and period details provide cover. But the fascist past isn’t dead, it’s stinking up the joint right this minute." —The Guardian

"Shadow Ticket is brisker than Thomas Pynchon’s other work, but it’s full of his usual vaudevillian sensibility, and it addresses his favorite theme: how to live freely under powerful systems of control." —The New York Review of Books

"Bombs, xenophobic spies, Champagne cocktails, motorcycle gangs, jazz critics, and cult leaders abound . . . It’s impossible not to project the parallels of the creeping fascism in 1930s America in Shadow Ticket onto our current political climate . . . Our world does not seem all that different from a Pynchon novel . . . Pynchon knows how to drive his readers towards deluded suspicion. No one is free from paranoia when the world descends into chaos." —GQ

"Pynchon has written his most urgent novel yet thanks to a newfound narrative grounding that maintains his distinctive style of cartoonish maximalism and high-flown beauty. It is filled with his famously overstuffed paragraphs, often one thrumming sentence each. But his words go down a bit more smoothly than usual without sacrificing any of his crackle. The result is a Pynchonian reduction simmered to delectation." —Vulture

“A swaggering, hard-boiled caper . . . [Pynchon's] writing simultaneously promises esoteric insight into how the world really works — that it’s governed by unseen forces and powerful players moved by dark motives that lurk in the languages and devices of science, technology, finance and politics — and relentlessly satirises any effort to make sense of how the world really works . . . This is Pynchon’s genius: what seems ridiculous at first glance might just also be a faithful rendering of earnest American culture." —Financial Times

“Wised-up bewilderment is the quintessential temperament of Mr. Pynchon’s P.I.s—the people paid to follow leads learn to accept that they have no idea where they’re going—so a lot of the book relies on the freshness of the comic embellishments. I liked them . . . Why, in what may be his final novel, has Mr. Pynchon chosen this time period, ‘the last minutes of a break’ before historical darkness descends? On a few occasions the author tips his hand, implying connections between interwar Europe and the America of today . . . Readers will have to decide whether this is reflexive Pynchonian paranoia—the endless search for meaningful patterns—or an earnest warning from an author who has seen the world catch up to his wildest imagination.” —Wall Street Journal

"With his casually playful and chillingly resonant ninth novel, Pynchon delivers a warning against global fascism, a slapstick symphony whose antic comedy can’t begin to conceal its hopelessly broken American heart . . . Belying his reputation as an intimidating genius of weighty ideas and unresolved plots, Pynchon is simply telling it like it is: life is crushing, and nothing’s ever over. The novel’s heart-freezing finish is as plaintively moving as anything he’s ever done. Irresistible and deeply satisfying, this makes clear Pynchon’s powers remain undiminished." Publishers Weekly, starred review

"For all the frenzy, multidimensional strategy, and wit, there is deep longing here for truth, light, and peace as unlikely yet crucial alliances and love persist in spite of chaos, cons, betrayals, and bloodshed. And all is shadowed by the gathering forces of fascism and genocide. Pynchon’s rollicking, virtuoso, knowing, subtly philosophical private-eye caper is a fun-house-mirror reflection of a treacherous and tragic time unnervingly relevant to our own." Booklist, starred review

"[Shadow Ticket is] short, it's funny, and its core plot—private eye chases runaway dame—is familiar enough to give a cautious reader something to cling to as the book gets stranger . . . Shadow Ticket is eminently quotable, and I could probably lay down another couple thousand words relaying good lines . . . But at some point I'd just be retyping the book, and who needs that? Better to go straight to the source. And to savor it." Reason Magazine

"Who’d have thought that what we needed in this mean literary-political season, now that American fascism has entered its Reichstag fire and 'Action Against the un-German Spirit' phase, was a new novel by Thomas Pynchon, set in the US in 1932 and populated by Nazis, gangsters, corrupt businessmen, and technological novelties? . . . Many of Shadow Ticket’s pleasures come from immersion in its period, to a point way beyond parody or pastiche and into some wildly imagined but sedulously recalled (or researched) level of precision . . . But most impressive is the language, a mix of authentic slang and Pynchon’s own coinages that makes every page a joy and just demands to be noted and recited." —4Columns

"Like the best of Pynchon’s work, [Shadow Ticket] tackles humanity’s capacity for violence and cruelty, our sadness and stupidity, with an unflinching yet compassionate eye." —NewCity Lit
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