64 pages • 2-hour read
Thomas PynchonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide features depictions of violence, racism, and religious discrimination.
Shadow Ticket begins in Milwaukee in the 1930s. At this time, gang wars are drifting into the city from Chicago, Al Capone has been arrested, Prohibition is about to be repealed, and anyone needing to escape the chaos heads to Milwaukee, where “it seldom gets more serious than somebody stole somebody’s fish” (1).
Hicks McTaggart is a private investigator for the Unamalgamated Ops (U-Ops) detective agency. While loitering around town, he hears a large explosion. Hicks, perpetually short of cash, makes inquiries about the blast, but few people seem surprised. At the U-Ops office, Hicks’s boss, Boynt Crosstown, is waiting for him. Thessalie Wayward, a former vaudeville mentalist, is also present. Boynt and Thessalie introduce Hicks to the latest case: Daphne Airmont, daughter of the so-called “Al Capone of Cheese” (3) Bruno Airmont, has run away with Hop Wingdale, a clarinetist for the swing band The Klezmopolitans. Bruno wants U-Ops to bring Daphne home, a job which could be made easier because Hicks has “some history” (3) with Daphne. He denies that their brief romance was anything serious and declines the case. He suggests instead that they assign the case to his energetic young colleague, Zbig Dubinsky.
A youngster named Skeet Wheeler rushes into the office in search of Hicks. The bomb, he says, blew up Stuffy Keegan’s hooch wagon. A petty offender and snitch who can be “bought for a song” (5), Stuffy miraculously survived but has gone into hiding. As Boynt unsuccessfully urges Hicks to take the Airmont case, Skeet shares what he knows about the bomb. The word on the street, he says, is that the bomb was Italian, but Hicks knows that “there’s bomb rollers in all parts of town” (7), including the German and Polish communities. Hicks has known Skeet for some time and considers the vaguely amoral youngster to be “a would-be apprentice with all the desire” (8) to be a detective one day. Skeet is also deeply entwined in the underground bowling scene, which offered him an escape from his tumultuous domestic situation. Boynt allows Hicks to go out in search of information about the bomb attack.
Hicks and Skeet arrive at the scene of the bomb blast. Skeet picks up a ball bearing as Hicks speculates about the “Infernal Machine Of Presumed Italian Origin” (13), or IMOPIO. The technical details of the bomb do not seem to align with the methods used by the Italian Mafia, however. Talking to a police officer, Hicks wonders whether someone has tried to make the bomb look Italian. He remembers a bomb attack on the Milwaukee central police station in 1917, in which a package was found and brought into the station to be examined. Hicks’s Uncle Lefty was part of the force during that time.
Hicks visits the Ideal Pharmacy, run by Hoagie Hivnak, in search of information. Hoagie complains about the price of milk that is threatening the cost of his ice cream sundaes; he does not believe that the Mafia is responsible for the bomb. There is a two-tier price system for milk in Milwaukee, he says, but “syndicates of Bolshevik farmers” (15) are working to eliminate this system and raise the cost of their milk. Hoagie believes that a dairy civil war is taking place, which is why the cheese magnate Bruno Airmont left town.
After “passing some genial semiprofessional chitchat” (16) with members of the Milwaukee Police Department, Hicks arrives at Arleen’s Orchid Lounge. There, he meets April Randazzo, his sometime girlfriend and dancing partner. April is a singer and a dancer who performs in the city’s late-night establishments. She and Hicks met in the Aragon Ballroom in Chicago, where they danced to experimental jazz. Hicks was intrigued by April, though he soon discovered her fascination “with married men” (19). As a private detective, Hicks comes into contact with many men who are not loyal to their wives, and April’s “married-man fixation does bring along its own set of health risks” (19). As she flirts with Hicks, April urges him to marry someone so that she can be more in love with him than ever. When she puts on a “high-pitched flapper voice” (21), Hicks is irritated. Hicks sings to April, and April warns Hicks that he is “in big trouble and [does not] know it” (23). April performs her trademark ballad at a late-night club in front of a rotating band of jazz musicians. While watching April perform, a small-time crook known as Lino ‘the Dump Truck’ Trapanese warns Hicks that his Uncle Lefty has “funny stuff goin on” (26). Based on the tip, Hicks decides to pay his uncle a visit.
Hicks visits his Uncle Lefty and Aunt Peony. Sitting down for dinner with them, he enjoys his uncle’s “Surprise Casserole” (28) as Lefty talks about the rise of Adolf Hitler in Germany. He views Hitler as the future, insisting to Hicks that the newsreels cannot be trusted. There is, he claims, a “warmer, gayer Hitler” (29) whose image is distorted by Jewish figures in the media. Hicks praises the casserole, then delves into a reminiscence about his aunt. Hicks was raised by Peony and Lefty. Grace, Peony’s sister and Hick’s mother, was from the Driftless Area, a mostly rural part of Wisconsin that was never covered by glaciers during the last Ice Age and is thus ecologically distinct from the rest of the state. The locals all seem to drift to the nearby town of Baraboo, visiting “the circus people who wintered there” (30). People from the Driftless Area tend to either end up in Milwaukee or run away with someone from the circus. Grace met Eddie McTaggart and Peony met Detlef Flaschner; they married in a double ceremony. Grace then ran away with an elephant trainer, and a “heartbroken” (30) Eddie moved west. Hicks was taken in by Peony and Lefty, though he had “one foot by then already out the door” (30).
After leaving his aunt and uncle’s house, Hicks found work as a strike breaker. He used violence against people on picket lines on behalf of the management. He had little idea of the politics of the strikes; he appreciated being paid for the “thrill” (31) of violence. One day, however, he found himself face to face with a “truculent little Bolshevik” (32). Though he had the opportunity, he did not kill the man; the weapon in his hand seemed to mysteriously disappear. Instead, he spent several days reflecting on “the strange feeling” (33) of not having killed the man. Hicks lost interest in strikebreaking as a profession. Eventually, he was hired by U-Ops during an era when detective agencies were “emerging from an era of labor unrest and entering one of spousal infidelity” (34), a move which Boynt blamed on Prohibition. Around this time, Hicks also purchased a printed lecture course titled “Learn Oriental Attitude” (35). Though he understood nothing of the Japanese content, he found himself gripped by the literature. He felt “a kind of spiritual heavysetness sneaking up on him” (36). Peony noticed the change in him as Hicks continued to think about the man who “he meant to kill but didn’t” (37). Boynt told him not to worry whether he had ever killed anyone, encouraging him to talk to Thessalie since the U-Ops health insurance does not cover anything related to mental health. Even Uncle Lefty admits that Thessalie seems to possess “the genuine goods” (38) as a psychic.
Hicks meets Thessalie at Velocity Lunch, a quiet restaurant that serves glow-in-the-dark green salad in the shape of a human brain. Hicks tells her about the encounter with the young striker and wants to know why his weapon—a weighted leather striking device known as a beavertail—disappeared from his hand. Thessalie suggests that the beavertail “asported to safety” (40). Thanks to her background as a parttime mind-reader and mentalist, Thessalie is able to teach Hicks about asportation (when objects disappear) and apportion (when objects reappear). Hicks admits that the vanishing beavertail appeared in his pocket later that evening. He never used the weapon again and quit the strikebreaking business soon after. After signing up to U-Ops, he needed to adjust to carrying a firearm. He admits to Thessalie that he has fired his service pistol but he was “mostly just expending ammo into an unlighted distance” (41). Thessalie charges Hicks $10 for the conversation and suggests that he talk to Lew Basnight.
Hicks finds Lew at Otto’s Oasis. Lew Basnight is “an unreconstructed veteran of the Old West at its least merciful” (43) (and a recurring character from Thomas Pynchon’s Against the Day). As per Thessalie’s request, Lew agrees to teach Hicks a famous gun trick that he learned in the Wild West. The trick will allow Hicks to turn a gun on anyone who is demanding that he hand over his firearm. Hicks and Lew talk about California; Lew is just about ready to go back out west, feeling as though he needs to escape from the modern world. Hicks thanks Lew, who warns Hicks not to become “another one of these metaphysical detectives, out looking for Revelation” (45).
Hicks took April out for her “idea of a romantic date” (46), going to Chicago to see Dracula, starring the Hungarian American actor Bela Lugosi, at a movie theater. Soon after, she sent away for “Glow-in-the-Dark Vampire Choppers” (47). He then learned that April is “the promised bride of evil, known locally as Don Peppino” (47). Don Peppino is a Mafia boss who is not pleased at the prospect of Hicks dating his sometime lover, April. He sent his men to deliver “a word to the wise” (48), telling Hicks to leave April alone. Hicks fought back against the men. He thinks about running away with April, taking her into a “horrible domesticity” (49) but his associate, Vumvum, warns Hicks that Don Peppino is a serious threat.
Shadow Ticket begins with a list of the troubling circumstances in Milwaukee. The “tough times” (1) include the Al Capone arrest and the imminent repeal of Prohibition, upending the underground, criminal economy that drives the city’s above-ground economy. Big changes are about to take place, and people are vying for power in confusing times, in a geographic space that was once a safe refuge but is now anything but. A bomb explodes moments later as if to underline the changing fortunes of Milwaukee, locating the reader not only in a specific time and place, but in a psychological state of ambient unease. This collapse of existing power structures will later find its mirror image in Europe, setting the stage for the novel’s exploration of Fascism as a Consequence of Societal Collapse.
The novel begins by foregrounding a very specific historical moment, but with the exception of Hicks’s frequent recollections, the story is told entirely in the present tense. The present tense adds an immediacy to the third-person narration, emphasizing the uncertainty of the moment. These events are in motion, the present tense suggests, and unfolding in the current instant. The reader, like Hicks, is propelled along by the energy and the immediacy of events, rather than the narrator reflecting on such events from an unspecified time in the future.
The narrative structure of Shadow Ticket is linear, with events unfolding in chronological order, despite frequent visits to the past. In Chapter 3, for example, Hicks investigates the explosion and tries to find out more about the bomb. As he visits various places, he is reminded of how he met April. The shift into a reflective mood is signaled by the switch to past tense to establish the scene in which they “met” (16), then a switch back to present tense as Hicks and April are “Lindy-hopping” (17) on the dance floor. In the chronological present, Hicks meets with April in a club, and the present tense of the past collides with the present tense of the narration, mimicking the rush of romantic energy that Hicks feels whenever he sees April perform. The nested structure of these scenes allows a deft interplay between the past and the present, blurring the boundaries between moments in time. Hicks exists resolutely in the present tense, yet his memories—experienced as strongly and an intensely as though they were still his present—inform his choices and his actions.
The opening chapters of Shadow Ticket introduce Hicks as the hardboiled detective, seemingly influenced by the very same crime movies he watches in the theater. Hicks is not quite living the glamorous life of a private detective from the movies. He struggles to pay for his lunch and feels like he is being stuck with cases that he does not want. His lack of control over his own life establishes the novel’s thematic interest in The Surrender of Individual Agency to Systemic Power. At the same time, he rarely engages in violence and would rather dance than fight. These traits characterize him as a man playing a role for which he is ill suited.
As well as Hicks, the opening chapters introduce two women who will compete for Hicks’s attention in the early stages of the novel. Hicks would prefer to direct his attention to April, the subject of his personal infatuation and his current dance partner. Boynt, however, would prefer to direct Hicks’s professional attention at the missing Daphne Airmont. The juxtaposition between April and Daphne reveals the competing forces in Hicks’s life. He would prefer to spend his nights dancing with April, but he needs to work for money, so he is constantly compelled to follow his bosses’ instructions. Hicks tries to exert as much agency as he can by refusing the Airmont case, but the pressure does not alleviate. He wants to be with April, yet he is pushed to find Daphne. These competing motivations—the romantic and the material—reveal the conflict in Hicks’s personality, a conflict befitting a private detective who refuses to conform to genre conventions.



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