I know that light is one of the themes in ATD, but as of now I can only speculate about its signicicance.
The aforementioned quote by Monk something he was 'given to have said.' And, according to someone who commented on the Chumps of Choice blog (chumpsofchoice.blogspot.com), Monk also tried to play notes inbetween notes - that which was in his head.
A friend and I were once talking about jazz, to which he said, according to Miles Davis, it's not the notes that you play, it's the ones you don't play that matter.
Pynchon loves jazz and is known for blending elemenst of high and low culture, part of the postmodern literary movement.
According to Wikipedia:
"Jazz as a genre is often difficult to define, but improvisation is a key element of the form. Improvisation has been an essential element in African and African-American music since early forms of the music developed, and is closely related to the use of call and response in West African and African-American cultural expression."
From what I understand, jazz was a movement of originality generated from the African American community. I don't think anyone today would debate its importance and influence, but in its hayday, many dismissed it as directionless - like many critics of Pynchon's novels.
Also, the fact that "It's always night..." is only something Monk has been thought of as saying, might be some indicatore of Pynchon's religious feelings. Much, if not all, of religious text is not exactly what that person, prophet etc. said, but what they were given to have said. Which leaves open the possibility of interpretation that could - and does, lead to abuse of power.
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It’s interesting that your first post reference’s a Theolonious Monk. Literary interpretation is a bit out of my league, but I can’t help but get the impression that Pynchon is commenting on, if not at least identifying, man’s pursuit for understanding of the Divine via science and reason; and perhaps furthermore, the danger therein?
It seems there are themes of the Devine and science (perhaps innocent/sincere alchemy is more appropriate) are linked in some capacity. Aether has the overtones of something beyond the physical--- and the pursuit thereof has the suspicion air of being an allegory for perhaps something more important. The devotion to which the various learned characters pursue it certainly suggests a religious like following, but that kind of fanaticism is found all throughout the human experience. Super bowl anyone? I think what’s relevant, and what sets their enthusiasm apart is the nature of the subject. The suggestion that it’s both above and beyond, yet also common to and binding all of that which is common to us is enough to imply such. It’s science fiction for sure, but I can’t help but feel that it’s a vehicle for a larger message. C.S. did that in the “Out of the Silent Plane” series, which arguably was a secular, but in its social commentary the issue of religion surely wasn’t dodged in the least.
So as we’re continually introduced to characters that, in their own capacity, have some bumbling innocent affinity for “science” and it’s aligned with this sense of “something greater” I can’t help but feel there’s a statement to be acknowledge there. The Chums of Chance, kids at most (which I think is relevant in and of itself), have their order and ranks, instruments and directives, the miner plies chemicals and haggard equipment with diligence--- it all very innocent and naive (perhaps Pynchon doesn’t have much faith in us) but it seems to be a comment. Interestingly as one progresses into part II it would also seem that Pynchon is commenting on the “danger” of such pursuits. I haven’t reached the disaster which is continually referred to, but I’d wager it’s certainly a product of what’s found in the depths of the arctic which itself, in it’s otherworldly quality, seems to be an analogy to the Devine?
Perhaps as alchemy is to science, the creature is to God? Who’s to say. With luck, more critical reading will yield further insight.
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