One of the notable aspects of Gravity's Rainbow, if we consider it as an historical novel of a special kind, is the way in which “great” political leaders are barely mentioned. The carnival lacks the mock king, and the historical novel lacks the leader who embodies history. The explanation here is paradoxically historicist. Gravity's Rainbow explicitly addresses a constructed audience (in the Orpheus Theatre) in the Cold War and is about the formation of the Cold War in its techno-bureaucratic context. The realpolitik of authority in the Cold War context has changed. Bureaucratic constructions of System operate as the modus operandi for authority in the novel and they parallel the historical formation of Systems theory and analysis with such US organizations as RAND. This development represents, in the technologies and the discourses of the military and political strategists, a response to Hitler and the supposed tyranny and threat of Communism. The series of characters we encounter within the novel reflects different forms of entrapment and/or lines of flight in response to the authority of the System in what John Johnston has called an assemblage, or postmodern multiplicity. Containment and counterforce become metaphors which Pynchon scurrilously uses to subvert the moral righteousness of the Western Cold Warriors in their defense of a “free world” (paradoxically) under siege from an ever threatening Communism. Pynchon is interested not in the great historical figure, but in the relation of the individual to the System, militarily, scientifically, socially, and sexually.