<div dir="ltr">A-and it's a new paragraph!<br></div><div class="gmail_extra"><br><div class="gmail_quote">2016-03-17 1:28 GMT+01:00 Monte Davis <span dir="ltr"><<a href="mailto:montedavis49@gmail.com" target="_blank">montedavis49@gmail.com</a>></span>:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex"><div dir="ltr"><span class=""><div class="gmail_default" style="font-size:small">"<span style="font-size:12.8px">Sausages hang against </span><span style="font-size:12.8px">the Sky, forming Lines of Text, cryptick Intestinal Commentary."</span></div><div class="gmail_default" style="font-size:small"><span style="font-size:12.8px"><br></span></div></span><div class="gmail_default"><span style="font-size:12.8px">Essence of Pynchon there: comic-grotesque and over the top at first sight -- and taking on seriousness, even poetic force as you move on to the next sentence, pulling you back... godDAMN, how did he do that?!?!?</span></div></div><div class="HOEnZb"><div class="h5"><div class="gmail_extra"><br><div class="gmail_quote">On Wed, Mar 16, 2016 at 6:12 PM, John Bailey <span dir="ltr"><<a href="mailto:sundayjb@gmail.com" target="_blank">sundayjb@gmail.com</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">If we're bringing in the opening of chapter 2 of AtD here, then<br>
there's a direct connection there with chapter 29 of M&D:<br>
<br>
"Cities begin upon the day the Walls of the Shambles go up, to screen<br>
away Blood and Blood-letting, Animals' Cries, Smells and Soil, from<br>
Residents already grown fragile before Country Realities. The<br>
Better-Off live far as they may, from the concentration of Slaughter.<br>
Soon, Country Melancholicks are flocking to Town like Crows, dark'ning<br>
the Sun. Dress'd Meats appear in the Market,— Sausages hang against<br>
the Sky, forming Lines of Text, cryptick Intestinal Commentary. The<br>
Veery Brothers, professional effigy makers, run an establishment south<br>
of the Shambles at Second and Market Streets, by the Court House.<br>
Mason, in unabating Search after the Grisly, must pay a Visit.<br>
<br>
"Can't just have any old bundle of Rags up there, even if 'tis meant<br>
to be burnt to ashes, can we," says Cosmo, "— our Mobility like to<br>
feel they're burning something, don't you see? Oh, we do Jack-Boots<br>
and Pet¬ticoats, bread-and-butter items the year 'round, yet we strive<br>
for at least the next order of Magnytude...."<br>
<br>
"Here, for example, our Publick Beheading Model,— " adds his brother<br>
Damian, "or, 'the Topper,' as we like to call it, Key to ev'rything<br>
being the Neck, o' course, for after you've led them up to the one<br>
great Moment, how can you disappoint 'em wiv any less than that nice<br>
sa'isfy-ing Chhhunk! as the Blade strikes, i'n't it, and will pure<br>
Beeswax do the Job? No,— fine for the Head and whatever, but look what<br>
you've got to chop at,— spine? throat? muscles in the neck? well,— not<br>
exactly Wax, is it? So it's on with the old Smock, lovely visit next<br>
door, scavenging among th' appropriately siz'd Necks for bones and<br>
suet and such. Then it's up to the Kiddy here to cover it all over and<br>
give it a Head with a famous, or better Infamous, Face. He's a rare<br>
Wax Artist, our Cosmo is. Likenesses almost from another World,<br>
perhaps not a World many of us would find that comfortable. Products<br>
of the innocent Hive, Sir, and beneath, the refuse of the daily<br>
Slaughter, yes there you have it, a grisly Amalgam, perhaps even a<br>
sort of Teaching,— sure you'd enter any dark-en'd Room our lads and<br>
lasses happen'd to be in, only upon ill advice indeed."<br>
<div><div><br>
On Thu, Mar 17, 2016 at 2:53 AM, ish mailian <<a href="mailto:ishmailian@gmail.com" target="_blank">ishmailian@gmail.com</a>> wrote:<br>
> That opening scene in GR, a dream from below, a subconscious point of<br>
> view, as it begins with a scream above, in the sky, and then the focus<br>
> remains on what is above from the perspective of one who is below, the<br>
> emotions, fear and anxiety caused by what is above and what will fall<br>
> on those below, then the movement, and it is a narrowing and a drive<br>
> deeper below. I think the elevators take the evacuees down, not up,<br>
> down and away from any possibility of light, of salvation, of being<br>
> heard, even if they scream.<br>
><br>
> Now P made a book into a film recently, or somebody did it with his<br>
> OK, and it is, far as I know his first major film, but he worked on<br>
> film in his youth as I recall reading that at Cornell he was part of<br>
> some little film project or other. In any event, the young P is said<br>
> to have had an interest in making opera or space opera....but what<br>
> strikes me here again as I re-read this opening passage is how keen P<br>
> seems to be to make a movie. The camera position here that is the<br>
> dream of Pirate is from below to above.<br>
><br>
> The one in Chapter 2 of AGTD is from Above to what is Below and there,<br>
> it is not humans but cattle that are rushed through the Cartesian grid<br>
> to the killing floor.<br>
><br>
> There are parallels.<br>
><br>
> The WWII camera, some fixed to airplanes, others handheld down into<br>
> tunnels, some in balloons.<br>
><br>
> The little commentary in both passages suggest the use of film,<br>
> photography. The colors, the hues, the light or the dark room. all<br>
> kinda hint at P the fil maker.<br>
><br>
> On Wed, Mar 16, 2016 at 10:55 AM, Joseph Tracy <<a href="mailto:brook7@sover.net" target="_blank">brook7@sover.net</a>> wrote:<br>
>> Nicely argued.<br>
>>> On Mar 16, 2016, at 9:39 AM, ish mailian <<a href="mailto:ishmailian@gmail.com" target="_blank">ishmailian@gmail.com</a>> wrote:<br>
>>><br>
>>> Doesn't this opening remind anyone of the opening to Chapter Two of<br>
>>> _Against The Day_?<br>
>>><br>
>>> The imagery in _AGTD_ may be a poaching parody, of Upton Sinclair and<br>
>>> others of the period, as McHale argues, and following that analysis we<br>
>>> should look for film parody and poach here, but here in this opening<br>
>>> of GR, I am inclined to read this opening a not a parody or a poach,<br>
>>> but as the imagination of a writer who has been influenced, as<br>
>>> critical studies argue, by everyone and everything, but who has hit<br>
>>> his stride and is writing in a style that is rightfully and especially<br>
>>> his own. The anxiety of influence, so glaring in all previous works is<br>
>>> ground to dust. Though Mumford and Dickens and Orwell echo here, in<br>
>>> the imagery, Pynchon has a style all his own and what a style it is.<br>
>>><br>
>>> On Wed, Mar 16, 2016 at 8:11 AM, Ray Easton<br>
>>> <<a href="mailto:raymond.lee.easton@gmail.com" target="_blank">raymond.lee.easton@gmail.com</a>> wrote:<br>
>>>> I loathe statements about literature of the form "it feels to me like..."Â (<br>
>>>> pace, Mark -- not aiming at you, but only at myself! ), but I do have to say<br>
>>>> that some of what follows after the dream "feels to me like" the beginning<br>
>>>> of Ulysses. Felt so my first reading and has every time since.<br>
>>>><br>
>>>> I cannot figure out why, though -- and the why is what matters.<br>
>>>><br>
>>>> Sent with AquaMail for Android<br>
>>>> <a href="http://www.aqua-mail.com" rel="noreferrer" target="_blank">http://www.aqua-mail.com</a><br>
>>>><br>
>>>> On March 16, 2016 6:37:02 AM Mark Kohut <<a href="mailto:mark.kohut@gmail.com" target="_blank">mark.kohut@gmail.com</a>> wrote:<br>
>>>>><br>
>>>>> Distinct feeling of Mulligan at Ulysses opening now that you mention it.<br>
>>>>> Wholly changed but in comic tone and meaning<br>
>>>>><br>
>>>>> On Wed, Mar 16, 2016 at 4:02 AM, Ian Livingston <<a href="mailto:igrlivingston@gmail.com" target="_blank">igrlivingston@gmail.com</a>><br>
>>>>> wrote:<br>
>>>>>><br>
>>>>>> And the first rebirth is a Pirate, followed by Bloat.<br>
>>>>>><br>
>>>>>><br>
>>>>>><br>
>>>>>> “There are proceedings of such a delicate nature that it is well to<br>
>>>>>> overwhelm them with coarseness and make them unrecognisable; there are<br>
>>>>>> actions of love and of extravagant magnanimity after which nothing can be<br>
>>>>>> wiser than to take a stick and thrash the witness soundly…“ Nietzsche, BG&E,<br>
>>>>>> 29.<br>
>>>>>><br>
>>>>>><br>
>>>>>><br>
>>>>>> And what is Pirate‘s relation to Buck Mulligan and Stephen Dedalus,<br>
>>>>>> anyway?<br>
>>>>><br>
>>>>><br>
>>>><br>
>>> -<br>
>>> Pynchon-l / <a href="http://www.waste.org/mail/?list" rel="noreferrer" target="_blank">http://www.waste.org/mail/?list</a><br>
>><br>
>> -<br>
>> Pynchon-l / <a href="http://www.waste.org/mail/?listpynchon-l" rel="noreferrer" target="_blank">http://www.waste.org/mail/?listpynchon-l</a><br>
> -<br>
> Pynchon-l / <a href="http://www.waste.org/mail/?listpynchon-l" rel="noreferrer" target="_blank">http://www.waste.org/mail/?listpynchon-l</a><br>
-<br>
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