GRGR3: Discussion Opener for Section 3
Henry Musikar
gravity at dcez.nicom.com
Fri Oct 18 12:35:35 CDT 1996
> 2) Why is TRP including all this spiritualist, voodoo shit?
Without the spiritual actualities, there is only religion and Them.
The "spiritual plane" here doesn't require belief. It does however,
perhaps enable it.
> 19) I've already talked about the way that the interlude with Roger
> and Jessica is structured on pages 37-42. It starts and ends
> with them in the car, with narrative and dialogue and we drift
> in and out of Roger and Jess's thoughts and then into scenes
> from the past which contain their own narrative, dialogue and
> rendering of the mental. With each paragraph, or even individual
> lines, analyse who is saying what where and when (or who is
> being narrated as an indirect way of having them say it). How
> many narrators are there? Is there anything which is too
> confusing or does nto work?
> 21) "They are in love. Fuck the war" (42.2) Is this just hippy-dippy
> naivety? Or can you really say this? Compare it with Pirate's
> embarrassed, half-acknowledged sympathetic spurt `He is
> suddenly, dodderer and ass, taken by an ache in his skin, a
> simple love for them both that asks nothing but their safety.
> and that he'll always manage to describe as something else --
> "concern", you know, "fondness. . . .' (35.22).
> Aaaaaahhhhhhhhh. Choke. Sob. Sniff, sniff.
Even with Jessica's co-op with the Beav and therefore Them, there
appears to be love here. "They are in love. Fuck the war" may be
sixties trite, but Pirate and others can't help recognizing the
actuality. Roger and Jessica's love is unplanned and outside the
system. I have had the recent good fortune of "what Hollywood call 'a
cute meet'," so I must be forgiven my new feelings on feelings (woh,
woh, woh, feelings...).
I think there is a strong cynical streak in Pynchon. But it takes a
strong romantic to make a good cynic.
Hello, DCNY <grin>
Keep Cool, but care. -- TRP
http://www.nicom.com/~gravity/mypage.htm
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