GRGR(3) a. talking dog 44.2 - a bone to pick

[rj]

> but
> sometimes we have actors on the stage with lines-- an objective point of
> view, right?

But what Pynchon does with his camera is Eisensteinian. The camera is in
the *midst*. We can't ever conquer this Olympian perspective. It's
ever-elusive, but we suspect/hope it's there.

> much of what we know about R&J's
> relationship is really someone else's relationship recalled and compared to
> the current one he sees in R&J, right?

Right. Except that the "he" [sic] is us, the reader.

> And we have Pynchon's--Objective perspective as well ! The scientific
> > perspective grafted to a pure Artistic form--beautiful.

Sort of. More like this:

"I'm an eye. A mechanical eye. I, the machine, show you a world the  way
only I can see it. I free myself today and forever from human
immobility. I'm in constant movement. I approach and pull away from
objects. I creep under them. I move alongside a running horse's mouth. I
fall and rise with the falling and rising bodies. This is I, the
machine, manoeuvring in the chaotic movements, recording one movement
after another in the most complex combinations.

Freed from the boundaries of time and space, I co-ordinate any and all
points of the universe, wherever I want them to be. My way leads towards
the creation of a fresh perception of the world. Thus I explain in a new
way the world unknown to you."

(Dziga Vertov, Soviet film-maker, 1923)

best