GRGR(3) 50.31 Love Pointsman Style

[ginnetti]

rj wrote:

> . . .Whenever it switches to the "you" mode there's always this intrusive
> element, this sense that the text is breaking out of frame and addressing
> the reader directly, kinda like we [. . .] are also disecting/fucking with
> the real mortal plight and despair of victims such as these, a mirror up to
> our pedantry and precious
> demurrals over this theme or that piece of imagery or the narrative
> stance, an indictment of us for our complacency. It also seems to me to
> be of a piece with the opening Evacuation sequence in some respects --
> tone, pace, point of view, imagery, surreality, ominousness,
> non-specificness. . .

This direct address certainly raises the stakes for the reader and heightens
the sense of paranoia.  I think it is quite interesting how TRP not only
includes the reader in his text and what's more he constitues this reader as
an active participant.  That is to say, he doesn't imagine an autonomous
reader, but rather one who is doing someone else's bidding (as rj alludes to
above).  Not that this is anything new, but I think that in these moments TRP
also tries to recuperate, in part, the idea of individual agency; as
tarnished, as compromise, as . . .

Now I'll go completely shoot from the hip, but to me he seems sympathetic in
these moments (as in others) to the early Marx.

--J