GRGR(4) kenosha kid

[rj]

> I mean, are we shown Slothrop being violated, or is that merely a thought 
> attributed to him, a fear? 

The reference to Pearl Harbour (67.6) in there makes me think that it's
another one of those multiplicities, like The Kenosha Kid is and isn't
both a dance step, a childhood penpal of Slothrop's, and Orson,
recombinations of all of these three, and more as well. I first read the
heaving Red River cityscape as an earthquake or bomb blast (I can even
picture the video file footage now), but then the possibility that
Malcolm has achieved his end (sorry) is certainly implied in that
pumping 11/12 rhythm and lyric further on. (The "you" in the lyric's
gotta be the reader, don't it? 67.30) But Malcolm X never did quite get
to fuck 'the white man', did he? At least, not from the vantage of 1973?
Or maybe he did -- that there 'Secret Integration' shows us where it
is/was achieved, perhaps. The possibility that it is simply the toilet
flush is not *totally* discounted, either.(67.2) Another possibility,
and a very potent one at that, is that as ol' Slothrop's "an avid
reader" he's read about Bird and Orson and the Kennedy tyro somewhere
(like he must've read about Pearl Harbour, cos he sho nuff weren't
there) and is just projecting/fantasising all these personalities and
events onto his own life (cf. the stars on his map) because he's
psychotically deluded/over-compensating for his glozing neuterdom
id-wise/Jamf-conditioned/or whatever enough to believe it himself and
thus fool the truth serum and its administerers.

I'm not so sure about (an embryonic?) Frank Zappa as a narrative
participant as such at this point, however, as it seems to me that
Pynchon has taken great pains to construct a historically plausible
chronology to now. I think we need to wait until a bit later on before
anachronism kicks in on that kinda scale. Same deal with the Cold War,
though I'm willing to be convinced on that one as a thematic impetus, I
guess. 

best