GRGR(20) "Young Fool"

[Jeremy Osner]

See, this is actually a subtle tip-off to the reader: the next step in the
evolution of music after Anton Webern, is Irving Berlin.

jbor wrote:

> Good post. I've never been able to get a proper handle on this
> metonymy/metaphor distinction, however. Mendelson appropriates it in his
> definition of the "encyclopedic narrative" (the Intro to his *Collection of
> Critical Essays*, p.9), and I think it derives from Roman Jakobson and
> Morris Halle's work on aphasia. Anyway, I think I understand the way Berlin
> functions as a cipher for the rest of politically-partitioned and regulated
> world outside the anarchic Zone, but how is it metonymyic?
>
> best
>
> ----------
>
> >From: jp4321 at idt.net (jporter)
> >To: pynchon-l at waste.org
> >Subject: GRGR(20) "Young Fool"
> >Date: Tue, Feb 15, 2000, 1:30 PM
> >
>
> > Viking, 441.3, we read;
> >
> >   "'Young Fool,' Saure now comes cackling in from out in Berlin."
> >
> > Emil, a witch of sorts- a wiz if ever a wiz there was- wizened by
> > experience, comes in *from Berlin,* which, presumably, is a stand in for
> > everything else *out there,* a narrative distinction or boundary thus
> > subtley created by metonymy. Of course, like the wiz, it was Emil who sent
> > S out after the hash, in order to win approval and a trip back to Kansas,
> > presumably by S-gerat. Who needs ruby slippers?
>
> snip
>
> ----------