Theatre/theater?

[Lycidas at worldnet.att.net]

Thomas Colin wrote:
> 
> Thanks. Don't know if I agree on every point, though... Perhaps. It
> certainly helped to start a reflection where there was nothing but the void.
> But this is a tough one, so I'm going to think about it before opening my
> (big) mouth.
> T.
> 
1. Makes perfect sense to me. Valuable clues for whoever's
listening. "Traffic is in Herero, with a German loan word
now and then (which is too bad, since these are usually
technical words, and valuable to whoever's listening." Is
this a clue for the reader? Maybe we should listen for some
sort of "loan word" which involves something technical.
Could it be something technical about the narrative? 


2. Great irony here, theatre belongs to Them, perhaps its
all
theater, though the history they have invented for
themselves conditions us to expect theatre. What do theatre
and theater have to do with this? Well, theatre is a word
associate with them, they, and in this example, the giant
cartel as described GR.326. Enzian thinks"...it LOOKS
genuine enough....Marvy must be together with the Russians
by now, and General Electric too--"

Enzian is up against the giant cartel, the iron triangle if
you will, of Marvy (U.S) the Russians and the
corporations(GE).  


 A-and GE too. GE is tied into "theatre" as that term is
used in GR, through various large metaphors--film, plastics,
atom bomb. 



3. Only Enzian could think this, or a self-conscious
narrator,

We can consider Enzian's thoughts here, Enzian as narrator
or if you prefer a non "paranoid" or implied author or a
narrator that explains contradictions, or however you prefer
it is reliable, like Geli, Nora, Byron the Bulb etc.

4. but Enzian is haunted by the actor impersonating a leader
on
the Rilkean stage of Their theatre.

Enzian is close to the zero, he does not want to be a christ
figure, he does not want to be a performer in the theatre.
This word  "theatre"  carries a great deal of weight in GR,
but here I was suggesting that Enzian does not want to be a
figure on the theatre's stage (for example, as Pynchon
applies Rilke's fourth Elegy) where the world is a stage. Or
a text, and Enzian does not want to be a hero of GR as
text.  

Your right, a tough one.