kazoo lovers (was: Friends of Dorothy)

[Lorentzen / Nicklaus]

 why do you always panic, when it becomes obvious that trp is, well, 
 "de-constructing" the classical hierarchy of arts? in his excellent posting 
 jbor made it quite clear that "pynchon is reading the garish colours and  
 esotery of *the wizard of oz* through his narrative, as a component of the 
 western cultural tradition". you also may take another look at the sl-intro (- 
 in contrary to most of his blurbs a real document of pynchon's poetics). 
 the road runner knows that rock 'n' roll will never die ... trp describes the 
 moments he - at least that's how i see it - became the writer he is: "i was in 
 the navy at the time, but i already knew people who would sit in circles on the 
 deck and sing perfectly, in parts, all those early rock 'n' roll songs, who 
 played bongos [- like always when i write i have, sitting on our futon, placed 
 the notebook on the bongos ... kfl] and saxophones, who felt real grief when 
 bird and later clifford brown died" (p. 10). that's where our man became a 
 member of the counterforce. pynchon's use of rilke resembles zappa's use of 
 webern. it's not a violin, - it's the kazoos ...

                                                    beep-beep: kai frederik    

Lycidas at worldnet.att.net schrieb:

> Pap, profoundly so, yup! Perfect, but what I don't see is
> that this is new. You say there are precursors,  that the
> reader is conditioned, that High art/low art is the term we
> want for this game, but Pynchon's use of epigraph is not
> new, the satire is not new, the high/low is not new, erasing
> boundaries of sacred and secular, as Weisenburger, with the
> language of the day, calls it, is not new. It's old, old,
> like back to the Greeks old.