V. (Ch 3) Itinerary

[Paul Mackin]

Am in agreement with Rob that the STORY is what holds interest. Would it be
too much of an exxageration (probably but what the heck) to say that, if
anything, we sometimes need to PROTECT our author from his symbolizing
rather that overly to draw attention to it?  On a related matter P is
criticized in some quarters for his allegorization. Am thinking of Wood. P
CAN using jokey symbols to good effect perhaps--Jill's pointing out this
morning the case of fossil and rock standing in for old geezer. Haven't
really thought any of this through. As usual. But that's the fun of the
p-list.

                    P.

----- Original Message -----
From: "jbor" <jbor at bigpond.com>
To: "Paul Mackin" <pmackin at clark.net>
Cc: <pynchon-l at waste.org>
Sent: Tuesday, November 28, 2000 4:22 PM
Subject: Re: V. (Ch 3) Itinerary


>
>
> ----------
> >From: "Paul Mackin" <pmackin at clark.net>
> >To: "Pynchon-L" <pynchon-l at waste.org>
> >Subject: Re: V. (Ch 3) Itinerary
> >Date: Tue, Nov 28, 2000, 6:46 AM
> >
> snip
> > A question: what's the significance of the smashing of Lepsius's blue
> > glasses? Hanne WANTS to smash them and Porpentine actually does--in
section
> > viii. Does this indicate some mysterious link between Hanne and
Porpentine.
> > In addition of course to the one between Herbert and Porpentine. Or is
Hanne
> > just generally fed up with men and politics? Questions, questions . . .
>
> I think that Hanne is simply frustrated that Lepsius seems to be hiding
> behind those blue lenses. I guess that she can sense that he isn't being
> wholly straight with her; it is this intimation which has spurred her
> melancholy mood of the day. The blue eyeglasses are an outward
manifestation
> or focus of this unease in her, a neurotic fixation. If she can smash the
> eyeglasses then all will be well, Lepsius will be true. It occurs to me
that
> her tryst with him is only a very recent one; and from his point of view
it
> is a totally opportunistic one of course, for he is using Hanne to spy for
> him. This is what she senses but is refusing to admit to herself. Hanne is
> clinging to a hope for honest love. In this respect it is quite a poignant
> cameo. Hanne isn't so young or beautiful that she will have many
> opportunities for happiness left; her boss keeps her on only because she
is
> a stereotypical blonde and lusty wench of Bavarian bierehalle ilk.
>
> I think it's quite easy and much more interesting to try to engage with
the
> characters at a human level rather than seeking after complicated
> symbologies all the time. The texture of the narrative is so much richer
> that way; and it's always more than likely that it's the ostensible
> symbolism which is in the eye of the beholder, far more so than character
or
> plot(s) are. Imo anyway.
>
> best
>
>
>