V.

[Dave Monroe]

Okay, V.  Note the title, a letter and a punctuation mark.  Certainly 
reminiscent of that Victorian habit of implying that one is writing of  an 
actual someone (who might possibly be scandalized in the process?  Cf., say, 
V____), certainly, a recurrent initial throughout the novel (Victoria Wren, 
Veronica Manganese, Valletta, the V-Note [cf. the Five Spot, was it?], et 
al.), undoubtedly, the Virgin of Henry Adams' "The Virgin and the Dynamo" 
(in The Education of Henry Adams, though note how the Vigin is a Force, 
becomes dynamized, therein, whilst there is a nigh-unto-nativity scene with 
a a baby and the Dynamo ...), but ...

But the character itself, or, should I say, the characters themselves, those 
two segments, perhaps, converging at, or diverging from, a point? 
("Everything that rises much converge," as Flannery O'Connor quoted Pierre 
Teilhard de Chardin ...)  Or, perhaps, rather, a fold?  A fold, or a double 
articulation?  (Hm .... see Deleuze and Guattari, The Big Fake Book, a.k.a. 
A Thousand Plateaus for the latter ["God is dead"--Nietzsche; "God is a 
lobster"--Deleuze and Guattari], Deleuze's solo The Fold: Leibniz [!] and 
the Baroque for the latter, albeit avant la lettre ...)

Vs. [!] that parabola, that continuous, unfolded curve of Gravity's Rainbow 
[a.k.a. V-2?], or the rhizome implied by V[!]ineland, or the line implied by 
Mason & Dixon, or the, er, well, gotta work in The Crying of Lot 49 here 
somehow, but ... but we've still got that period, that punctuation mark, 
that naked singularity, that black hole, which, among other things, 
distinguishes Pynchon's novel from a later, avant la lettre, mini-(followed 
by full on, albeit short lived) TV[!] series ... at any rate, can't help but 
think of lines, perhaps even timelines, linear time, history, and 
spatializations thereof, here ...
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