VV(12): 1922

Dave Monroe davidmmonroe at yahoo.com
Thu Apr 5 00:37:11 CDT 2001


"Glad to be of use" (TSE).  Was hoping to hold off on
this until I actually had a copy of North's book on
hand (it's been sitting were I first ran across it for
years now), but I just haven't had time, and I
stumbled across that review, so ... but I do think
that there are perhaps significant clues there as to
why Pynchon chose 1922 there.  Really like that Willa
Cather line, for starters, and, of course, Ulysses,
"The Waste-Land," et al.  Do want to follow up on
allusions to various modernist texts, authors, and
then some there as well--I figure, if i manged to
catch a few, there must be more (that Pound one, in
particular, is telling).  But i did bring something
along which i hope to get to tonight ...


--- David Morris <fqmorris at hotmail.com> wrote:
> I think this may be a very significant lead, the
> significance of the year.  
> Here's another quote.
> 
> (277) Had a new phase of the seige party begun with
> that dusk's intrusion 
> from the present year, 1922, or was the change
> internal and Mondaugen': a 
> shift in the configuration of sights and sounds he
> was now filtering out, 
> choosing not to notice.
> 
> Tomorrow I'll be posting more "host" material, today
> being out of town (St. 
> Louis), but with profitable reading time on the
> plane which has helped my 
> sythesis of this chapter.
> 
> Thanks for the help, Dave.
> 
> DM
> 
> >From: "Dave Monroe"
> >
> >"One May morning in 1922" (V., Ch. 9, Sec. i, p.
> 224)
> >
> >Still have to get a copy of this, but, in the
> meantime, on Michael North, 
> >Reading 1922: A Return to the Scene of the Modern
> (NY: Oxford UP, 1999) ...
> >For modernism, 1922 was the year to remember. James
> Joyce published Ulysses 
> >that year, and T.S. Eliot The Waste Land. The world
> of literature was never 
> >the same. "The world broke in two in 1922 or
> thereabouts," wrote Willa 
> >Cather, who found her own brand of realism falling
> out of favor in the wake 
> >of the self-consciousness of high modernism.

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