MDDM "Another Slave-Colony"

[Bandwraith at aol.com]

In a message dated 12/30/01 11:08:42 AM, davidmmonroe at yahoo.com writes:

<< Maybe the paragraph just beyond what Foreman cites of
Latrobe's, er, graphological interpellations might be
of interest ...

   "It is cheerfully admitted that all this is very
idle speculation; and the only excuse for its
introduction is a desire to vary, in some small
degree, the dulness [sic] of a narrative, affording so
few events of striking interest as that which we are
engaged in." (p. 41)

http://www.webincunabula.com/html/la/latrobe_41.jpg

<<Could well have served, albeit perhaps tongue somewhat
in cheek, as an epigraph for Mr. Pynchon's Novel, no? >>
 
Agreed!

--- Bandwraith at aol.com wrote:
> 
> > Pynchon's M and D are almost total fabrications of
> > his creativity. As little is known about the
> > historical M and D now as before the novel, except
> > a few tidbits. They have been created almost out
> > of whole cloth.
> 
> I would say, again, it is a matter of scale. The
> amount of time and effort (love?) devoted to the
> minute and nuanced interaction between M 'n D is
> remarkable. Certainly there is no historical record
> for any of it, although Monroe has unearthed many
> interesting sources for the starting point, at
> least, of speculations that have perhaps gained
> some cloak of verisimilitude with the passage of
> time.

DM:

"But what Pynchon often does seem to do is to take
what's at hand and crossreference it with likely, or
at least plausible, context(s).  Again, that red coat,
those instruments, et al. ..."

If the coat (or the context) fits... And boy does it fit!
And when he gets it right, it feels like he's channeling their
spirits. But we still have a chance to catch a glimpse
of the master, to observe him through his choices, or,
at least- that which he is concerned about. So much of
this chapter has been neglected here. The list has grown
circumspect, way too timid, afraid to risk being humiliated.

I've long ago stopped wondering why the smart people
on the list are afraid to reveal any enthusiasm for 
Pynchon's artistry, but my goodness, this chapter, in
particular, is worthy of a blow-job. 

The eighty and eight years laid out by
Tenebrae and Wicks (and I can't help but believe she's
flashing him beaver shots at every opportunity,
even if he is gay) should be a tip off just by the 
numbers alone:  eleven groups of eight!

Why doesn't he just roll out a grand piano and
lay out all the themes for the rest of the opera?

And then the reprise of the initial "sorting of
the power between them"- the boys have been
absent from eachother awhile- is really special.
It's not just Bob and Bing, it's Laurel and Hardy,
Abbott and Costello, etc. They've barely missed
a beat! Of course, it requires a fortnight pub
crawl- and we're spared all the piss and vinegar-
but once they get their timing, the Taproom
Comedian and the country boy are pure
vaudeville. 

But think:  High Magic.

Sigue...