The wind

[Michel Ryckx]

Terrance:

You've mentioned several times the wind.  But I really don't understand it.
Could you be a bit less, well, mysterious?

An example:

[snip]
You, quoting McHale:

"Here, too, the seeming verticals of MASON & DIXON turn out to be
horizontals. This general reorientation from the vertical to the horizontal
axis has thematic, ideological and ultimately metaphysical consequences. The
opposition "horizontally vs. vertically" serves, here and elsewhere, as a
kind of special code for encoding ideological positions and metaphysical
commitments."

[snip]

"McHale says, If a yearning for transcendence lingers in Gravity's Rainbow,
it has been replaced in Mason & Dixon by a different metaphysics entirely:
something (see Thomas Moore's **The Style of Connectedness** page 221, where
he tries to name this "something" (Sklar, noted previously and Alfred Kazin,
Bright Book of Life: Novelists and Storytellers from Hemmingway to Mailer,
1971) like a resolutely earthbound this-worldliness. Here the Other World
lies, if anywhere, not above or below this one, but along side or ahead of
it, "across the wind," somewhere out there in subjunctive America."

[snip]

"Mchale, again his essay is too brief, is very good on the subjunctive
"space" and the wind."

Thank you,

Michel