VLVL2 (13) 2: Introduction

[Bandwraith at aol.com]

NIcely done. I'd forgotten how much like the set of pornographic
movie studio Rex's apartment seemed (second hand knowledge of
course). If Brock is an inconstant moon, then Frenesi is a star. 
She  seems to transcend even the "wedgy-ness" that porno has
been for feminists. She embodies all three factions into which
feminism has been split by pornography, as outlined, for example,
by Wendy McElroy, to google just one:

http://www.secularhumanism.org/library/fi/mcelroy_17_4.html

In a message dated 2/9/04 11:10:58 PM, vmaeder at cycn-phx.com writes:

<< This is the second section of Chapter Thirteen which began on page 218.
Chapter Thirteen's arc begins with the story of Weed Atman, his role as a
Thanatoid, his life's interconnection with CAMP, Campaign Against Marijuana
Production, that Nixonian dress-rehearsal of the mother of all interdictions
the Feds would eventually let loose upon an unsuspecting public in that
Orwellian Reagan-era, only these dudes slugging it out over the devil's own:
marijuana.

And then there was our Dr. Elasmo, putative dentist, hypnotically dragging
Weed into his office by pure guile and television commercials, of course.
It is Dr. Elasmo's little operation that figures heavily in Weed's ultimate
fate in our second section of Chapter Thirteen.  Then there's that
competition Mr. Atman has going with Mr. Vond (unknown to Mr. Atman, of
course) over Frenesi Gates; of course the ability to "fuck like a porno
star" was a great advantage where Ms. Gates was concerned, yet one begins to
understand Brock Vond's jealousies in this department.  Then there was Mr.
Vond's need to penetrate the PR3.  Using Mr. Atman was a perfect stone to
kill two birds.

A subtle tweaking of the PR3 member, Rex, perhaps his sexuality or lack
thereof after allowing the BAAD brothers to emasculate his sexual drive by
removing the literal and metaphorical extension of his penis; his precious
cherry Porsche.  This and another circle of jealousy appearing in Rex
regarding the improbable Mr. Atman combine to build the probable motivation
for our Rex here to pursue this plot to the inevitable end of Chapter
Thirteen.

And in the middle of these orbits of jealousies lies our Sun, the source of
gravity for the novel around which the plot rotates, goes into retrograde,
then spins onward, our symbol of light, our Light: Frenesi Gates.  Frenesi
accounting for the bulge in Rex's leather bag, among other bulges
apparently, and for the word on Mr. Atman as an FBI agent.  Source of Mr.
Atman's agentness?  Why Dr. Elasmo's parlor of course.  

And adding to the multiple meanings to Ms. Gates' name, here Freeness with
her sexual partners and the Finesse it takes to bring this parlor game into
play.  It is even Ms. Gates who sets the stage for Mr. Atman's eventual fate
retaining the services of her 24fps members to work lights, cameras,
angles... ah, but that will come in Pynchon's own sweet time, like a cool
and long iced tea on a hot summer's afternoon, with a twist of lemon of
course in the form of pinochle sprites lounging in Mr. Atman's nostrils,
later a judge's chambers.  Would you like anything else with that, Mr.
Pynchon?  Alright, we'll leave you then to imagine, a scene perhaps, let us
say Ms. Gates and Mr. Vond in a clifftop suite, some un-Californian and
subtropical light streaming in through half-moon windows, the trees, the
sand beach, the sea...

V. >>