VLVL Ditzah

[jbor]

>> Obviously the novel isn't an endorsement of Nixon or Reagan, but it's
>> equally obvious that it's not a glorification of the '60s counterculture
>> either: it's a stinging critique. In fact, the general thrust of the novel
>> seems to be to demonstrate how the counterculture, sometimes willingly as in
>> Frenesi's case (and Van Meter's), and sometimes unintentionally or
>> blunderingly, through narcissism and self-indulgence (24fps),
>> disorganisation (PR3), and apathy and selfishness (Zoyd), actively advanced
>> the conservative cause.
  
on 3/1/04 12:45 AM, Terrance wrote:

> No chance that Willingly, Unintentionally, Blunderingly, and
> Self-Indulgently, will Save that Prairie.

Another noteworthy point in the current chapter is that while DL, and Ditzah
especially, are primarily nostalgic for all the sex and drugs and rock and
roll, and the personal relationships (eg. 196.4-9, 198.15-27) back in the
days of 24fps, Prairie doesn't really become cued in through the "reel after
reel" of film they show until she sees those scenes of social injustice and
police brutality (198-9), and which have the effect of bringing her closer
to (some sort of understanding of) Frenesi. Note how the text circumscribes
Prairie's revelations with Ditzah exchanging a look with DL as she thinks
about how important Krishna was in keeping everyone happy and reconciled
with one another (198.25-7), and then the two of them interrupting Prairie's
reverie when Brock Vond appears on the screen (199.27-8). Of the footage of
the police assaulting protesters they make no comment. They show the reels
and reels of dick waving and spaced out hippie chicks dancing and the scenes
of violence without being able to discriminate between them. The implication
is that their priorities -- now as then -- are somewhat askew.

best