GRGR 1:5 "...into the dead center"

[jporter]

Not exactly the mind of Watts, but... But Jessica's  "chance"
bull's eye has registered in the mind of Milton Gloaming
causing it to think. And so shall we- 'a gathering corres-
pondences as we go... (Pynchon would have it no other
way, and what better way to entangle ourselves and
ensure our own blessed damnation!)

Thinking recalls Original Sin. Sticking with "Milton", here,
the "hissing" dart recalls Paradise Lost, Book X, beginning
with line 508, "A dismal universal hiss" from Satan's
audience of fallen gods at Pandaemonium, at news
of his victory over mankind:

http://bartleby.com/4/410.html

Jessica, having "slid into a light trance," would seem,
like Eventyr, to be subject to a "control," which helps
guide her hand, and send the dart- an obvious sym-
pathetic charm for an A4- to its now inevitable target.
But Jessica's control is not Sachsa. I think (god help
me) that Jessica's control hints at an influence even
more ominous than Eve's. At least Satan was subject
to an higher authority.

"Gloaming," or twilight, dusk, etc., suggests the end
of the old Miltonian dispensation, which has become,
like the word itself, quaint in comparison to the advent
of this New Order. As Pirate ruminated in his rooftop
garden, this is the birth of an entirely new form of
being, with its own form of control, unlike anything
yet devised. We may yet come to be nostalgic for the
courtly designs of The Evil One, given the potential
chaos represented by Dominus Blicero.

Skating on the perimeter of the holy circle for a moment-
I don't think the contents of this seance can be fully
understood without considering its mathematical
relationship to the channeling of Rathenau ("synthesis
and control"), where Sachsa is the medium, about
150 pages starboard, and "the control" is uncertain-
but, taking the clue-

	"It's control. All theses things arise from
	one difficulty: control. For the first time it
	was inside, do you see. The control is
	put inside. No need to suffer passively
	under 'outside forces'- to veer into any
	wind, As if..."...

and considering Jessica Swanlake as a figure for that
process (will get to the mathematical relationship between
the seances later), all we have, at this point, is her name,
and Gloaming's hint: "a vocabulary of curves." So, keeping
the theme of control in mind, let's take a look at "J e s s i c a."
It's hard not to notice the two s's right there in the middle. We
shouldn't exclude them from our consideration of meaning.

We'll get to the double integrating circuit at the heart of the
the guidance mechanism of the A4, the shape of its
mathematical symbol (the word become flesh?), the
tunnels at Nordhausen, the pulleys in the initial dream
sequence, etc., etc, and the obsession with control, as
manifested by integration- mathematical and otherwise-
but for now, I'm more interested in that final elegant S,
a third one, beyond the first two- the graceful and serene-
Swanlake.

Could it hint at a secret way out beyond the death promised
by obsession with control;  an integration beyond those
providing the illusion of control, a triple integration?

It may take some work but I think we can get there.

jody