GRGR 1,1 and 1,2 - PGS and TGS; 1,3 Bloat's POV

[Cometman]

There might be a quartering (creating a cross: in hoc signo vinces),
looking at 1,1 and 1,2 as a block (or circle), 4 quadrants: Dream,
Garden, Breakfast, Ride

Internal private subjective reality - dream and phantasmagoria
PGS - place in grand scheme, leaving rationality behind to seek greater
patterns, imputed implications of experience becoming wild
speculations.  In the dream, he's trying to view his fellow-passengers,
but sees through a glass darkly.  In the phantasmagoria, I'm trying to
visualize him but failing due to the complexity of the metaphors and my
own limited RAM/processing power.  But in each case, glimpses are
caught, and a longing is fostered (Banana-fostered, no doubt)
 
External public objective reality - garden and breakfast
TGS - this is great stuff, lovingly lavishly detailed.  
These scenes are easier to visualize yet carry at least as much
associative freight (there's that Train again...)

Pirate's PGS does seem more flexible (like a knight's move) than the
average operative's: he's refined enough to work in London and to
associate with (or at least, take on the fantasies of) a titled
diplomat.  Yet he's currently a field operative, parachuting behind
enemy lines and bringing back brandy and cameras (as well as people) --


I was going to rant about the evils of colonialism, and show how
Pirate's career was warped by the blooming of his talents within that
evil matrix, and how perhaps Slothrop's blooming attempts to find
another venue than the growing American military/economic empire are
thwarted at every turn until he disappears, but I'm still not sure
that's what's going on.

Still deplore colonialism tho, no matter who practices it.  Just an
egregious crime, 's what it is, I'd say.
------------

Section 1,3 is, I think, the only extended passage where Bloat's POV is
used.  In choosing Bloat to spy on Slothrop (BTW, the name Slothrop has
the obvious connotation of Sloth, but I've long had a secondary
association with "slow throb", like a beating heart, or a banged-up
finger, or an engorged sexual part) Pynchon diverts the action from
Pirate....Bloat's a logical choice, having already been introduced.  He
hasn't got the ebullient inner life thing going on that Pirate has (at
least there's no sign of it in this passage), and in fact, he is - vis
a vis Slothrop - as one of the nameless higher-ups of H. A. Loaf (who
maps loosely to Tantivy) is to Pirate during the latter's Kipling
period.

So not only is Bloat switching the action to Slothrop within the novel,
he's also switching the career of Slothrop within the War bureaucracy,
in fact he's functioning as a sort of...pointsman...