Dynamite sex,

[Joseph T]

I think what is being explored here is the magnetic attraction of  
power and its promises of protection, lines of order, clear roles,  
leaders chosen by destiny or God , manly uniforms .  The difference I  
see between Lake and Frenesi is that Frenesi is much more conscious,  
much more complicated when she is initially seduced by Vond.  Though  
there may be a secret desire for abuse with Frenesi, she is  also  
choosing high up the food chain of power. Her choice is much more  
conscious  than Lake, who is a virgin when she marries Deuce K, a low  
level non-V villain. Her decision is oedipal and subconscious. When  
DK gets momentarily bored or unable to keep up with her, he turns her  
over to Sloat.  Abuse?

Funny parenthetical note on photography from Robin . Any thoughts on  
photography as  magical-record, life-force-capturing media in view of  
Pynchon's  personal photography avoidance.?


On Mar 1, 2007, at 5:46 PM, Tore Rye Andersen wrote:

> Robin wrote:
>
>> Frenesi's mother---Sasha---was the daughter of Jess Traverse and  
>> Eula Becker, both far Left radicals, and Sasha's attraction
>> to Hubble Gates (and as far as photgraphy cross-references are  
>> concerned, deep-space's the limit here) had as much to do concerning
>> Hub's uniform as anything else. That attraction carries over to  
>> Frenesi,
>> as though it's something carried in the blood, a genetic  
>> predisposition.
>
> And the really sad thing is that wonderful, independent Prairie  
> seems to've inherited this trait as well: When Brock comes to get  
> her in his helicopter on p. 376 she's quick enough to sling back a  
> proper insult, but as she thinks back to her near-abduction on p.  
> 384, we get this:
>
> "He had left too suddenly. There should have been more. She lay in  
> her sleeping bag, trembling, face up, with the alder and the Sitka  
> spruce still dancing in the wind, and the stars thickening  
> overhead. "You can come back," she whispered, waves of cold  
> sweeping over her, trying to gaze steadily into a night that now at  
> any turn could prove unfaceable. "It's OK, rilly. Come on, come in.  
> I don't care.Take me anyplace you want." But suspecting already  
> that he was no longer available, that the midnight summoning would  
> go safely unanswered, even if she couldn't let go.
>
> - a truly chilly scene, and almost the conclusion to the novel,  
> before Desmond shows up, face full of blue-jay feathers, thinking  
> he must be home.
>
> _________________________________________________________________
> Få de bedste søgeresultater med MSN Search:  http://search.msn.dk