photography

[Mark Kohut]

I think Pynchon thinks photography IS soul-sucking, is a stealing of one's natural self....part
  of the beginning of technology's wrong uses....
   
  I think it even goes back to mirrors, sort of, when early in M & D, he describes America "where only a few girls even knew how they appeared to others {in the couple-three mirrors there were around].

Joseph T <brook7 at sover.net> wrote:
  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.
>
> _________________________________________________________________
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