atddta 32:death staying the hand of the sculptor

[grladams at teleport.com]

Well, why not do tangents on AOD, 
 here's what one of us mused to me offlist:
"AOD could also be a reference to an angle in a diagram. 
Not sure how this might illuminate the action, though." 
And I typed it "angle" when I was hurrying. Once, when I was hurrying, I
typed Spirit of Materialism instead of Bimetalism. 

also here's a link that was provided offlist to me of another model, 
http://upload.wikimedia.org/wikipedia/commons/b/bd/US_%241_1896_Silver_Certi
ficate.jpg

Jill

Original Message:
-----------------
From: Bekah Bekah0176 at sbcglobal.net
Date: Tue, 6 May 2008 22:08:53 -0700
To: pynchon-l at waste.org, grladams at teleport.com
Subject: Re: atddta 32:death staying the hand of the sculptor


Wow!  That's a bunch of good stuff there,  Jill.  Thanks for making  
it a one-click link.   The corporate models are a kick.

Isn't "bright angle of death" in GR as well?  Like on the last page,  
I think.
http://www.themodernword.com/pynchon/zak_smith/760.htm

I don't think there's a substantive connection, though.

Bekah


On May 6, 2008, at 7:53 AM, grladams at teleport.com wrote:

> Angel of Death 894-
> Much exists on the Pynchon-l archives about the Rilkean angels.
>
> Some of the places where Angel of Death allegory are realized are in
> images, so impossible to paste to the p-list so I have created a  
> website to
> contain them
>
> http://tiny.cc/4FRLr
>
> A review of the American sculpture at the top of my collage, at  
> it's debut:
> The Metropolitan Museum of Art Bulletin, Vol. 21, No. 7 (Jul.,  
> 1926), pp.
> 162-161   (article consists of 2 pages, I have only cut out two  
> paragraphs)
>
> Death Staying the Hand of the Sculptor
>
> The boy looks up, uncomprehending
> and fearless, unwilling to be thus
> stopped in his work in so abrupt and inexplicable
> a fashion. The youthful vigor,
> the questioning rapt gaze, the hand still
> holding the chisel in place-all combine to
> convey the untimeliness of the sculptor's
> death. The angel, on the other hand, is
> the very embodiment of the static forces
> of the ages-the Great Mother from whom
> all energies are given out but to whom also
> they must ultimately return. Her eyes are
> tender with the joys and sorrows of the
> past and of the future. The all-inclusiveness
> of her knowledge is the very sleep
> wherewith she redeems all that has gone
> out from her.
>
> Gently but surely she advances
> toward the young sculptor, her great
> wings drooping by her sides, carrying in
> one hand a bunch of poppies, symbolic of
> sleep. The shadow of a heavy veil enhances
> the mystery in her face.
> Mr. French has made the meeting of
> Death and the sculptor one of pleasant
> naturalness, excluding from it the attendant
> grief and pain which one ordinarily associates
> with the subject. His rendition is one
> of intellectualized realism in which the idea
> is so direct and powerful as to make the
> experience preeminently spiritual rather
> than physical. The more one studies this
> group the more one is impressed with the
> degree to which the sculptor has inspired
> his material with a message of great poignancy
> and human appeal.
> PRESTON REMINGTON.
>
> Jill
>
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