V-2nd C4 The Eternal Drama of Love and Death

[David Morris]

It isn't fair, and Pynchon would have to be an idiot to literally
think in these terms.  Far too many people take Pynchon's tropes and
metaphors literally.  In fact at its deepest level this metaphor has
to do with consciousness versus pre-consciousness,
thought/analysis/language versus pure unmediated experience/"just
being."

All of this is much more thoroughly developed in GR, a book deeply
immersed in Freudian (and Jungian) psychology.

David Morris

On Fri, Jul 30, 2010 at 2:45 PM,  <kelber at mindspring.com> wrote:
> Maybe I'm reading Pynchon wrong here.  But we know that he has issues with not just sound recording, but photography, film, and even the written word [hypocrite!].  In the long journey through all those vibrating tubes and electronic devices, some of the original gets sloughed off, deposited as waste, never to be recovered.  The objects that impart perfection to Godolphin's face now, will cause it to cave into something monstrous and inhuman later.  Inanimate doesn't mix with human.
>
> Of course, this isn't really fair.  The music reaches more people when it's (first) played out loud and (second) recorded.  And Godolphin's face was going to look pretty hell-ish anyway.  But these quibblings will get lost in the shuffle as Pynchon starts to move from dissing the inanimate to dissing the industrial, and the military-industrial.
>