GR translation: a sacrament of hands in every last turn each hand must produce

[Madeleine Maudlin]

Well said and also, what the text is alluding to, far and away its means of
production, self-containment, exposition.  An exfoliation from the
embedded, the indebted, proletextian trauma of self-exploitation, by way of
a sublingual tropism that is or at least was, shall be again, inter-solar,
travel, a toke of the ol' mandrake as the Mardukian eclipse proceeds.  The
grasping hands, as David Gahan once put it, grasp all they can.  A clear
reference to the gold and emerald omphalos that reveals the innereardrums
of the symphony at baalbek, paranthesized here in a late-mid 40s synthesis
called PIMPF, the oomphas of the chocolate dwarfs of the middle century
military-industrial complexion phoning home if you will, troubling teens
with dark handsignals.


On Wed, Jun 20, 2012 at 6:30 AM, alice wellintown <alicewellintown at gmail.com
> wrote:

> It's about the invisible hands of the preterite made visible by a
> theory of moral sentiments turned ironic. Although I suspect that
> Thomas is  alluded to here as well. It is about, as are so many of the
> arcane passages in P's books, the souls in the stones--the workers who
> put their lives into our world.
>
> On Wed, Jun 20, 2012 at 1:01 AM, Mike Jing
> <gravitys.rainbow.cn at gmail.com> wrote:
> > P211.10-22   Fine for back there. But not in here, tapping on her bare
> > shoulder, peering in at her European darkness, bewildered with it,
> > himself with his straight hair barely combable and shaven face without
> > a wrinkle such a chaste intrusion in the Himmler-Spielsaal all crowded
> > with German-Baroque perplexities of shape (a sacrament of hands in
> > every last turn each hand must produce, because of what
> > the hand was, had to become, to make it all come out exactly this way
> > . . . all the cold, the trauma, the departing flesh that has ever
> > touched it. . . .) In the twisted gilt playing-room his secret motions
> > clarify for him, some. The odds They played here belonged to the past,
> > the past only. Their odds were never probabilities, but frequencies
> > already observed. It’s the past that makes demands here. It whispers,
> > and reaches after, and, sneering disagreeably, gooses its victims.
> >
> > What exactly is the part in the parentheses about?
>
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