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

[malignd at aol.com]

This should provide a big leg up to our earnest translator ...

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.




-----Original Message-----
From: Madeleine Maudlin <madeleinemaudlin at gmail.com>
To: alice wellintown <alicewellintown at gmail.com>
Cc: pynchon -l <pynchon-l at waste.org>
Sent: Wed, Jun 20, 2012 10:44 am
Subject: Re: GR translation: a sacrament of hands in every last turn each hand must produce


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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