The Enigmatic Subject: She-Dick or Lady Detective

[alice malice]

Why is Maxine "reversing polarities" and "overlooking obvious Scrooges
and zooming in on secretly sinful Cratchits"?

Does she have mixed feelings about Horst &  Daytona? About being a
She-Dick Detective? Being a Mommy?
Playing her part, her role, her subject?

Has Late Capitalism got her poles crossing magnetically?

Are those erect lightening rods at the crotch of Manhattan vibrating
in the wind charged with more than secular forces?


on 396 she tires of Rudolph the Red-Nosed Reindeer. Another allusion
worth looking into.

First the Freudian stuff, then the Marxian....stuff

http://theautumningempire.wordpress.com/2011/12/21/rudolph/

On Fri, Apr 18, 2014 at 11:35 AM, alice malice <alicewmalice at gmail.com> wrote:
> Gender Trouble in Twelfth Night
>
> http://muse.jhu.edu/journals/theatre_journal/summary/v049/49.2charles.html
>
> On Fri, Apr 18, 2014 at 11:26 AM, alice malice <alicewmalice at gmail.com> wrote:
>> Back to Part One of Ch. 36 where , after Christmas Carol is revised,
>> an allusion to Shakespeare's 12th Night,
>>
>> "it's a Twelfth Night of late-capitalist contradiction" brings us
>> round to Daytona's allusion to "All About Eve"
>>
>> https://www.britannica.com/shakespeare/article-313694
>>
>>
>>
>> On Fri, Apr 18, 2014 at 11:18 AM, alice malice <alicewmalice at gmail.com> wrote:
>>> Chapter 36 has six parts. In the first part, I quoted from it the
>>> previous post, Maxine dreams of A Christmas Carol and the story, as it
>>> does every year, "slops over into work" (395).  The Chapter is wrapped
>>> around Christmas and slops over into the job. In Part 4 Daytona drops
>>> in a very big allusion: "All About Eve"
>>>
>>> Thematic content
>>>
>>> Critics and academics have delineated various themes in the film.
>>>
>>> http://en.wikipedia.org/wiki/All_About_Eve
>>>
>>> On Fri, Apr 18, 2014 at 10:44 AM, alice malice <alicewmalice at gmail.com> wrote:
>>>> In Bleeding Edge, a book by Thomas Pynchon, author of several novels,
>>>> in Chapter 36 of the novel, 394 pages into it...and, yes, I
>>>> know...most of you haven't read this far and don't plan to, but there
>>>> in Chapter 36 is Maxine, a secularized Jewish New Yorker, doing what
>>>> all good New Yorkers do during the Holiday Season, watching the Tube
>>>> and wishing she could be watching a revised version of an old classic,
>>>> a revisionist Christmas Carol...and since I know you're no gonna go
>>>> get the book:
>>>>
>>>> where Scroodge is the good guy for a change. Victorian capitalism  has
>>>> hustled him over the years for his soul, turning him from an innocent
>>>> entry-level kid into a mean old man who treats everybody like shit,
>>>> none worse than his apparently honest bookeeper Bob Cratchit, who in
>>>> reality has been systematically skimming off of poor haunted and
>>>> vulnerable Scrooge, cooking the books, and running off periodically to
>>>> Paris to squander what he's stolen on champagne, gambling, and cancan
>>>> girls, leaving Tiny Tim and the family in London to starve. At the
>>>> end, instead of Bob being the instrument of Scrooge's redemption, it
>>>> turns out to be by way of Scrooge that Bob is ransomed back to the
>>>> side of humanity again.
>>>>
>>>>
>>>>
>>>>
>>>>
>>>> Trouble with She-Dicks: Private Eyes and Public Women in "The
>>>> Adventures of Loveday Brooke, Lady Detective"   Victorian Literature
>>>> and Culture Vol. 33, No. 1, 2005, Elizabeth Carolyn Miller
>>>>
>>>> As one of the earliest professional female detectives in English
>>>> literary history, Brooke's career was marked by conflicts with
>>>> territorial male officers and the ever-present pressure to keep her
>>>> detective work “inside the house.” Emerging at a historical moment
>>>> when understandings of women, criminality, and law enforcement were
>>>> rapidly changing in Britain, Pirkis's stories offer an interpretation
>>>> of these intersecting cultural shifts that is surprisingly different
>>>> from her contemporaries. In a decade rife with scientific
>>>> interrogation into the nature of criminality, such as in the work of
>>>> Havelock Ellis and Francis Galton, detective fiction of the 1890s
>>>> tended to mimic scientific discourse in its representations of
>>>> criminals. The Brooke stories, however, challenge such conceptions of
>>>> deviance and reveal the poverty of their underlying understandings of
>>>> crime as well as gender.
-
Pynchon-l / http://www.waste.org/mail/?list=pynchon-l