GR translation: There passes for Pirate and Katje a brief segment of a much longer chronicle

[Mike Jing]

Thanks, David.

On Sat, Jan 10, 2015 at 11:00 PM, David Morris <fqmorris at gmail.com> wrote:

> Monte is correct. "Branches" are an organizational tree structure.
>
>
> On Saturday, January 10, 2015, Mike Jing <gravitys.rainbow.cn at gmail.com>
> wrote:
>
>> I thought "the Branches" refers to the ordinary branches of the military,
>> as Pirate works for the Firm.  I could easily be wrong though.
>>
>> On Wed, Jan 7, 2015 at 10:52 AM, Monte Davis <montedavis49 at gmail.com>
>> wrote:
>>
>>> Not a joke so much as an attitude of scorn. Pirate addresses the Firm's
>>> ubiquitous agents; this catalog of one-to-one, literal, sexual "Loving The
>>> People" is implicitly contrasted with with their endless, empty claims to
>>> be Doing This For the People. But of course both he and Katje have served
>>> the Firm, and can never be 100% sure they aren't still serving it -- so
>>> this stance isn't quite convincing. They don't get to twirl light-footed
>>> away from what they've been and done.
>>>
>>> Cf. "the Rocket's own branch office in London" (251),  "PISCES' new
>>> branch office in London (274)," and "the Man has a branch office in each of
>>> our brains" (712)... possibly the HQ-and-branches parable of the nerve
>>> cells (147-149)... maybe even the "branching" of the Sephiroth (753)?
>>>
>>> On Tue, Jan 6, 2015 at 9:38 PM, Mike Jing <gravitys.rainbow.cn at gmail.com
>>> > wrote:
>>>
>>>> Thanks, Monte.
>>>>
>>>> And immediately afterwards:
>>>>
>>>> V547.38-40  “Take that, you frauds out there in the Branches,” Pirate
>>>> wants to strike a humorous note, but doesn’t. He is holding Katje now as
>>>> if, in a moment, music will start, and they would dance.
>>>>
>>>> What joke is Pirate trying to make but falls flat?
>>>>
>>>> On Tue, Jan 6, 2015 at 1:58 PM, Monte Davis <montedavis49 at gmail.com>
>>>> wrote:
>>>>
>>>>> The denotation is "occurs" or "is seen by, " with a connotation of
>>>>> passivity as if they were watching a movie (a 'March of Time' newsreel?), a
>>>>> parade going by, or one of those 19th-century panorama paintings on long
>>>>> canvases that scrolled between big rollers.
>>>>>
>>>>> That last genre, BTW, is brilliantly discussed by Justin St. Clair in
>>>>> an essay in _AtD: A Corrupted Pilgrim's Guide_. Starting with the quasi-3D
>>>>> "wraparound" panorama at the Museum der Monstrositaten, and noting that
>>>>> several big scrolling panoramas were featured at the 1893 Chicago
>>>>> exposition, he argues that "reading the novel 'panoramically' offers
>>>>> us a new, wide-ranging model for understanding Pynchon’s method of
>>>>> characterization throughout his oeuvre while also neatly synthesizing his
>>>>> interests in immersive technologies, in drug-induced hallucinations and in
>>>>> the remediation of outdated media forms." I thought St. Clair was on a
>>>>> fruitful track when I read it, and was sold when I saw how well it works
>>>>> for Bleeding Edge,
>>>>>
>>>>>
>>>>> On Tue, Jan 6, 2015 at 1:29 PM, Mike Jing <
>>>>> gravitys.rainbow.cn at gmail.com> wrote:
>>>>>
>>>>>> V547.6-37 “There was nothing out there. It was a barren place. I’d
>>>>>> been most of the day looking for a sign of life. Then at last I heard you
>>>>>> all in here.” So they have wandered to a balcony, a graceful railing, no
>>>>>> one can see them from inside or out: and below them in the streets, streets
>>>>>> they have both lost now, are the People. There passes for Pirate and Katje
>>>>>> a brief segment of a much longer chronicle, the anonymous How I Came to
>>>>>> Love the People. “Her name was Brenda, her face was the bird under the
>>>>>> protecting grin of the car in the rain that morning, she knelt and
>>>>>> performed fellatio on me, and I ejaculated on her breasts. . . . . . . Her
>>>>>> name was—” well, all these and many more pass for our young couple here,
>>>>>> enough to make them understand that horny Anonymous’s intentions are
>>>>>> nothing less than a megalomaniac master plan of sexual love with every
>>>>>> individual one of the People in the World—and that when every one, somewhat
>>>>>> miraculously, is accounted for at last, that will be a rough definition of
>>>>>> “loving the People.”
>>>>>>
>>>>>> What is the meaning of the word "pass" in "There passes for Pirate
>>>>>> and Katje a brief segment of . . . " and "well, all these and many more
>>>>>> pass for our young couple here"?
>>>>>>
>>>>>
>>>>>
>>>>
>>>
>>
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