Subject
Fw: pynchon-l-digest V2 #3435 PALE FIRE
From
Date
Body
EDNOTE. I edit the Pynchon list material only to the extent of deleting
stuff that does not deal with VN. My hasty cuts are very rough and ready. I
notice there has been an increasing quantity of material that would be of
real benefit to those coming to PF to the first or second (or third) time.
If something catches your interest, you may want to go to the orignal
Pynchon-list postings to make sure you have the full text. Also--my
apologies for the duplications. I don't don't take the time to check back
and delete duplicated info.
----- Original Message -----
From: "pynchon-l-digest" <owner-pynchon-l-digest@waste.org>
To: <pynchon-l-digest@waste.org>
Sent: Tuesday, July 22, 2003 8:56 PM
Subject: pynchon-l-digest V2 #3435
>
> pynchon-l-digest Tuesday, July 22 2003 Volume 02 : Number
3435
>
>> ----------------------------------------------------------------------
>
> Date: Tue, 22 Jul 2003 14:19:27 -0400
> From: Toby G Levy <tobylevy@juno.com>
> Subject: RE: PFPF Canto 1
>
> A couple of vocabulary notes:
>
> my dictionary had vermiculated as "adorned with way or winding lines" and
> this makes more sense to the context of the poem (line 51) where he is
> describing the bark or a tree, I think.
>
> You didn't address the word "preterist" from line 79. It's not in my
> dictionary, but on the web defined as " a theologian who believes that
> the prophecies of the Apocalypse have already been fulfilled"
>
> Toby
>
> ________________________________________________________________
> The best thing to hit the internet in years - Juno SpeedBand!
> Surf the web up to FIVE TIMES FASTER!
> Only $14.95/ month - visit www.juno.com to sign up today!
>
> ------------------------------
>
> Date: Tue, 22 Jul 2003 11:23:33 -0700 (PDT)
> From: pynchonoid <pynchonoid@yahoo.com>
> Subject: who said moderated discussions are boring?
>
> Date: Tue, 22 Jul 2003 11:09:23 -0700
> From: "D. Barton Johnson" <chtodel@cox.net>
> Subject: DN responds to his critics
> To: NABOKV-L@LISTSERV.UCSB.EDU
>
>
> - ----- Original Message -----
> From: DMITRI NABOKOV
> To: 'D. Barton Johnson'
> Sent: Monday, July 21, 2003 1:37 PM
> Subject: FW: update
>
>
>
> - -----Original Message-----
> From: nabokov
> Sent: lundi, 21. juillet 2003 19:34
> ..
>
> "Rita" (Mme. Margarita Meklin, I presume): I had
> absolutely no idea of Mr. Zver'ev's death when
> I posted the message you refer to. The censorship of
> death of course takes precedence over other
> considerations, and I extend my profound condolences
> to the family of the deceased. My opinions remain
> another matter. As you can see, your insulting remarks
> in my regard are utterly inappropriate. As for my
> father, he, too, was a man of both compassion and
> principle, and I do not think my presumption is
> excessive if I suggest that he would have replied to
> you in much the same way.
>
> Mme. Walker: As you may know, I am capable of
> expressing myself in four languages to a high
> academic standard. Sometimes, though, it is
> the colorful American vernacular, sparingly used, that
> can most accurately express my thoughts, particularly
> about a certain kind of contemporary Russian. If
> "scumbag" bothers your sensibilities a lot, consider
> it expunged.
>
> Mr. Iannarelli: I have a sneaking suspicion that your
> motivation was less stupor at my outrage than
> curiosity as to how I would respond. In any
> case, thanks for making my day. I confess that when I
> write on the very late cusp of two long days, I
> sometimes overlook that not everyone on the List has
> Russian or is conversant with the needed frame of
> reference. To put things into a digestible capsule:
> Mr. Mel'nikov's worst sin in my father's regard has
> been to plagiarize, translate, and publish the entire
> contents of Strong Opinions. This was a blatant
> infringement of copyright even by Soviet standards,
> since the interviews, essays, etc. that make up the
> book, even if originally composed earlier, were
> substantially revised by my father for inclusion in
> the volume after the date in 1973 when the Soviet
> Union adhered to the International
> Copyright Convention. Not content with stealing,
> Mel'nikov gnawed the hand out of which he was feeding
> by garnishing his (very poor) translations with an
> introduction and commentary laced with snide innuendo,
> all of which is meticulously catalogued in a document
> that will soon be made public at an appropriate time
> and place. I could go on to other instances of
> his deliberately insulting "literary criticism," some
> of it posted on this forum not very long ago in
> the guise of a review of Nabokov's lectures. I wish
> you knew enough Russian to form your own opinion of
> the publication currently under discussion.
> In a more ample context, let me remind you and
> others that after the Bolshevik Revolution looted
> everything Nabokov possessed -- and all those whe have
> read him know that mansions, icons and samovars were
> not the main losses -- the Perestroika publishers, as
> soon as it became legal to read him, plundered his
> literary estate, in both the material sense and the
> artistic. Today, instead of taking pride in the modest
> Nabokov Museum, the authorities continue to exact an
> unaffordable rent from the largely
> volunteer, self-sacrificing staff whose only mission
> is to provide Russia and the world with a vestige of
> Nabokov, the same Nabokov whom, officially,
> they proudly acclaim as one of their own. Against such
> a background of triple robbery Mel'nikov and his ilk,
> having discovered that they will never write like
> Nabokov, add the envious insult of innuendo to the
> injury of depredation.
>
> Mr. Selleck: Before you totally lose your cool, would
> you kindly explain to whom on the List, and in what
> way, I have done all those terrible things? Specifics,
> please. And, pray tell, how did I, or could I, close
> down a discussion of Charlie Chaplin, Communism, or
> homosexuality? You've got your facts wrong, mister.
> It was Professor Johnson,
> Moderator, who asked that further discussion of
> politics be avoided, just as I was about to reply to a
> crescendo of provocation from a participant whose
> name I have not seen before or since, but whose
> tone is suddenly evoked by a curious dИjЮ vu. If I've
> trodden on any personal toes, sorry. But what
> "innocent" bibliography (see above)? And what steep
> slope? and what homo (sapiens) have I attacked?
>
> DN
>
>
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
> http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Tue, 22 Jul 2003 14:32:37 EDT
> From: Elainemmbell@aol.com
> Subject: Re: NPPF: CANTO ONE NOTES on behalf of Charles
>
> In a message dated 7/22/2003 10:45:17 AM Eastern Daylight Time,
> jasper@hatguild.org writes:
>
> > "the miracle of a lemniscate
> > left.....by nonchalantly deft bicycle tires...." [line 139 is broken by
> > what I would call a caesura (Elaine - HELP!), the first such in the
> > poem](lines 131-139)
> >
>
> This is confusing to me because of the stand-alone line "Bicycle tires."
not
> being, apparently, included in the line count. By my arithmetic these 2
words
> constitute line #139 which would make the 2nd caesura line "A thread of
> subtle pain" become #140. However, line #143 containing the "clockwork
toy" line
> is indeed #143 which makes "Tugged at by playful death..." in fact #140 as
the
> printed line numbers say. So I don't know what's happened here. Maybe
the
> apparent double caesura is a rhythmic referent to the
"lemniscate...bicycle
> tires" image, a deliberate double counted as/functioning as one? or maybe
this is
> line #1000 in disguise since "A thread of subtle pain" could end the poem
> just as well as the rather sophomoric reflexive "I was the shadow of the
waxwing
> slain." Absolutely no research or secondary sources have been used to
invent
> this probably extremely nonsensical notion. Blame me alone.
> Elaine M.M. Bell, Writer
> (860) 523-9225
>
> - --part1_cc.201fa2e8.2c4edd45_boundary
> Content-Type: text/html; charset="US-ASCII"
> Content-Transfer-Encoding: quoted-printable
>
> <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2 FAMILY=3D"SANSSERIF"
FACE=
> =3D"Arial" LANG=3D"0">In a message dated 7/22/2003 10:45:17 AM Eastern
Dayli=
> ght Time, jasper@hatguild.org writes:<BR>
> <BR>
> <BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid;
MARGIN-LEFT=
> : 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">"the miracle of a
lemniscate<BR=
> >
> left.....by nonchalantly deft bicycle tires...." [line 139 is broken
b=
> y<BR>
> what I would call a caesura (Elaine - HELP!), the first such in
the<BR=
> >
> poem](lines 131-139)<BR>
> </BLOCKQUOTE><BR>
> <BR>
> This is confusing to me because of the stand-alone line "Bicycle tires."
not=
> being, apparently, included in the line count. By my arithmetic
these=
> 2 words constitute line #139 which would make the 2nd caesura line "A
threa=
> d of subtle pain" become #140. However, line #143 containing the
"cloc=
> kwork toy" line is indeed #143 which makes "Tugged at by playful death..."
i=
> n fact #140 as the printed line numbers say. So I don't know what's
ha=
> ppened here. Maybe the apparent double caesura is a rhythmic
referent=20=
> to the "lemniscate...bicycle tires" image, a deliberate double counted
as/fu=
> nctioning as one? or maybe this is line #1000 in disguise since "A
thr=
> ead of subtle pain" could end the poem just as well as the rather
sophomoric=
> reflexive "I was the shadow of the waxwing slain." Absolutely no
rese=
> arch or secondary sources have been used to invent this probably extremely
n=
> onsensical notion. Blame me alone.<BR>
> </FONT><FONT COLOR=3D"#008080" style=3D"BACKGROUND-COLOR: #ffffff"
SIZE=3D2=
> FAMILY=3D"SANSSERIF" FACE=3D"Verdana" LANG=3D"0">Elaine M.M. Bell,
Writer<B=
> R>
> (860) 523-9225</FONT></HTML>
>
> - --part1_cc.201fa2e8.2c4edd45_boundary--
>
> ------------------------------
>
> Date: Tue, 22 Jul 2003 11:49:39 -0700 (PDT)
> From: David Morris <fqmorris@yahoo.com>
> Subject: Re: NPPF: CANTO ONE: Misc Notes
>
> Line 1: ⌠I was■ - Why the past tense? Also note (spoiling my Canto Two
> notes) the contrast with tha ⌠Today I▓m■ in line 176. This line seems to
me a
> major transition in the attitude of the poem . It seems the "was" refers
to
> the time following Hazel's death and the "is" follows his decision to not
join
> the "vulgar" laughter mentioned in Canto Two. "Vulgarians" Bloom and
Dedalus
> (especially Dedalus) might specifically mean atheists.
>
> Line 90: ⌠Her room■ - As might be seen from the contents of this room,
Maud
> is being portrayed as a Lesbian (VN▓s ⌠moonperson). This is more
completely
> nailed down in the Commentary to line 90-93 Note also when reading that
> comment that a moth might be seen as a butterfly of the night.
>
>
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
> http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Tue, 22 Jul 2003 14:56:41 EDT
> From: Elainemmbell@aol.com
> Subject: Re: NPPF: CANTO ONE NOTES
>
> - --part1_3d.32bc287b.2c4ee2e9_boundary
> Content-Type: text/plain; charset="US-ASCII"
> Content-Transfer-Encoding: 7bit
>
> In a message dated 7/22/2003 12:39:20 PM Eastern Daylight Time,
> jasper@hatguild.org writes:
>
> > By means of a "flickering" of color and lines, the animators
> > achieve an "acceptable" level of realism to the physical "dimension' of
the
> > characters. A similar "flickering" aura surrounds the elements and clues
of
> > PF.
> >
>
> nicely put, Jasper--you have captured the overall pale fire of the piece
in
> your flickering aura!
> Elaine M.M. Bell, Writer
> (860) 523-9225
>
>
> Date: Tue, 22 Jul 2003 15:42:14 -0400
> From: joeallonby <vze422fs@verizon.net>
> Subject: Re: who said moderated discussions are boring?
>
> > This message is in MIME format. Since your mail reader does not
understand
>
>
>
>
>
> Date: 22 Jul 2003 16:27:44 -0400
> From: Paul Mackin <paul.mackin@verizon.net>
> Subject: Re: NPPF: CANTO ONE (1)
>
> On Tue, 2003-07-22 at 11:31, cfalbert wrote:
> > David Morris:
> >
> > > > Lemniscate - (OED) [lemniscotus - adorned with ribbons] The
designation
> > of
> > > certain closed curves having a general resemblance to the figure 8.
> > >
> > > As Kinbote comments, it's hard to figure out what this figure has to
do
> > with a
> > > bicycle (but the image of two circles being connected (and an
important
> > sight
> > > of bicycle wheels) will recur a number of times further into the text
in
> > > significant ways).
> >
> > Picture a rider sufficiently "deft" to "close" a curved shape generated
by a
> > front tire, with that generated by the back.....Sort of a solo "Powder
8".
> >
> > " Of course this is the infinity symbol.
>
>
>
> At one time the tread of a very popular brand of bicycle tire made
> lemniscate designs on a dry sidewalk after riding through puddles. They
> made the same design on moist sand. Don't remember the brand name but
> had them on my early bikes. There was another brand with diamond shaped
> tread. Also dots..
>
> P.
> It is also closely
> > > related to the two-winged creature "infinite past, infinite future"
just a
> > few
> > > lines down, where the individual occupies the intersction of the tewo
> > realms.
> > > I vaguely remember reading something about N's concept of time being
like
> > > this..."
> >
> > There will be more on this............when thinking lemniscates, don't
> > forget torques - or ampersands...........
> >
> >
> > love,
> > cfa
> >
> >
> > >
> > > David Morris
> ------------------------------
>
> Date: Tue, 22 Jul 2003 16:30:09 -0400
> From: "cfalbert" <calbert@hslboxmaster.com>
> Subject: NPPF: CANTO ONE - of Pheasants, Prodigals and Tasso
>
> Apparently Chesterton stirs no interest, so we will move on...
> In the hope that this will light up mah niggaz on the P-list, and maybe,
> just maybe, discomfit those coots........
>
> Having concluded earlier that Nabokov is not primarily concerned with
> "epigrammatic effects", let me now proceed to show where he employs such
to,
> at least my, great amusement.....
>
> Return to the matter of the pheasant and his tracks. As I pointed out in
my
> note, all pheasants, not resident in China, are, in effect, prodigals.
Their
> longing for home is noted in "finding your China". Less obvious is the
> relationship of "Torquated" to this extended metaphor. Nabokov would not
> likely be satisfied with the ornate term, or even the pun it effects on
> "ring/Wring -necked"(until smothering is confirmed as more humane, the
coup
> de grace is delivered to game birds, not "cleanly head shot", by twisting
> their neck). Even the recurring echo of torques association with
lemniscate
> (think of the latin root involving ribbons) will do......No, what "Old
> McNab" does here is, well, eh......kinda brilliant....
>
> I was very suspicious, for no particular reason, of this word - as it
> appeared to be an adjectival derivative of Torquato, as in Tasso.
>
> No, I'm not a 18th century Italian poetry savant, but I DO recall that
Tasso
> was the original family name of the "Taxis" branch of the T&T of COL49.
> (Note to N/P synthesists - Pynchon's source is likely limited to Alvin
> Harlow's Old Post Bags).
>
> But where is the connection to Nabokov?
>
> Serendipity implored me to glance at my copy of the Arendt translation of
> Eugene Onegin, particularly the notes. Within a few minutes I pulled a
> direct reference to Tasso in the poem.
>
> "A lonely boat, its paddles weaving,
>
> Was on the slumbering river borne;
>
> And wayward singing, and a horn
>
> Charmed our ears, the silence cleaving...
>
> Yet, 'mid nocturnal reveling
>
> Torquato's octaves sweeter sing!"
>
> Arendt translation - Chapter one - verse 48
>
>
>
>
>
> Arendt is niggardly with detail, confining himself to the fact that Tasso
is
> the author of Jerusalem Revisited (there is that resurrection theme
again -
> JR, apparently is a story of crusading knights held captive by an
> enchantress [sounds like a re-telling of the Lotus Eaters/Circe episodes
of
> the Oddyssey]) and Tasso is credited with the development of the "ottava
> rima".
>
> Check 'resurrection', but I am not satisfied that I'm there yet.....
>
> Perhaps Nabokov, in his notes on Eugene Onegin, elaborates.........and
> how.........The two lines of Arendt are expanded to two pages. This is the
> part I like:
>
> "Finally, in 1829, accepting, as it were the Pilgrim's melancholy
statement,
> Pushkin, in the course of an unfinished elegy lists various remote lands
> where he might seek to forget a "cruel mistress" and evokes Venice, where
> the nocturnal boatman "does not sing Tasso." Vol. II, Eugene Onegin,
> Commentary and Index, pg. 183
>
> Now recall that before the introduction of the pheasant, Nabokov refers to
> "abstract larches" - and as we know, larches are the source of VENETIAN
> Turpentine, which is employed as a paint thinner or solvent....
>
> So now he has linked larches, pheasants, prodigals, torques, lemniscates,
> Tasso AND his beloved Onegin in a way that would make Pope proud......
>
> ------------------------------
>
> ------------------------------
>
> Date: Tue, 22 Jul 2003 16:44:21 -0400
> From: "Jasper Fidget" <jasper@hatguild.org>
> Subject: RE: NPPF: CANTO ONE NOTES
>
> > From: Elainemmbell@aol.com [mailto:Elainemmbell@aol.com]
> >
> > In a message dated 7/22/2003 12:39:20 PM Eastern Daylight Time,
> > jasper@hatguild.org writes:
> >
> >
> >
> > By means of a "flickering" of color and lines, the animators
> > achieve an "acceptable" level of realism to the physical "dimension'
> > of the
> > characters. A similar "flickering" aura surrounds the elements and
> > clues of
> > PF.
> >
> >
> >
> >
> > nicely put, Jasper--you have captured the overall pale fire of the piece
> > in your flickering aura!
> > Elaine M.M. Bell, Writer
> > (860) 523-9225
>
> Credit belongs to Charles -- I've just been forwarding his posts due to
> problems with his mail server.
>
> Jasper
>
> - ----- Original Message -----
> From: "Jasper Fidget" <jasper@hatguild.org>
> To: <Elainemmbell@aol.com>; <pynchon-l@waste.org>
> Sent: Tuesday, July 22, 2003 4:44 PM
> Subject: RE: NPPF: CANTO ONE NOTES
>
>
> > > From: Elainemmbell@aol.com [mailto:Elainemmbell@aol.com]
> > >
> > > In a message dated 7/22/2003 12:39:20 PM Eastern Daylight Time,
> > > jasper@hatguild.org writes:
> > >
> > >
> > >
> > > By means of a "flickering" of color and lines, the animators
> > > achieve an "acceptable" level of realism to the physical "dimension'
> > > of the
> > > characters. A similar "flickering" aura surrounds the elements and
> > > clues of
> > > PF.
> > >
> > >
> > >
> > >
> > > nicely put, Jasper--you have captured the overall pale fire of the
piece
> > > in your flickering aura!
> > > Elaine M.M. Bell, Writer
> > > (860) 523-9225
> >
> > Credit belongs to Charles -- I've just been forwarding his posts due to
> > problems with his mail server.
> >
> > Jasper
> >
> >
>
> ------------------------------
>
> Date: Tue, 22 Jul 2003 13:55:52 -0700 (PDT)
> From: David Morris <fqmorris@yahoo.com>
> Subject: Re: NPPF Foreword - Belated Comments
>
> I'm tardy in providing specific comments re. the Foreword, so here are a
few:
>
>
> 1. Poem Preview? Kinbote mentions a press report about certain
⌠Shadeans▓■
> (whom K says never saw the poem) assertions that the poem is only a bunch
of
> ⌠disjointed■ drafts w/o a definitive text. Could the implications of this
be
> that Shade had shown it to some others beside Sybil (w/o K knowing)?
>
> 2. Poem Possession: K all but steals the poem. Doesn▓t it seem strange
that
> Sybil would not have demanded he return it immediately, even (or maybe
> especially) if she were bereft? She was aware of its contents and knew
how
> personal was the subject matter, and knew it was his last poem. It▓s
obvious
> she had no love for K. According to the dates K. supplies, four days
elapse
> between Shade▓s death and the signing of that document authorizing him as
> editor.
>
> Something▓s wrong with this picture. Make▓s me suspect the
document is
> a forgery. This also puts her ⌠statement■ in that document that he never
> intended to go beyond four parts into doubt. If all of this is true, then
> there▓s no possible way that he could get this poem published. Nobody
would
> touch it, and the courts would quickly take it from K.
>
>
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
> http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Tue, 22 Jul 2003 17:47:28 -0400
> From: "Jasper Fidget" <jasper@hatguild.org>
> Subject: NPPF - Canto One - more notes
>
> [from jasper this time, not charles, although you may debate the
*internal*
> authorship]
>
> ln 39-40: see pg 79 for Kinbote's variant.
>
> ln 48: "Goldsworth and Wordsmith on its square of green."
>
> Goldsworth: the value of gold, see "Golconda" page 17; Judge Goldsworth,
> whose home Kinbote rents and who Jack Grey intends to shoot.
>
> Goldsmith: "a worker in gold, a manufacturer of gold articles, (formerly
> acting also as a banker)" (OED 5th Ed.); Oliver Goldsmith (1728-1774),
Irish
> writer of novels, poetry, plays, and essays.
>
> Goldwin Smith Hall: where VN had his office at Cornell, a university known
> for its Wordsworth collection.
>
> Wordsmith: a skilled user or maker of words (OED 5th Ed.), from "smith", A
> person who works in iron or other metals; esp. a blacksmith. Also, a skill
ed
> worker in other arts or crafts. Freq. as 2nd elem. of comb. blacksmith,
> goldsmith, locksmith, silversmith, wordsmith, etc. (OED 5th Ed.)
>
> Wordsworth: William Wordsworth (1770-1850), English Romantic poet whose
work
> was inspired by the Lake District where he spent most of his life.
>
> square of green: chess; and green is Gerald Emerald's color (just saying
is
> all).
>
> ln 55-56: "White butterflies turn lavender as they / Pass through its
> shade": The inverse of Kinbote's "black butterflies" (pg 15).
>
> ln 62: "Of the stiff vane so often visited": see Nabokov's "The Vane
> Sisters". From Boyd: "the ghosts of two dead women waylay the narrator's
> attention through tricks of light and shade, and without his realizing,
> guide his actions and words, even as he expresses explicitly the
> hopelessness of his attempt to discern some glimpse of the sisters beyond
> death." (Boyd, _The Magic of Artistic Discovery_, 138)
>
> ln 70: see pg 99 for Kinbote's "in the draft" addendum.
>
> ln 79: see pg 107 for Kinbote's variant.
>
> ln 98: "_On Chapman's Homer_, thumbtacked to the door.":
>
> George Chapman translated _The Odyssey_ (1614-16); John Keats wrote "On
> First Looking Into Chapman's Homer" (1816); Ben Chapman played for the Red
> Sox (1937-1938), and hit a total of 13 home runs.
>
> http://www.bartleby.com/111/
> http://www.online-literature.com/keats/483/
> http://www.baseball-reference.com/c/chapmbe01.shtml
>
> ln: 99-100: "My God died young. Theolatry I found / Degrading, and its
> premises, unsound.": Nietzsche?
>
> ln 102: "How fully I felt nature glued to me": echoes from Tintern Abbey
(I
> think so anyway). Note the sweep of literary history here: Homer -> Keats
> - -> Worsworth -> Shade. Also c.f. Keith's Shocking Theory.
>
> ln 108: "Twinned Iris":
>
> (OED) "A rainbow, esp. (freq. Iris) personified; a many-coloured
refraction
> of light from drops of water; a rainbow-like or iridescent appearance; a
> coloured halo; a combination of brilliant colours."
>
> (OED) "Photography & Cinematography. In full iris diaphragm. An adjustable
> diaphragm of thin overlapping plates for regulating the size of a control
> hole, esp. for admitting light to a lens or lens system." (i.e. another
> spiral....)
>
> Iris, goddess of the rainbow and messenger of Olympus; see Note to 130 for
> Iris Acht and a slew of twinning.
>
> Jasper
>
> ------------------------------
>
> Date: Tue, 22 Jul 2003 22:58:44 +0100
> From: "Burns, Erik" <Erik.Burns@dowjones.com>
> Subject: Re: NPPF: CANTO ONE NOTES on behalf of Charles
>
> David Morris wrote:
>
> >You saw the reference too (it is very obvious). It's really funny that
he
> >should call our heros of Ulysses "vulgarians."
>
> and cited _Ulysses_ at length.
>
> for which i can only say
>
> thank you thank you thank you.
>
> signed, one who didn't see the obvious.
>
> etb.
>
> ------------------------------
>
> Date: Tue, 22 Jul 2003 18:09:15 -0400
> From: "cfalbert" <calbert@hslboxmaster.com>
> Subject: Re: NPPF - Canto One - more notes
>
> > ln 62: "Of the stiff vane so often visited": see Nabokov's "The Vane
> > Sisters". From Boyd: "the ghosts of two dead women waylay the
narrator's
> > attention through tricks of light and shade, and without his realizing,
> > guide his actions and words, even as he expresses explicitly the
> > hopelessness of his attempt to discern some glimpse of the sisters
beyond
> > death." (Boyd, _The Magic of Artistic Discovery_, 138)
> >
> ....so often visited by the naive.....
>
> I took this as "needing to know which way the wind blows"
> figuratively........
>
>
> love,
> cfa
>
> ------------------------------
>
> Date: Tue, 22 Jul 2003 17:35:58 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: CANTO ONE: Pheasant Tracks
>
> >>>The day of snowfall turns into night, and in the morning a set of
tracks
> are
> discovered. They lead "left to right",
> "a dot, and arrow pointing back, repeat:
> Dot, arrow pointing back....A pheasant's feet"
> This recalls a technique perhaps employed by someone "in Sherlock
> Holmes".....(lines 13-28)<<<
>
> ------------------------------
>
> > of a section from the first canto at:
> >
> > http://users.hartwick.edu/codyd/Indexcard.html
> >
> ------------------------------
>
>>
>
> ------------------------------
>
> End of pynchon-l-digest V2 #3435
> ********************************
>
stuff that does not deal with VN. My hasty cuts are very rough and ready. I
notice there has been an increasing quantity of material that would be of
real benefit to those coming to PF to the first or second (or third) time.
If something catches your interest, you may want to go to the orignal
Pynchon-list postings to make sure you have the full text. Also--my
apologies for the duplications. I don't don't take the time to check back
and delete duplicated info.
----- Original Message -----
From: "pynchon-l-digest" <owner-pynchon-l-digest@waste.org>
To: <pynchon-l-digest@waste.org>
Sent: Tuesday, July 22, 2003 8:56 PM
Subject: pynchon-l-digest V2 #3435
>
> pynchon-l-digest Tuesday, July 22 2003 Volume 02 : Number
3435
>
>> ----------------------------------------------------------------------
>
> Date: Tue, 22 Jul 2003 14:19:27 -0400
> From: Toby G Levy <tobylevy@juno.com>
> Subject: RE: PFPF Canto 1
>
> A couple of vocabulary notes:
>
> my dictionary had vermiculated as "adorned with way or winding lines" and
> this makes more sense to the context of the poem (line 51) where he is
> describing the bark or a tree, I think.
>
> You didn't address the word "preterist" from line 79. It's not in my
> dictionary, but on the web defined as " a theologian who believes that
> the prophecies of the Apocalypse have already been fulfilled"
>
> Toby
>
> ________________________________________________________________
> The best thing to hit the internet in years - Juno SpeedBand!
> Surf the web up to FIVE TIMES FASTER!
> Only $14.95/ month - visit www.juno.com to sign up today!
>
> ------------------------------
>
> Date: Tue, 22 Jul 2003 11:23:33 -0700 (PDT)
> From: pynchonoid <pynchonoid@yahoo.com>
> Subject: who said moderated discussions are boring?
>
> Date: Tue, 22 Jul 2003 11:09:23 -0700
> From: "D. Barton Johnson" <chtodel@cox.net>
> Subject: DN responds to his critics
> To: NABOKV-L@LISTSERV.UCSB.EDU
>
>
> - ----- Original Message -----
> From: DMITRI NABOKOV
> To: 'D. Barton Johnson'
> Sent: Monday, July 21, 2003 1:37 PM
> Subject: FW: update
>
>
>
> - -----Original Message-----
> From: nabokov
> Sent: lundi, 21. juillet 2003 19:34
> ..
>
> "Rita" (Mme. Margarita Meklin, I presume): I had
> absolutely no idea of Mr. Zver'ev's death when
> I posted the message you refer to. The censorship of
> death of course takes precedence over other
> considerations, and I extend my profound condolences
> to the family of the deceased. My opinions remain
> another matter. As you can see, your insulting remarks
> in my regard are utterly inappropriate. As for my
> father, he, too, was a man of both compassion and
> principle, and I do not think my presumption is
> excessive if I suggest that he would have replied to
> you in much the same way.
>
> Mme. Walker: As you may know, I am capable of
> expressing myself in four languages to a high
> academic standard. Sometimes, though, it is
> the colorful American vernacular, sparingly used, that
> can most accurately express my thoughts, particularly
> about a certain kind of contemporary Russian. If
> "scumbag" bothers your sensibilities a lot, consider
> it expunged.
>
> Mr. Iannarelli: I have a sneaking suspicion that your
> motivation was less stupor at my outrage than
> curiosity as to how I would respond. In any
> case, thanks for making my day. I confess that when I
> write on the very late cusp of two long days, I
> sometimes overlook that not everyone on the List has
> Russian or is conversant with the needed frame of
> reference. To put things into a digestible capsule:
> Mr. Mel'nikov's worst sin in my father's regard has
> been to plagiarize, translate, and publish the entire
> contents of Strong Opinions. This was a blatant
> infringement of copyright even by Soviet standards,
> since the interviews, essays, etc. that make up the
> book, even if originally composed earlier, were
> substantially revised by my father for inclusion in
> the volume after the date in 1973 when the Soviet
> Union adhered to the International
> Copyright Convention. Not content with stealing,
> Mel'nikov gnawed the hand out of which he was feeding
> by garnishing his (very poor) translations with an
> introduction and commentary laced with snide innuendo,
> all of which is meticulously catalogued in a document
> that will soon be made public at an appropriate time
> and place. I could go on to other instances of
> his deliberately insulting "literary criticism," some
> of it posted on this forum not very long ago in
> the guise of a review of Nabokov's lectures. I wish
> you knew enough Russian to form your own opinion of
> the publication currently under discussion.
> In a more ample context, let me remind you and
> others that after the Bolshevik Revolution looted
> everything Nabokov possessed -- and all those whe have
> read him know that mansions, icons and samovars were
> not the main losses -- the Perestroika publishers, as
> soon as it became legal to read him, plundered his
> literary estate, in both the material sense and the
> artistic. Today, instead of taking pride in the modest
> Nabokov Museum, the authorities continue to exact an
> unaffordable rent from the largely
> volunteer, self-sacrificing staff whose only mission
> is to provide Russia and the world with a vestige of
> Nabokov, the same Nabokov whom, officially,
> they proudly acclaim as one of their own. Against such
> a background of triple robbery Mel'nikov and his ilk,
> having discovered that they will never write like
> Nabokov, add the envious insult of innuendo to the
> injury of depredation.
>
> Mr. Selleck: Before you totally lose your cool, would
> you kindly explain to whom on the List, and in what
> way, I have done all those terrible things? Specifics,
> please. And, pray tell, how did I, or could I, close
> down a discussion of Charlie Chaplin, Communism, or
> homosexuality? You've got your facts wrong, mister.
> It was Professor Johnson,
> Moderator, who asked that further discussion of
> politics be avoided, just as I was about to reply to a
> crescendo of provocation from a participant whose
> name I have not seen before or since, but whose
> tone is suddenly evoked by a curious dИjЮ vu. If I've
> trodden on any personal toes, sorry. But what
> "innocent" bibliography (see above)? And what steep
> slope? and what homo (sapiens) have I attacked?
>
> DN
>
>
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
> http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Tue, 22 Jul 2003 14:32:37 EDT
> From: Elainemmbell@aol.com
> Subject: Re: NPPF: CANTO ONE NOTES on behalf of Charles
>
> In a message dated 7/22/2003 10:45:17 AM Eastern Daylight Time,
> jasper@hatguild.org writes:
>
> > "the miracle of a lemniscate
> > left.....by nonchalantly deft bicycle tires...." [line 139 is broken by
> > what I would call a caesura (Elaine - HELP!), the first such in the
> > poem](lines 131-139)
> >
>
> This is confusing to me because of the stand-alone line "Bicycle tires."
not
> being, apparently, included in the line count. By my arithmetic these 2
words
> constitute line #139 which would make the 2nd caesura line "A thread of
> subtle pain" become #140. However, line #143 containing the "clockwork
toy" line
> is indeed #143 which makes "Tugged at by playful death..." in fact #140 as
the
> printed line numbers say. So I don't know what's happened here. Maybe
the
> apparent double caesura is a rhythmic referent to the
"lemniscate...bicycle
> tires" image, a deliberate double counted as/functioning as one? or maybe
this is
> line #1000 in disguise since "A thread of subtle pain" could end the poem
> just as well as the rather sophomoric reflexive "I was the shadow of the
waxwing
> slain." Absolutely no research or secondary sources have been used to
invent
> this probably extremely nonsensical notion. Blame me alone.
> Elaine M.M. Bell, Writer
> (860) 523-9225
>
> - --part1_cc.201fa2e8.2c4edd45_boundary
> Content-Type: text/html; charset="US-ASCII"
> Content-Transfer-Encoding: quoted-printable
>
> <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2 FAMILY=3D"SANSSERIF"
FACE=
> =3D"Arial" LANG=3D"0">In a message dated 7/22/2003 10:45:17 AM Eastern
Dayli=
> ght Time, jasper@hatguild.org writes:<BR>
> <BR>
> <BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid;
MARGIN-LEFT=
> : 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">"the miracle of a
lemniscate<BR=
> >
> left.....by nonchalantly deft bicycle tires...." [line 139 is broken
b=
> y<BR>
> what I would call a caesura (Elaine - HELP!), the first such in
the<BR=
> >
> poem](lines 131-139)<BR>
> </BLOCKQUOTE><BR>
> <BR>
> This is confusing to me because of the stand-alone line "Bicycle tires."
not=
> being, apparently, included in the line count. By my arithmetic
these=
> 2 words constitute line #139 which would make the 2nd caesura line "A
threa=
> d of subtle pain" become #140. However, line #143 containing the
"cloc=
> kwork toy" line is indeed #143 which makes "Tugged at by playful death..."
i=
> n fact #140 as the printed line numbers say. So I don't know what's
ha=
> ppened here. Maybe the apparent double caesura is a rhythmic
referent=20=
> to the "lemniscate...bicycle tires" image, a deliberate double counted
as/fu=
> nctioning as one? or maybe this is line #1000 in disguise since "A
thr=
> ead of subtle pain" could end the poem just as well as the rather
sophomoric=
> reflexive "I was the shadow of the waxwing slain." Absolutely no
rese=
> arch or secondary sources have been used to invent this probably extremely
n=
> onsensical notion. Blame me alone.<BR>
> </FONT><FONT COLOR=3D"#008080" style=3D"BACKGROUND-COLOR: #ffffff"
SIZE=3D2=
> FAMILY=3D"SANSSERIF" FACE=3D"Verdana" LANG=3D"0">Elaine M.M. Bell,
Writer<B=
> R>
> (860) 523-9225</FONT></HTML>
>
> - --part1_cc.201fa2e8.2c4edd45_boundary--
>
> ------------------------------
>
> Date: Tue, 22 Jul 2003 11:49:39 -0700 (PDT)
> From: David Morris <fqmorris@yahoo.com>
> Subject: Re: NPPF: CANTO ONE: Misc Notes
>
> Line 1: ⌠I was■ - Why the past tense? Also note (spoiling my Canto Two
> notes) the contrast with tha ⌠Today I▓m■ in line 176. This line seems to
me a
> major transition in the attitude of the poem . It seems the "was" refers
to
> the time following Hazel's death and the "is" follows his decision to not
join
> the "vulgar" laughter mentioned in Canto Two. "Vulgarians" Bloom and
Dedalus
> (especially Dedalus) might specifically mean atheists.
>
> Line 90: ⌠Her room■ - As might be seen from the contents of this room,
Maud
> is being portrayed as a Lesbian (VN▓s ⌠moonperson). This is more
completely
> nailed down in the Commentary to line 90-93 Note also when reading that
> comment that a moth might be seen as a butterfly of the night.
>
>
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
> http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Tue, 22 Jul 2003 14:56:41 EDT
> From: Elainemmbell@aol.com
> Subject: Re: NPPF: CANTO ONE NOTES
>
> - --part1_3d.32bc287b.2c4ee2e9_boundary
> Content-Type: text/plain; charset="US-ASCII"
> Content-Transfer-Encoding: 7bit
>
> In a message dated 7/22/2003 12:39:20 PM Eastern Daylight Time,
> jasper@hatguild.org writes:
>
> > By means of a "flickering" of color and lines, the animators
> > achieve an "acceptable" level of realism to the physical "dimension' of
the
> > characters. A similar "flickering" aura surrounds the elements and clues
of
> > PF.
> >
>
> nicely put, Jasper--you have captured the overall pale fire of the piece
in
> your flickering aura!
> Elaine M.M. Bell, Writer
> (860) 523-9225
>
>
> Date: Tue, 22 Jul 2003 15:42:14 -0400
> From: joeallonby <vze422fs@verizon.net>
> Subject: Re: who said moderated discussions are boring?
>
> > This message is in MIME format. Since your mail reader does not
understand
>
>
>
>
>
> Date: 22 Jul 2003 16:27:44 -0400
> From: Paul Mackin <paul.mackin@verizon.net>
> Subject: Re: NPPF: CANTO ONE (1)
>
> On Tue, 2003-07-22 at 11:31, cfalbert wrote:
> > David Morris:
> >
> > > > Lemniscate - (OED) [lemniscotus - adorned with ribbons] The
designation
> > of
> > > certain closed curves having a general resemblance to the figure 8.
> > >
> > > As Kinbote comments, it's hard to figure out what this figure has to
do
> > with a
> > > bicycle (but the image of two circles being connected (and an
important
> > sight
> > > of bicycle wheels) will recur a number of times further into the text
in
> > > significant ways).
> >
> > Picture a rider sufficiently "deft" to "close" a curved shape generated
by a
> > front tire, with that generated by the back.....Sort of a solo "Powder
8".
> >
> > " Of course this is the infinity symbol.
>
>
>
> At one time the tread of a very popular brand of bicycle tire made
> lemniscate designs on a dry sidewalk after riding through puddles. They
> made the same design on moist sand. Don't remember the brand name but
> had them on my early bikes. There was another brand with diamond shaped
> tread. Also dots..
>
> P.
> It is also closely
> > > related to the two-winged creature "infinite past, infinite future"
just a
> > few
> > > lines down, where the individual occupies the intersction of the tewo
> > realms.
> > > I vaguely remember reading something about N's concept of time being
like
> > > this..."
> >
> > There will be more on this............when thinking lemniscates, don't
> > forget torques - or ampersands...........
> >
> >
> > love,
> > cfa
> >
> >
> > >
> > > David Morris
> ------------------------------
>
> Date: Tue, 22 Jul 2003 16:30:09 -0400
> From: "cfalbert" <calbert@hslboxmaster.com>
> Subject: NPPF: CANTO ONE - of Pheasants, Prodigals and Tasso
>
> Apparently Chesterton stirs no interest, so we will move on...
> In the hope that this will light up mah niggaz on the P-list, and maybe,
> just maybe, discomfit those coots........
>
> Having concluded earlier that Nabokov is not primarily concerned with
> "epigrammatic effects", let me now proceed to show where he employs such
to,
> at least my, great amusement.....
>
> Return to the matter of the pheasant and his tracks. As I pointed out in
my
> note, all pheasants, not resident in China, are, in effect, prodigals.
Their
> longing for home is noted in "finding your China". Less obvious is the
> relationship of "Torquated" to this extended metaphor. Nabokov would not
> likely be satisfied with the ornate term, or even the pun it effects on
> "ring/Wring -necked"(until smothering is confirmed as more humane, the
coup
> de grace is delivered to game birds, not "cleanly head shot", by twisting
> their neck). Even the recurring echo of torques association with
lemniscate
> (think of the latin root involving ribbons) will do......No, what "Old
> McNab" does here is, well, eh......kinda brilliant....
>
> I was very suspicious, for no particular reason, of this word - as it
> appeared to be an adjectival derivative of Torquato, as in Tasso.
>
> No, I'm not a 18th century Italian poetry savant, but I DO recall that
Tasso
> was the original family name of the "Taxis" branch of the T&T of COL49.
> (Note to N/P synthesists - Pynchon's source is likely limited to Alvin
> Harlow's Old Post Bags).
>
> But where is the connection to Nabokov?
>
> Serendipity implored me to glance at my copy of the Arendt translation of
> Eugene Onegin, particularly the notes. Within a few minutes I pulled a
> direct reference to Tasso in the poem.
>
> "A lonely boat, its paddles weaving,
>
> Was on the slumbering river borne;
>
> And wayward singing, and a horn
>
> Charmed our ears, the silence cleaving...
>
> Yet, 'mid nocturnal reveling
>
> Torquato's octaves sweeter sing!"
>
> Arendt translation - Chapter one - verse 48
>
>
>
>
>
> Arendt is niggardly with detail, confining himself to the fact that Tasso
is
> the author of Jerusalem Revisited (there is that resurrection theme
again -
> JR, apparently is a story of crusading knights held captive by an
> enchantress [sounds like a re-telling of the Lotus Eaters/Circe episodes
of
> the Oddyssey]) and Tasso is credited with the development of the "ottava
> rima".
>
> Check 'resurrection', but I am not satisfied that I'm there yet.....
>
> Perhaps Nabokov, in his notes on Eugene Onegin, elaborates.........and
> how.........The two lines of Arendt are expanded to two pages. This is the
> part I like:
>
> "Finally, in 1829, accepting, as it were the Pilgrim's melancholy
statement,
> Pushkin, in the course of an unfinished elegy lists various remote lands
> where he might seek to forget a "cruel mistress" and evokes Venice, where
> the nocturnal boatman "does not sing Tasso." Vol. II, Eugene Onegin,
> Commentary and Index, pg. 183
>
> Now recall that before the introduction of the pheasant, Nabokov refers to
> "abstract larches" - and as we know, larches are the source of VENETIAN
> Turpentine, which is employed as a paint thinner or solvent....
>
> So now he has linked larches, pheasants, prodigals, torques, lemniscates,
> Tasso AND his beloved Onegin in a way that would make Pope proud......
>
> ------------------------------
>
> ------------------------------
>
> Date: Tue, 22 Jul 2003 16:44:21 -0400
> From: "Jasper Fidget" <jasper@hatguild.org>
> Subject: RE: NPPF: CANTO ONE NOTES
>
> > From: Elainemmbell@aol.com [mailto:Elainemmbell@aol.com]
> >
> > In a message dated 7/22/2003 12:39:20 PM Eastern Daylight Time,
> > jasper@hatguild.org writes:
> >
> >
> >
> > By means of a "flickering" of color and lines, the animators
> > achieve an "acceptable" level of realism to the physical "dimension'
> > of the
> > characters. A similar "flickering" aura surrounds the elements and
> > clues of
> > PF.
> >
> >
> >
> >
> > nicely put, Jasper--you have captured the overall pale fire of the piece
> > in your flickering aura!
> > Elaine M.M. Bell, Writer
> > (860) 523-9225
>
> Credit belongs to Charles -- I've just been forwarding his posts due to
> problems with his mail server.
>
> Jasper
>
> - ----- Original Message -----
> From: "Jasper Fidget" <jasper@hatguild.org>
> To: <Elainemmbell@aol.com>; <pynchon-l@waste.org>
> Sent: Tuesday, July 22, 2003 4:44 PM
> Subject: RE: NPPF: CANTO ONE NOTES
>
>
> > > From: Elainemmbell@aol.com [mailto:Elainemmbell@aol.com]
> > >
> > > In a message dated 7/22/2003 12:39:20 PM Eastern Daylight Time,
> > > jasper@hatguild.org writes:
> > >
> > >
> > >
> > > By means of a "flickering" of color and lines, the animators
> > > achieve an "acceptable" level of realism to the physical "dimension'
> > > of the
> > > characters. A similar "flickering" aura surrounds the elements and
> > > clues of
> > > PF.
> > >
> > >
> > >
> > >
> > > nicely put, Jasper--you have captured the overall pale fire of the
piece
> > > in your flickering aura!
> > > Elaine M.M. Bell, Writer
> > > (860) 523-9225
> >
> > Credit belongs to Charles -- I've just been forwarding his posts due to
> > problems with his mail server.
> >
> > Jasper
> >
> >
>
> ------------------------------
>
> Date: Tue, 22 Jul 2003 13:55:52 -0700 (PDT)
> From: David Morris <fqmorris@yahoo.com>
> Subject: Re: NPPF Foreword - Belated Comments
>
> I'm tardy in providing specific comments re. the Foreword, so here are a
few:
>
>
> 1. Poem Preview? Kinbote mentions a press report about certain
⌠Shadeans▓■
> (whom K says never saw the poem) assertions that the poem is only a bunch
of
> ⌠disjointed■ drafts w/o a definitive text. Could the implications of this
be
> that Shade had shown it to some others beside Sybil (w/o K knowing)?
>
> 2. Poem Possession: K all but steals the poem. Doesn▓t it seem strange
that
> Sybil would not have demanded he return it immediately, even (or maybe
> especially) if she were bereft? She was aware of its contents and knew
how
> personal was the subject matter, and knew it was his last poem. It▓s
obvious
> she had no love for K. According to the dates K. supplies, four days
elapse
> between Shade▓s death and the signing of that document authorizing him as
> editor.
>
> Something▓s wrong with this picture. Make▓s me suspect the
document is
> a forgery. This also puts her ⌠statement■ in that document that he never
> intended to go beyond four parts into doubt. If all of this is true, then
> there▓s no possible way that he could get this poem published. Nobody
would
> touch it, and the courts would quickly take it from K.
>
>
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
> http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Tue, 22 Jul 2003 17:47:28 -0400
> From: "Jasper Fidget" <jasper@hatguild.org>
> Subject: NPPF - Canto One - more notes
>
> [from jasper this time, not charles, although you may debate the
*internal*
> authorship]
>
> ln 39-40: see pg 79 for Kinbote's variant.
>
> ln 48: "Goldsworth and Wordsmith on its square of green."
>
> Goldsworth: the value of gold, see "Golconda" page 17; Judge Goldsworth,
> whose home Kinbote rents and who Jack Grey intends to shoot.
>
> Goldsmith: "a worker in gold, a manufacturer of gold articles, (formerly
> acting also as a banker)" (OED 5th Ed.); Oliver Goldsmith (1728-1774),
Irish
> writer of novels, poetry, plays, and essays.
>
> Goldwin Smith Hall: where VN had his office at Cornell, a university known
> for its Wordsworth collection.
>
> Wordsmith: a skilled user or maker of words (OED 5th Ed.), from "smith", A
> person who works in iron or other metals; esp. a blacksmith. Also, a skill
ed
> worker in other arts or crafts. Freq. as 2nd elem. of comb. blacksmith,
> goldsmith, locksmith, silversmith, wordsmith, etc. (OED 5th Ed.)
>
> Wordsworth: William Wordsworth (1770-1850), English Romantic poet whose
work
> was inspired by the Lake District where he spent most of his life.
>
> square of green: chess; and green is Gerald Emerald's color (just saying
is
> all).
>
> ln 55-56: "White butterflies turn lavender as they / Pass through its
> shade": The inverse of Kinbote's "black butterflies" (pg 15).
>
> ln 62: "Of the stiff vane so often visited": see Nabokov's "The Vane
> Sisters". From Boyd: "the ghosts of two dead women waylay the narrator's
> attention through tricks of light and shade, and without his realizing,
> guide his actions and words, even as he expresses explicitly the
> hopelessness of his attempt to discern some glimpse of the sisters beyond
> death." (Boyd, _The Magic of Artistic Discovery_, 138)
>
> ln 70: see pg 99 for Kinbote's "in the draft" addendum.
>
> ln 79: see pg 107 for Kinbote's variant.
>
> ln 98: "_On Chapman's Homer_, thumbtacked to the door.":
>
> George Chapman translated _The Odyssey_ (1614-16); John Keats wrote "On
> First Looking Into Chapman's Homer" (1816); Ben Chapman played for the Red
> Sox (1937-1938), and hit a total of 13 home runs.
>
> http://www.bartleby.com/111/
> http://www.online-literature.com/keats/483/
> http://www.baseball-reference.com/c/chapmbe01.shtml
>
> ln: 99-100: "My God died young. Theolatry I found / Degrading, and its
> premises, unsound.": Nietzsche?
>
> ln 102: "How fully I felt nature glued to me": echoes from Tintern Abbey
(I
> think so anyway). Note the sweep of literary history here: Homer -> Keats
> - -> Worsworth -> Shade. Also c.f. Keith's Shocking Theory.
>
> ln 108: "Twinned Iris":
>
> (OED) "A rainbow, esp. (freq. Iris) personified; a many-coloured
refraction
> of light from drops of water; a rainbow-like or iridescent appearance; a
> coloured halo; a combination of brilliant colours."
>
> (OED) "Photography & Cinematography. In full iris diaphragm. An adjustable
> diaphragm of thin overlapping plates for regulating the size of a control
> hole, esp. for admitting light to a lens or lens system." (i.e. another
> spiral....)
>
> Iris, goddess of the rainbow and messenger of Olympus; see Note to 130 for
> Iris Acht and a slew of twinning.
>
> Jasper
>
> ------------------------------
>
> Date: Tue, 22 Jul 2003 22:58:44 +0100
> From: "Burns, Erik" <Erik.Burns@dowjones.com>
> Subject: Re: NPPF: CANTO ONE NOTES on behalf of Charles
>
> David Morris wrote:
>
> >You saw the reference too (it is very obvious). It's really funny that
he
> >should call our heros of Ulysses "vulgarians."
>
> and cited _Ulysses_ at length.
>
> for which i can only say
>
> thank you thank you thank you.
>
> signed, one who didn't see the obvious.
>
> etb.
>
> ------------------------------
>
> Date: Tue, 22 Jul 2003 18:09:15 -0400
> From: "cfalbert" <calbert@hslboxmaster.com>
> Subject: Re: NPPF - Canto One - more notes
>
> > ln 62: "Of the stiff vane so often visited": see Nabokov's "The Vane
> > Sisters". From Boyd: "the ghosts of two dead women waylay the
narrator's
> > attention through tricks of light and shade, and without his realizing,
> > guide his actions and words, even as he expresses explicitly the
> > hopelessness of his attempt to discern some glimpse of the sisters
beyond
> > death." (Boyd, _The Magic of Artistic Discovery_, 138)
> >
> ....so often visited by the naive.....
>
> I took this as "needing to know which way the wind blows"
> figuratively........
>
>
> love,
> cfa
>
> ------------------------------
>
> Date: Tue, 22 Jul 2003 17:35:58 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: CANTO ONE: Pheasant Tracks
>
> >>>The day of snowfall turns into night, and in the morning a set of
tracks
> are
> discovered. They lead "left to right",
> "a dot, and arrow pointing back, repeat:
> Dot, arrow pointing back....A pheasant's feet"
> This recalls a technique perhaps employed by someone "in Sherlock
> Holmes".....(lines 13-28)<<<
>
> ------------------------------
>
> > of a section from the first canto at:
> >
> > http://users.hartwick.edu/codyd/Indexcard.html
> >
> ------------------------------
>
>>
>
> ------------------------------
>
> End of pynchon-l-digest V2 #3435
> ********************************
>