Subject
Fw: pynchon-l-digest V2 #3472 Pale Fire Canto 3
From
Date
Body
>
> ------------------------------
>
> Date: Fri, 8 Aug 2003 06:29:09 -0700 (PDT)
> From: David Morris <fqmorris@yahoo.com>
> Subject: Re: [NPPF] Canto Three: The British stuff.. hullo
>
> - --- s~Z <keithsz@concentric.net> wrote:
> > As the person, Hugh Person [...] extricated his angular bulk from the
taxi
> > [TT: p.3, Lines 1-3] (Hugh = Hue = Shade)
>
> Well, no... hue = color
>
> But your connecting TT to PF seems promising.
>
> http://people.bu.edu/chrlink/nabtt.html
>
> " When Transparent Things, Vladimir Nabokov's penultimate novel, appeared
in
> 1972, critical reaction to the work was, at best, mixed and, at worst,
> decidedly poor and even hostile. It is likely that many of the unusual and
> innovative techniques employed by Nabokov in this late novel served to
obscure
> its merits among early readers. What appears, on a first reading, to be a
> rather "light" affair (the book is only 104 pages), turns out instead to
be a
> dense and complicated work, fraught with ethical, metaphysical, and even
> profoundly mythic significance. The book's poor initial reception--coupled
with
> its extreme (and misleading) concision--quickly relegated Transparent
Things to
> the status of an inferior, "minor" work. For all its brevity, however, the
odd,
> fascinating novella remains a deeply affecting allegory, rich in
sophisticated
> allusions and subtexts, pointing in new ways toward the same dark depths
as
> Nabokov's most important previous works.
>
> The story of Transparent Things follows the oafishly clumsy, mostly
> impotent, sleepwalking Hugh Person, whose name connotes, at least
potentially,
> the mythic universality of an everyman ("you, person"). Through a series
of
> a-chronological "flashbacks," the reader glimpses, in outline, the whole
of
> Person's pathetic life, distilled into a narrative with all the terseness,
> strangeness, and existential wallop of a Kafka parable. From the novel's
> opening lines to its infernal conclusion, peculiar voices intrude upon the
> narrative. These puzzling, quibbling voices belong to characters that seem
to
> possess the supernatural capacity to see matter, objects, and incidents as
> physically and temporally "transparent." Nabokov, exceedingly frustrated
by his
> "baffled" critics, publicly identified these peculiar commentators as
> "ghosts"--a point now regularly noted, though rarely analyzed in much
depth, by
> critics dealing with the text. "
>
>
>
> ------------------------------
> ------------------------------
>
> ------------------------------
>
> Date: Fri, 8 Aug 2003 08:25:29 -0700
> From: "Glenn Scheper" <glenn_scheper@earthlink.net>
> Subject: Subject: NPPF Canto Three
>
> 300 lines doesn't post well. Now trying small part #1:
>
> ---
>
> Canto three's my favorite so far. Not only will I give
> a lexicon, but gladly offer my grand totalizer's scheme:
>
> Small cantos 1 and 4 (anticipating Elfin Koenig) may be
> child molestation related, but central cantos 2 and 4
> are the two major aspects of a married and self-married
> man. Canto 2 would be -Sybil's- favorite, because it is
> about the mundane married life, but canto 3 is replete
> with the standard poetic AF (but also AC!) references.
>
> To acquaint a non-experiencer with this tantric domain,
> I suggest discovery is typically inverted, neck to the
> earth like Atlas, pen is overhead fulfilling many poetic
> tropes: bird, cloud, transit of sun, sword, tree, serpent,
> etc. The mouth is variously a sea, or abyss. And yet, it
> is a speech act: speaking oneself into death and rebirth.
>
> A sufficient number of males have found and pumped up
> all phallologocentric religions with metaphors that can
> not be broken down without this positional information,
> and to know reflexive references allow further licence.
>
> Shade's -death- is braketed by the -pipe-, a reflexive
> pen is trope marking the whole death sequence as related
> to autofe11atio and the consequent metanoia (for some).
> The doctor at his feet is himself, and he is the pipe.
>
> Heart is a term that, after much pondering religion in
> light of this domain, I am tempted to assign to genital.
> However, when making a taxonomy of terms to cover many
> diverse usages, I have to allow that mapping is partial.
>
> ---
>
> Like Shade tore apart Poe, I also tore apart Poe. His
> works are full of AF metaphors: The Raven is the pen is
> on the head of Pallas, tapping out his metanoia coming.
> He's always into pits, abysses, malestroms, whirlpools.
>
> But Shade's totalizing ability is less than Nabokov's!
> Because Shade has not yet made the AF - AC connection.
> It took me fifteen years of trying to posit AF as sole
> cause of religions, before an Emily Dickinson poem of a
> frenzied bell ringing itself, opened, doubled my vista.
>
> Now, I can see that the final doubling of Revelation's
> vision of the advent of Jerusalem include differences
> of biological gender: AF and AC: fountain and mountain.
>
> I had a sudden insight on the cronos story:
> http://ancienthistory.about.com/library/bl/bl_text_homer_homerica.htm
>
> Cronos eating his children is like epoch and death,
> the regurgitaton as anticipated final resurrection.
>
> Yours truly,
> Glenn Scheper
> http://home.earthlink.net/~glenn_scheper/
> glenn_scheper + at + earthlink.net
> Copyleft(!) Forward freely.
>
> ------------------------------
>
> End of pynchon-l-digest V2 #3472
> ********************************
>
> To unsubscribe, send a message to waste@waste.org
> with "unsubscribe pynchon-l-digest" in the message body.
> ------------------------------
>
> Date: Fri, 8 Aug 2003 06:29:09 -0700 (PDT)
> From: David Morris <fqmorris@yahoo.com>
> Subject: Re: [NPPF] Canto Three: The British stuff.. hullo
>
> - --- s~Z <keithsz@concentric.net> wrote:
> > As the person, Hugh Person [...] extricated his angular bulk from the
taxi
> > [TT: p.3, Lines 1-3] (Hugh = Hue = Shade)
>
> Well, no... hue = color
>
> But your connecting TT to PF seems promising.
>
> http://people.bu.edu/chrlink/nabtt.html
>
> " When Transparent Things, Vladimir Nabokov's penultimate novel, appeared
in
> 1972, critical reaction to the work was, at best, mixed and, at worst,
> decidedly poor and even hostile. It is likely that many of the unusual and
> innovative techniques employed by Nabokov in this late novel served to
obscure
> its merits among early readers. What appears, on a first reading, to be a
> rather "light" affair (the book is only 104 pages), turns out instead to
be a
> dense and complicated work, fraught with ethical, metaphysical, and even
> profoundly mythic significance. The book's poor initial reception--coupled
with
> its extreme (and misleading) concision--quickly relegated Transparent
Things to
> the status of an inferior, "minor" work. For all its brevity, however, the
odd,
> fascinating novella remains a deeply affecting allegory, rich in
sophisticated
> allusions and subtexts, pointing in new ways toward the same dark depths
as
> Nabokov's most important previous works.
>
> The story of Transparent Things follows the oafishly clumsy, mostly
> impotent, sleepwalking Hugh Person, whose name connotes, at least
potentially,
> the mythic universality of an everyman ("you, person"). Through a series
of
> a-chronological "flashbacks," the reader glimpses, in outline, the whole
of
> Person's pathetic life, distilled into a narrative with all the terseness,
> strangeness, and existential wallop of a Kafka parable. From the novel's
> opening lines to its infernal conclusion, peculiar voices intrude upon the
> narrative. These puzzling, quibbling voices belong to characters that seem
to
> possess the supernatural capacity to see matter, objects, and incidents as
> physically and temporally "transparent." Nabokov, exceedingly frustrated
by his
> "baffled" critics, publicly identified these peculiar commentators as
> "ghosts"--a point now regularly noted, though rarely analyzed in much
depth, by
> critics dealing with the text. "
>
>
>
> ------------------------------
> ------------------------------
>
> ------------------------------
>
> Date: Fri, 8 Aug 2003 08:25:29 -0700
> From: "Glenn Scheper" <glenn_scheper@earthlink.net>
> Subject: Subject: NPPF Canto Three
>
> 300 lines doesn't post well. Now trying small part #1:
>
> ---
>
> Canto three's my favorite so far. Not only will I give
> a lexicon, but gladly offer my grand totalizer's scheme:
>
> Small cantos 1 and 4 (anticipating Elfin Koenig) may be
> child molestation related, but central cantos 2 and 4
> are the two major aspects of a married and self-married
> man. Canto 2 would be -Sybil's- favorite, because it is
> about the mundane married life, but canto 3 is replete
> with the standard poetic AF (but also AC!) references.
>
> To acquaint a non-experiencer with this tantric domain,
> I suggest discovery is typically inverted, neck to the
> earth like Atlas, pen is overhead fulfilling many poetic
> tropes: bird, cloud, transit of sun, sword, tree, serpent,
> etc. The mouth is variously a sea, or abyss. And yet, it
> is a speech act: speaking oneself into death and rebirth.
>
> A sufficient number of males have found and pumped up
> all phallologocentric religions with metaphors that can
> not be broken down without this positional information,
> and to know reflexive references allow further licence.
>
> Shade's -death- is braketed by the -pipe-, a reflexive
> pen is trope marking the whole death sequence as related
> to autofe11atio and the consequent metanoia (for some).
> The doctor at his feet is himself, and he is the pipe.
>
> Heart is a term that, after much pondering religion in
> light of this domain, I am tempted to assign to genital.
> However, when making a taxonomy of terms to cover many
> diverse usages, I have to allow that mapping is partial.
>
> ---
>
> Like Shade tore apart Poe, I also tore apart Poe. His
> works are full of AF metaphors: The Raven is the pen is
> on the head of Pallas, tapping out his metanoia coming.
> He's always into pits, abysses, malestroms, whirlpools.
>
> But Shade's totalizing ability is less than Nabokov's!
> Because Shade has not yet made the AF - AC connection.
> It took me fifteen years of trying to posit AF as sole
> cause of religions, before an Emily Dickinson poem of a
> frenzied bell ringing itself, opened, doubled my vista.
>
> Now, I can see that the final doubling of Revelation's
> vision of the advent of Jerusalem include differences
> of biological gender: AF and AC: fountain and mountain.
>
> I had a sudden insight on the cronos story:
> http://ancienthistory.about.com/library/bl/bl_text_homer_homerica.htm
>
> Cronos eating his children is like epoch and death,
> the regurgitaton as anticipated final resurrection.
>
> Yours truly,
> Glenn Scheper
> http://home.earthlink.net/~glenn_scheper/
> glenn_scheper + at + earthlink.net
> Copyleft(!) Forward freely.
>
> ------------------------------
>
> End of pynchon-l-digest V2 #3472
> ********************************
>
> To unsubscribe, send a message to waste@waste.org
> with "unsubscribe pynchon-l-digest" in the message body.