Subject
Fw: pynchon-l-digest V2 #3478 PALE FIRE Canto 3 & 4
From
Date
Body
----- Original Message -----
From: "pynchon-l-digest" <owner-pynchon-l-digest@waste.org>
To: <pynchon-l-digest@waste.org>
Sent: Sunday, August 10, 2003 9:29 PM
Subject: pynchon-l-digest V2 #3478
>
>
> ----------------------------------------------------------------------
>
>>
> Date: Sun, 10 Aug 2003 11:04:31 -0400
> From: The Great Quail <quail@libyrinth.com>
> Subject: NPPF -- Canto 4 *NOTE*
>
> I must offer my sincere apologies. I will have to delay my hosting of the
> Canto IV discussion for a day -- an emergency has called me away for the
> weekend, and I am far from my notes, my computer, and my copy of "Pale
> Fire." I'll have something up Tuesday morning....
>
> Thanks for understanding, and I'm sorry about this!
>
> - --Quail
>
> ------------------------------
> Date: Sun, 10 Aug 2003 08:22:30 -0700 (PDT)
> From: David Morris <fqmorris@yahoo.com>
> Subject: Re: [NPPF] Canto Three: Hue's Sloppy?
>
> - --- s~Z <keithsz@concentric.net> wrote:
> > One entry found for hue.
> >
> > Entry Word: hue
> > Function: noun
> > Text: Synonyms: color, cast, shade, tinge, tint, tone
>
> A thesaurus can be a dangerous thing.
>
> DM
>
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
> http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 11:26:51 -0400
> From: "charles albert" <calbert@hslboxmaster.com>
> Subject: Re: NPPF - Canto Two Notes -- Et Cicada
>
> I lived in Australia as a child and the 7 year cicadas were
> abundant......they looked a lot like large stylish and garishly colored
> cockroaches, without that nasty "aura"......they would appear in several
> colors and ther rarest would always be held as trophies, for a couple of
> days until they died....
>
> WHen a chorus of cicadas goes off, its almost suffocating...
>
> love,
> cfa
> - ----- Original Message -----
> From: "himself" <himself@richardryan.com>
> To: <jasper@hatguild.org>; <pynchon-l@waste.org>
> Sent: Saturday, August 09, 2003 7:24 PM
> Subject: RE: NPPF - Canto Two Notes -- Et Cicada
>
>
> > Where I grew up in Oklahoma the cast skins were also brown. We did, in
> > fact, call these insects "locusts" -- which I now gather is incorrect.
It
> > was a local sport -- rather cruel in retrospect (if one can be cruel to
an
> > insect) -- to catch a cicada and lasso a long piece of thread around its
> > thick head, and to fly it buzzing furiously and electrically at the end
of
> > the thread in wild, sweeping circles.
> >
> > It seems to me, based on the information contained at Jasper's links
> below,
> > that the cicadae which I heard every summer growing up must have been
> > "annual" cicada rather than the "periodicals" he mentions, since we
heard
> > them each year without fail. The great waves of thrumming sound they
make
> > is very beautiful and distinctive. James Agee, in an elegant passage in
> "A
> > Death in the Family", says "it is habitual to summer nights, and is of
the
> > great order of noises, like the noises of the sea and the blood."
> >
> > These stentorian critters are also called dogday locust or harvestflies:
> >
> > http://troyb.com/photo/gallery/017-01-DogdayHarvestfly.htm
> >
> > > -----Original Message-----
> > > From: owner-pynchon-l@waste.org
> > > [mailto:owner-pynchon-l@waste.org] On Behalf Of Jasper Fidget
> > > Sent: Tuesday, July 29, 2003 11:00 AM
> > > To: 'Pynchon List'
> > > Subject: RE: NPPF - Canto Two Notes (1)
> > >
> > >
> > > > From: owner-pynchon-l@waste.org
> > > [mailto:owner-pynchon-l@waste.org] On
> > > > Behalf Of David Morris
> > > >
> > > > 238: Empty emerald case, squat and frog-eyed, / Hugging
> > > the trunk
> > > > Does anyone have a clue what this is?
> > > >
> > >
> > > Maybe Kinbote is correct that it's a cicada's cast skin (exuvia):
> > >
> > http://www.hortnet.co.nz/key/keys/bugkey2a/cast1.htm
> >
> > These tend to be brown where I live, but the ones in the photos on this
> site
> > could be called emerald I suppose (probably depends on the species).
> > Incidentally, juvenile cicadas are called "nymphs", and burrow
underground
> > for usually 13 or 17 years (depends on species, but always tends to be a
> > primary number for some reason), then lives only 2-6 weeks as an adult.
> >
> > Also, the male cicada apparently makes the loudest sound of all insects.
> >
> > Also, the letters P or W can often be made out on a cicada's wings, and
> > there's some folklore that maintains a P indicates peace, while a W
> > indicates war.
> >
> > Also, cicadas are not locusts, as they are sometimes confused.
> >
> >
>
http://insects.ummz.lsa.umich.edu/fauna/michigan_cicadas/Periodical/Index.ht
> > ml
> >
> > http://www.dancentury.com/cicada/faq.html
> >
> > Jasper
> >
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 11:38:01 EDT
> From: Elainemmbell@aol.com
> Subject: Re: [NPPF] Canto Three: Hue's Sloppy?
>
> - --part1_35.3be09803.2c67c0d9_boundary
> Content-Type: text/plain; charset="US-ASCII"
> Content-Transfer-Encoding: 7bit
>
> In a message dated 8/9/2003 8:14:43 PM Eastern Daylight Time,
> keithsz@concentric.net writes:
>
> > One entry found for hue.
> >
> >
>
> is this the same "hue" as in "hue and cry"? meaning, I guess, large
wailing
> noise?
> Elaine M.M. Bell, Writer
> (860) 523-9225
>
> - --part1_35.3be09803.2c67c0d9_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 8/9/2003 8:14:43 PM Eastern
Dayligh=
> t Time, keithsz@concentric.net writes:<BR>
> <BR>
> <BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid;
MARGIN-LEFT=
> : 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">One entry found for hue.<BR>
> <BR>
> </BLOCKQUOTE><BR>
> <BR>
> is this the same "hue" as in "hue and cry"? meaning, I guess, large
wailing=20=
> noise?<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_35.3be09803.2c67c0d9_boundary--
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 09:05:30 -0700 (PDT)
> From: David Morris <fqmorris@yahoo.com>
> Subject: Re: [NPPF] Canto Three: Hue's Sloppy?
>
>
> > is this the same "hue" as in "hue and cry"? meaning, I guess, large
wailing
> noise?
> > Elaine M.M. Bell, Writer
> > (860) 523-9225
> >
>
> No. that would be "hew."
>
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
> http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 12:19:07 -0400
> From: "charles albert" <calbert@hslboxmaster.com>
> Subject: Re: [NPPF] Canto Three: Hue's Sloppy?
>
> Nope....
>
> "hue and cry" enjoys a discreet entry in the OED.....
>
>
> love,
> cfa
> - ----- Original Message -----
> From: "David Morris" <fqmorris@yahoo.com>
> To: <Elainemmbell@aol.com>; <keithsz@concentric.net>;
<pynchon-l@waste.org>
> Sent: Sunday, August 10, 2003 12:05 PM
> Subject: Re: [NPPF] Canto Three: Hue's Sloppy?
>
>
> >
> > > is this the same "hue" as in "hue and cry"? meaning, I guess, large
> wailing
> > noise?
> > > Elaine M.M. Bell, Writer
> > > (860) 523-9225
> > >
> >
> > No. that would be "hew."
> >
> > __________________________________
> > Do you Yahoo!?
> > Yahoo! SiteBuilder - Free, easy-to-use web site design software
> > http://sitebuilder.yahoo.com
> >
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 12:34:23 -0400
> From: Terrance <lycidas2@earthlink.net>
> Subject: Re: VLVL 3 Zoyd and Hector
>
> Hector has changed over the years, but it's worth remembering
> > that for all of his endearing and entertaining qualities in 1984, he's
the
> > dude who thirteen years earlier set Zoyd up in a bogus marijuana bust in
> > service of Brock Vond's vision of America. At that point he wasn't very
> > different from the scabs who felled the redwood across Jess Traverse's
legs,
> > back in the day.
>
>
> This doesn't make sense.
>
> Are you saying that Hector finally comes in from the outside, gets his
> GS-14, becoming a bureaucrat, giving up the cold parking lot, door
> kicking, dangerous, death (Death & Fascist Bureaucrat, i.e. Blicero,)
> defying, maverick ways and becomes a more entertaining and endearing ink
> shitting human(e) cop at the same time?
>
> Hector changes. What else changes?
>
> As I said previously, Hector doesn't have a fucking clue. He thinks he
> does. It's funny that he knows Zoyd so well. Problem is, Zoyd is only
> one man. Zoyd is not the '60s any more than Frenesi is the '60's.
> Hector's theory has some street credence. He was in the trenches.
> Problem is, the trenches are like blinders. Now that he's in an office
> job, at last, he's getting a different perspective. Well, he hasn't been
> in the office for that long so he's got a lot to learn. And things
> change. His theory is just "trickle down" Brockisms--Reagan budget cut
> revolution and so on. Of course, even Brock doesn't know what Reagan
> will do. Hector has no idea what's going on in his own world and
> affairs. How will the Budget cuts and the Reagan revolution affect DEA?
> Again, Hector is a Mexican-American.
>
> Anyway, changes.
>
>
> As Weber writes, charismatic authority "cannot remain stable, but
> becomes either traditionalized or rationalized, or a combination of
> both."
>
> Theory of Social and Economic Organization, p. 364.
>
> p. 156.
>
>
> The Theory of Social and Economic Organization. Translated by A.M.
> Henderson
> and Talcott Parsons; edited with introduction by Talcott Parsons, Oxford
> University Press, 1947
>
> p.156.
>
> Since the concept of the state has only in modern times reached its full
> development [earlier sovereign powers had been empires, dynasties, and
> corporate bodies like churches and guilds often with overlapping
> authority and jurisdiction], it is best to define it in terms
> appropriate to the modern type of state, but at the same time, in terms
> which abstract from the values of the present day, since these are
> particularly subject to change.
>
>
>
>
> The primary formal characteristics of the modern state are as follows:
>
> It possesses an administrative and legal order subject to change by
> legislation, to
> which the organized corporate activity of the administrative staff,
> which is also regulated by legislation, is oriented.
>
>
> This system of order claims bringing authority, not only over the
> members of
> the state, the citizens, most of whom have obtained membership by birth,
> but also to a very large extent, over all action taking place in the
> area of its jurisdiction.
>
>
> It is thus a compulsory association with a territorial basis.
>
>
> Furthermore, to-day, the use of force is regarded as legitimate only so
> far as it is either permitted by the state or prescribed by it. Thus the
> right of a father to discipline his children is recognized≈- a survival
> of the former independent authority of the head of a household, which in
> the right to use force has sometimes extended to a power of life and
> death over children and slaves.
>
>
> The claim of the modern state to monopolize the use of force is as
> essential
> to it as its character of compulsory jurisdiction and of continuous
> organization.
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 09:38:30 -0700 (PDT)
> From: David Morris <fqmorris@yahoo.com>
> Subject: Re: [NPPF] Canto Three: Hue's Sloppy?
>
> - --- charles albert <calbert@hslboxmaster.com> wrote:
> > Nope....
> >
> > "hue and cry" enjoys a discreet entry in the OED.....
>
> Oops! I just Googled "hew and cry" and found a sloppy crowd all using
that.
> No OED for me...
>
> http://www.quinion.com/words/qa/qa-hue1.htm
>
> ⌠What does hue and cry mean?■
>
> This idiom, meaning a loud clamour or public outcry, contains the obsolete
word
> hue, which people these days know only as a slightly formal or technical
word
> for a colour or shade. As a result, you sometimes see the phrase written
as hew
> and cry.
>
> Our modern meaning goes back to part of English common law in the
centuries
> after the Norman Conquest. There wasn▓t an organised police force and the
job
> of fighting crime fell mostly on ordinary people. If somebody robbed you,
or
> you saw a murder or other crime of violence, it was up to you to raise the
> alarm, the hue and cry. Everybody in the neighbourhood was then obliged to
drop
> what they were doing and help pursue and capture the supposed criminal. If
the
> criminal was caught with stolen goods on him, he was summarily convicted
(he
> wasn▓t allowed to say anything in his defence, for example), while if he
> resisted arrest he could be killed. The same term was used for a
proclamation
> relating to the capture of a criminal or the finding of stolen goods. The
laws
> relating to hue and cry were repealed in Britain in 1827.
>
> This mysterious word hue is from the first part of the Anglo-Norman French
> legal phrase hu e cri. This came from the Old French hu for an outcry, in
turn
> from huer, to shout. It seems that hue could mean any cry, or even the
sound of
> a horn or trumpet≈the phrase hu e cri had a Latin equivalent, hutesium et
> clamor, ⌠with horn and with voice■.
>
> As an etymological footnote, the Old French huer survived in Cornwall
right
> down to the early twentieth century. At that time an important part of
local
> livelihoods in coastal communities came from the seasonal catch of fish
called
> pilchards, which migrated past the coast in great shoals in early autumn.
To be
> sure of not missing their arrival, fishermen posted lookouts on the
cliffs.
> They were called huers, since they commonly alerted the waiting fishermen
by
> shouting through speaking trumpets.
>
>
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
> http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 09:48:09 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: Re: [NPPF] Canto Three: Hue's Sloppy?
>
> >>>"hue and cry" enjoys a discreet entry in the OED.....<<<
>
> And in Websters which VN used:
>
> Main Entry: hue and cry
> Function: noun
> Etymology: hue (outcry)
> Date: 15th century
> 1 a : a loud outcry formerly used in the pursuit of one who is suspected
of
> a crime b : the pursuit of a suspect or a written proclamation for the
> capture of a suspect
> 2 : a clamor of alarm or protest
> 3 : HUBBUB
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 09:50:30 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: Re: [NPPF] Canto Three: Hue's Sloppy?
>
> - ----- Original Message -----
> From: "David Morris" <fqmorris@yahoo.com>
>
> "This idiom, meaning a loud clamour or public outcry, contains the
obsolete
> word
> hue, which people these days know only as a slightly formal or technical
> word
> for a colour or shade."
>
> hullo
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 12:50:21 -0400
> From: Terrance <lycidas2@earthlink.net>
> Subject: Re: [NPPF] Canto Three: Hue's Sloppy?
>
> A feather can be a dangerous thing too
> or a clew
> or a hue more
>
> Anyway, shadow and ashen fluff and lamp and uncurtaining the night
> dark glass and crystal land.
>
>
> All these sights and then sounds.
>
> The viewer and the view. The dancer and the dance.
>
> Romantic.
>
> There is this story that N tells about doing this sort of Yoga move
> where you hand your head down between your legs and look at the world
> (the beach I think) backward and upsidedown. Kinda of thing kids do all
> the time and poets too--trophies of the eaves.
>
>
>
>
> David Morris wrote:
> >
> > --- s~Z <keithsz@concentric.net> wrote:
> > > One entry found for hue.
> > >
> > > Entry Word: hue
> > > Function: noun
> > > Text: Synonyms: color, cast, shade, tinge, tint, tone
> >
> > A thesaurus can be a dangerous thing.
> >
> > DM
> >
> > __________________________________
> > Do you Yahoo!?
> > Yahoo! SiteBuilder - Free, easy-to-use web site design software
> > http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 09:59:21 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: Re: [NPPF] Canto Three: Hue's Sloppy?
>
> >>>lamp<<<
>
> In addition to pale, palm and lamp are used with statistically significant
> frequency from Pale Fire on. Often when there is a pale a palm is soon to
> follow and vice versa.
>
> Hugh = Hue = Shade = Ghost = You
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 10:02:23 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: Re: [NPPF] Canto Three: Hue's Sloppy?
>
> >>>backward and upsidedown--trophies of the eaves. <<<
>
> Scandle.
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 13:30:53 -0400
> From: "charles albert" <calbert@hslboxmaster.com>
> Subject: Re: [NPPF] Canto Three: Hue's Sloppy?
>
> > >>>lamp<<<
> >
> > In addition to pale, palm
>
> You stick to your guns, lad.................
>
>
> OED
>
> Hue:
>
> Form, shape, figure; appearance, aspect; species
>
> b. an apparition, a phantasm
>
> 2. External appearance of the face and skin
>
> 3. Color
>
> b. Variety of any color caused by approach to or slight admixture of
> another; tint or quality of a particular color
>
>
> To form , fashion, figure, give an external appearance to; esp. ( in later
> use) to color.In early use sometimes, To fashion falsely, feign, pretend.
> Chiefly in pa. pple: see HUED.
>
> b.To tinge
>
> 2. To depict, describe vividly
>
> 3. To take a color, to become colored
>
>
> Adding up to another bolt in the quiver of the shadeans.....
>
> Great work...
>
> love,
> cfa
>
>
>
>
>
>
> and lamp are used with statistically significant
> > frequency from Pale Fire on. Often when there is a pale a palm is soon
to
> > follow and vice versa.
> >
> > Hugh = Hue = Shade = Ghost = You
> >
> >
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 17:41:02 -0400
> From: "Don Corathers" <gumbo@fuse.net>
> Subject: Re: VLVL 3 Zoyd and Hector
>
> The question had to do with the degree of Hector's villainy. Some find the
> 1984 Hector lovable, and he is in fact a partner in a very funny scene in
> the bowling alley. I was just pointing out that the 1971 Hector was
capable
> of setting up Zoyd in a massively bogus bust to further Brock's scheme to
> isolate Frenesi, and that wasn't, you know, very nice.
>
> D.C.
>
>
>
> - ----- Original Message -----
> From: "Terrance" <lycidas2@earthlink.net>
> Cc: <pynchon-l@waste.org>
> Sent: Sunday, August 10, 2003 12:34 PM
> Subject: Re: VLVL 3 Zoyd and Hector
>
>
> > Hector has changed over the years, but it's worth remembering
> > > that for all of his endearing and entertaining qualities in 1984, he's
> the
> > > dude who thirteen years earlier set Zoyd up in a bogus marijuana bust
in
> > > service of Brock Vond's vision of America. At that point he wasn't
very
> > > different from the scabs who felled the redwood across Jess Traverse's
> legs,
> > > back in the day.
> >
> >
> > This doesn't make sense.
> >
> > Are you saying that Hector finally comes in from the outside, gets his
> > GS-14, becoming a bureaucrat, giving up the cold parking lot, door
> > kicking, dangerous, death (Death & Fascist Bureaucrat, i.e. Blicero,)
> > defying, maverick ways and becomes a more entertaining and endearing ink
> > shitting human(e) cop at the same time?
> >
> > Hector changes. What else changes?
> >
> > As I said previously, Hector doesn't have a fucking clue. He thinks he
> > does. It's funny that he knows Zoyd so well. Problem is, Zoyd is only
> > one man. Zoyd is not the '60s any more than Frenesi is the '60's.
> > Hector's theory has some street credence. He was in the trenches.
> > Problem is, the trenches are like blinders. Now that he's in an office
> > job, at last, he's getting a different perspective. Well, he hasn't been
> > in the office for that long so he's got a lot to learn. And things
> > change. His theory is just "trickle down" Brockisms--Reagan budget cut
> > revolution and so on. Of course, even Brock doesn't know what Reagan
> > will do. Hector has no idea what's going on in his own world and
> > affairs. How will the Budget cuts and the Reagan revolution affect DEA?
> > Again, Hector is a Mexican-American.
> >
> > Anyway, changes.
> >
> >
> > As Weber writes, charismatic authority "cannot remain stable, but
> > becomes either traditionalized or rationalized, or a combination of
> > both."
> >
> > Theory of Social and Economic Organization, p. 364.
> >
> > p. 156.
> >
> >
> > The Theory of Social and Economic Organization. Translated by A.M.
> > Henderson
> > and Talcott Parsons; edited with introduction by Talcott Parsons, Oxford
> > University Press, 1947
> >
> > p.156.
> >
> > Since the concept of the state has only in modern times reached its full
> > development [earlier sovereign powers had been empires, dynasties, and
> > corporate bodies like churches and guilds often with overlapping
> > authority and jurisdiction], it is best to define it in terms
> > appropriate to the modern type of state, but at the same time, in terms
> > which abstract from the values of the present day, since these are
> > particularly subject to change.
> >
> >
> >
> >
> > The primary formal characteristics of the modern state are as follows:
> >
> > It possesses an administrative and legal order subject to change by
> > legislation, to
> > which the organized corporate activity of the administrative staff,
> > which is also regulated by legislation, is oriented.
> >
> >
> > This system of order claims bringing authority, not only over the
> > members of
> > the state, the citizens, most of whom have obtained membership by birth,
> > but also to a very large extent, over all action taking place in the
> > area of its jurisdiction.
> >
> >
> > It is thus a compulsory association with a territorial basis.
> >
> >
> > Furthermore, to-day, the use of force is regarded as legitimate only so
> > far as it is either permitted by the state or prescribed by it. Thus the
> > right of a father to discipline his children is recognized-- a survival
> > of the former independent authority of the head of a household, which in
> > the right to use force has sometimes extended to a power of life and
> > death over children and slaves.
> >
> >
> > The claim of the modern state to monopolize the use of force is as
> > essential
> > to it as its character of compulsory jurisdiction and of continuous
> > organization.
> >
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 15:01:21 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: Re: [NPPF] Incest Motif
>
> "The whole affair (with a sullen maid, an old Cannicoise slapping down
> plates in the margin of the scene) belonged to another life, to another
> book, to a world of vaguely incestuous games that I had not yet
consciously
> invented." (Vadim Vadimovich N.)
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 17:09:29 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: [NPPF] _See under Real_
>
> This sumary of the fictional work of fiction, _See under Real_, written by
> the fictional author, Vadim Vadimovich N., in LOOK AT THE HARLEQUINS!
reads
> like a hyperbolic hybrid of SEBASTIAN KNIGHT and PALE FIRE.
>
>
> As was also to happen in regard to my next English books (including
> thepresent sketch), the title of my first one came to me at the moment of
> impregnation, long before actual birth and growth. Holding that name to
the
> light, I distinguished the entire contents of the semitransparent capsule.
> The title was to be without any choice or change: See under Real. A
preview
> of its eventual tribulations in the catalogues of public libraries
> could not have deterred me.
> The idea may have been an oblique effect of the insult dealt by the
two
> bunglers to my careful art. An English novelist, a brilliant and unique
> performer, was supposed to have recently died. The story of his life was
> being knocked together by the uninformed, coarse-minded, malevolent
Hamlet
> Godman, an Oxonian Dane, who found in this grotesque task a Kovalevskian
> "outlet" for the literary flops that his proper mediocrity fully
deserved.
> The biography was being edited, rather unfortunately for its reckless
> concocter, by the indignant brother of the dead novelist. As the opening
> chapter unfolded its first reptilian coil (with insinuations of
> "masturbation guilt" and the castration of toy soldiers) there commenced
> what was to me the delight and the magic of my book: fraternal footnotes,
> half-a-dozen lines per page, then more, then much more, which started
to
> question, then refute, then demolish by ridicule the would-be
biographer's
> doctored anecdotes and vulgar inventions. A multiplication of such notes
at
> the bottom of the page led to an ominous increase (no doubt disturbing
to
> clubby or convalescent readers) of astronomical symbols bespeckling the
> text. By the end of the biographee's college years the height of the
> critical apparatus had reached one third of each page. Editorial warnings
of
> a national disaster--flooded fields and so on--accompanied a further rise
of
> the water line. By page 200 the footnote material had crowded
out
> three-quarters of the text and the type of the note had changed,
> psychologically at least (I loathe typographical frolics in books) from
> brevier to long primer. In the course of the last chapters the
commentary
> not only replaced the entire text but finally swelled to boldface.
"We
> witness here the admirable phenomenon of a bogus biographie romancиe
> being gradually supplanted by the true story of a great man's life."
For
> good measure I appended a three-page account of the great
annotator's
> academic career: "He now teaches Modern Literature, including his
brother's
> works, at Paragon University, Oregon."
> This is the description of a novel written almost forty-five years
ago
> and probably forgotten by the general public. I have never reread it
because
> I reread (je relis, perechityvayu--I'm teasing an adorable mistress!) only
> the page proofs of my paperbacks; and for reasons which, I am sure, J.
Lodge
> finds judicious, the thing is still in its hard-cover instar. But in rosy
> retrospect I feel it as a pleasurable event, and have completely
dissociated
> it in my mind from the terrors and torments that attended the writing of
> that rather lightweight little satire.
> Actually, its composition, despite the pleasure (maybe also noxious)
> that the iridescent bubbles in my alembics gave me after a night of
> inspiration, trial, and triumph (look at the harlequins, everybody
> look--Iris, Annette, Bel, Louise, and you, you, my ultimate and immortal
> one!), almost led to the dementia paralytica that I feared since youth.
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 17:35:15 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: Re: [NPPF] Canto Three: The British stuff.. hullo
>
> Technically speaking, the narrator's art of integrating telephone
> conversations still lags far behind that of rendering dialogues conducted
> from room to room, or from window to window across some narrow blue alley
in
> an ancient town with water so precious, and the misery of donkeys, and
rugs
> for sale, and minarets, and foreigners and melons, and the vibrant morning
> echoes. When Joan, in her brisk long-limbed way, got to the compelling
> instrument before it gave up, and said hullo (eyebrows up, eyes roaming),
a
> hollow quiet greeted her; all she could hear was the informal sound of a
> steady breathing; presently the breather's voice said, with a cosy foreign
> accent: 'One moment, excuse me' - this was quite casual, and he continued
to
> breathe and perhaps hem and hum or even sigh a lime to the accompaniment
of
> a crepitation that evoked the turning over of small pages.
> 'Hullo!' she repeated.
> 'You are,' suggested the voice warily, 'Mrs Fire?'
>
>
> (from PNIN)
> - ------------------------------------------------------------------------
----
>
> "Oh, hullo, V.," he said looking up. "This is my brother, Miss Bishop. Sit
> down and make yourself comfortable." She was pretty in a quiet sort of way
> with a pale faintly freckled complexion, slightly hollowed cheeks,
blue-gray
> near-sighted eyes, a thin mouth. She wore a gray tailor-made with a blue
> scarf and a small three-cornered hat. I believe her hair was bobbed.
>
> (from Sebastian Knight)
> - ------------------------------------------------------------------------
----
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 18:03:49 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: [NPPF] Gray's Yew-Tree Shade
>
> http://eir.library.utoronto.ca/rpo/display/poem882.html
>
> Thomas Gray (1716-1771)
>
> Elegy Written in a Country Churchyard
>
>
> 1The curfew tolls the knell of parting day,
> 2 The lowing herd wind slowly o'er the lea,
> 3The plowman homeward plods his weary way,
> 4 And leaves the world to darkness and to me.
>
>
> 5Now fades the glimm'ring landscape on the sight,
> 6 And all the air a solemn stillness holds,
> 7Save where the beetle wheels his droning flight,
> 8 And drowsy tinklings lull the distant folds;
>
>
> 9Save that from yonder ivy-mantled tow'r
> 10 The moping owl does to the moon complain
> 11Of such, as wand'ring near her secret bow'r,
> 12 Molest her ancient solitary reign.
>
>
> 13Beneath those rugged elms, that yew-tree's shade,
> 14 Where heaves the turf in many a mould'ring heap,
> 15Each in his narrow cell for ever laid,
> 16 The rude forefathers of the hamlet sleep.
>
>
> 17The breezy call of incense-breathing Morn,
> 18 The swallow twitt'ring from the straw-built shed,
> 19The cock's shrill clarion, or the echoing horn,
> 20 No more shall rouse them from their lowly bed.
>
>
> 21For them no more the blazing hearth shall burn,
> 22 Or busy housewife ply her evening care:
> 23No children run to lisp their sire's return,
> 24 Or climb his knees the envied kiss to share.
>
>
>
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 21:28:06 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: [NPPF] Canto Four: Versipellis
>
> Perhaps Mr. Shade's seizures were a bit stranger than we thought:
>
> And that odd muse of mine,
> My versipel, is with me everywhere,
> In carrel and in car, and in my chair.
>
> Thus we need no longer regard our werewolf as an inexplicable creature of
> undetermined pedigree. But any account of him would be quite imperfect
which
> should omit all consideration of the methods by which his change of form
was
> accomplished. By the ancient Romans the werewolf was commonly called a
"skin
> changer" or "turn-coat" (versipellis), and similar epithets were applied
to
> him in the Middle Ages. The medieval theory was that, while the werewolf
> kept his human form, his hair grew inwards; when he wished to become a
wolf,
> he simply turned himself inside out. In many trials on record, the
prisoners
> were closely interrogated as to how this inversion might be accomplished
but
> I am not aware that any one of them ever gave a satisfactory answer. At
the
> moment of change their memories seem to have become temporarily befogged.
> Now and then a poor wretch had his arms and legs cut off or was partially
> flayed, in order that the ingrowing hair might be detected. Another theory
> was, that the possessed person had merely to put on a wolf's skin, in
order
> to assume instantly the lupine form and character; and in this may perhaps
> be seen a vague reminiscence of the alleged fact that Berserkers were in
the
> habit of haunting the woods by night, clothed in the hides of wolves or
> bears. Such a wolf-skin was kept by the boy Grenier. Roulet, on the other
> hand, confessed to using a magic salve or ointment. A fourth method of
> becoming a werewolf was to obtain a girdle, usually made of human skin.
> Several cases are related in Thorpe's "Northern Mythology." One hot day in
> harvest-time some reapers lay down to sleep in the shade; when one of
them,
> who could not sleep, saw the man next him arise quietly and gird him with
a
> strap, whereupon he instantly vanished, and a wolf jumped up from among
the
> sleepers and ran off across the fields. Another man, who possessed such a
> girdle, once went away from home without remembering to lock it up. His
> little son climbed up to the cupboard and got it, and as he proceeded to
> buckle it around his waist, he became instantly transformed into a
> strange-looking beast. Just then his father came in, and seizing the
girdle
> restored the child to his natural shape. The boy said that no sooner had
he
> buckled it on than he was tormented with a raging hunger.
> http://www.theatlantic.com/issues/1871aug/fiskej.htm
>
> ------------------------------
>
> End of pynchon-l-digest V2 #3478
> ********************************
>
> To unsubscribe, send a message to waste@waste.org
> with "unsubscribe pynchon-l-digest" in the message body.
From: "pynchon-l-digest" <owner-pynchon-l-digest@waste.org>
To: <pynchon-l-digest@waste.org>
Sent: Sunday, August 10, 2003 9:29 PM
Subject: pynchon-l-digest V2 #3478
>
>
> ----------------------------------------------------------------------
>
>>
> Date: Sun, 10 Aug 2003 11:04:31 -0400
> From: The Great Quail <quail@libyrinth.com>
> Subject: NPPF -- Canto 4 *NOTE*
>
> I must offer my sincere apologies. I will have to delay my hosting of the
> Canto IV discussion for a day -- an emergency has called me away for the
> weekend, and I am far from my notes, my computer, and my copy of "Pale
> Fire." I'll have something up Tuesday morning....
>
> Thanks for understanding, and I'm sorry about this!
>
> - --Quail
>
> ------------------------------
> Date: Sun, 10 Aug 2003 08:22:30 -0700 (PDT)
> From: David Morris <fqmorris@yahoo.com>
> Subject: Re: [NPPF] Canto Three: Hue's Sloppy?
>
> - --- s~Z <keithsz@concentric.net> wrote:
> > One entry found for hue.
> >
> > Entry Word: hue
> > Function: noun
> > Text: Synonyms: color, cast, shade, tinge, tint, tone
>
> A thesaurus can be a dangerous thing.
>
> DM
>
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
> http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 11:26:51 -0400
> From: "charles albert" <calbert@hslboxmaster.com>
> Subject: Re: NPPF - Canto Two Notes -- Et Cicada
>
> I lived in Australia as a child and the 7 year cicadas were
> abundant......they looked a lot like large stylish and garishly colored
> cockroaches, without that nasty "aura"......they would appear in several
> colors and ther rarest would always be held as trophies, for a couple of
> days until they died....
>
> WHen a chorus of cicadas goes off, its almost suffocating...
>
> love,
> cfa
> - ----- Original Message -----
> From: "himself" <himself@richardryan.com>
> To: <jasper@hatguild.org>; <pynchon-l@waste.org>
> Sent: Saturday, August 09, 2003 7:24 PM
> Subject: RE: NPPF - Canto Two Notes -- Et Cicada
>
>
> > Where I grew up in Oklahoma the cast skins were also brown. We did, in
> > fact, call these insects "locusts" -- which I now gather is incorrect.
It
> > was a local sport -- rather cruel in retrospect (if one can be cruel to
an
> > insect) -- to catch a cicada and lasso a long piece of thread around its
> > thick head, and to fly it buzzing furiously and electrically at the end
of
> > the thread in wild, sweeping circles.
> >
> > It seems to me, based on the information contained at Jasper's links
> below,
> > that the cicadae which I heard every summer growing up must have been
> > "annual" cicada rather than the "periodicals" he mentions, since we
heard
> > them each year without fail. The great waves of thrumming sound they
make
> > is very beautiful and distinctive. James Agee, in an elegant passage in
> "A
> > Death in the Family", says "it is habitual to summer nights, and is of
the
> > great order of noises, like the noises of the sea and the blood."
> >
> > These stentorian critters are also called dogday locust or harvestflies:
> >
> > http://troyb.com/photo/gallery/017-01-DogdayHarvestfly.htm
> >
> > > -----Original Message-----
> > > From: owner-pynchon-l@waste.org
> > > [mailto:owner-pynchon-l@waste.org] On Behalf Of Jasper Fidget
> > > Sent: Tuesday, July 29, 2003 11:00 AM
> > > To: 'Pynchon List'
> > > Subject: RE: NPPF - Canto Two Notes (1)
> > >
> > >
> > > > From: owner-pynchon-l@waste.org
> > > [mailto:owner-pynchon-l@waste.org] On
> > > > Behalf Of David Morris
> > > >
> > > > 238: Empty emerald case, squat and frog-eyed, / Hugging
> > > the trunk
> > > > Does anyone have a clue what this is?
> > > >
> > >
> > > Maybe Kinbote is correct that it's a cicada's cast skin (exuvia):
> > >
> > http://www.hortnet.co.nz/key/keys/bugkey2a/cast1.htm
> >
> > These tend to be brown where I live, but the ones in the photos on this
> site
> > could be called emerald I suppose (probably depends on the species).
> > Incidentally, juvenile cicadas are called "nymphs", and burrow
underground
> > for usually 13 or 17 years (depends on species, but always tends to be a
> > primary number for some reason), then lives only 2-6 weeks as an adult.
> >
> > Also, the male cicada apparently makes the loudest sound of all insects.
> >
> > Also, the letters P or W can often be made out on a cicada's wings, and
> > there's some folklore that maintains a P indicates peace, while a W
> > indicates war.
> >
> > Also, cicadas are not locusts, as they are sometimes confused.
> >
> >
>
http://insects.ummz.lsa.umich.edu/fauna/michigan_cicadas/Periodical/Index.ht
> > ml
> >
> > http://www.dancentury.com/cicada/faq.html
> >
> > Jasper
> >
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 11:38:01 EDT
> From: Elainemmbell@aol.com
> Subject: Re: [NPPF] Canto Three: Hue's Sloppy?
>
> - --part1_35.3be09803.2c67c0d9_boundary
> Content-Type: text/plain; charset="US-ASCII"
> Content-Transfer-Encoding: 7bit
>
> In a message dated 8/9/2003 8:14:43 PM Eastern Daylight Time,
> keithsz@concentric.net writes:
>
> > One entry found for hue.
> >
> >
>
> is this the same "hue" as in "hue and cry"? meaning, I guess, large
wailing
> noise?
> Elaine M.M. Bell, Writer
> (860) 523-9225
>
> - --part1_35.3be09803.2c67c0d9_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 8/9/2003 8:14:43 PM Eastern
Dayligh=
> t Time, keithsz@concentric.net writes:<BR>
> <BR>
> <BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid;
MARGIN-LEFT=
> : 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">One entry found for hue.<BR>
> <BR>
> </BLOCKQUOTE><BR>
> <BR>
> is this the same "hue" as in "hue and cry"? meaning, I guess, large
wailing=20=
> noise?<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_35.3be09803.2c67c0d9_boundary--
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 09:05:30 -0700 (PDT)
> From: David Morris <fqmorris@yahoo.com>
> Subject: Re: [NPPF] Canto Three: Hue's Sloppy?
>
>
> > is this the same "hue" as in "hue and cry"? meaning, I guess, large
wailing
> noise?
> > Elaine M.M. Bell, Writer
> > (860) 523-9225
> >
>
> No. that would be "hew."
>
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
> http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 12:19:07 -0400
> From: "charles albert" <calbert@hslboxmaster.com>
> Subject: Re: [NPPF] Canto Three: Hue's Sloppy?
>
> Nope....
>
> "hue and cry" enjoys a discreet entry in the OED.....
>
>
> love,
> cfa
> - ----- Original Message -----
> From: "David Morris" <fqmorris@yahoo.com>
> To: <Elainemmbell@aol.com>; <keithsz@concentric.net>;
<pynchon-l@waste.org>
> Sent: Sunday, August 10, 2003 12:05 PM
> Subject: Re: [NPPF] Canto Three: Hue's Sloppy?
>
>
> >
> > > is this the same "hue" as in "hue and cry"? meaning, I guess, large
> wailing
> > noise?
> > > Elaine M.M. Bell, Writer
> > > (860) 523-9225
> > >
> >
> > No. that would be "hew."
> >
> > __________________________________
> > Do you Yahoo!?
> > Yahoo! SiteBuilder - Free, easy-to-use web site design software
> > http://sitebuilder.yahoo.com
> >
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 12:34:23 -0400
> From: Terrance <lycidas2@earthlink.net>
> Subject: Re: VLVL 3 Zoyd and Hector
>
> Hector has changed over the years, but it's worth remembering
> > that for all of his endearing and entertaining qualities in 1984, he's
the
> > dude who thirteen years earlier set Zoyd up in a bogus marijuana bust in
> > service of Brock Vond's vision of America. At that point he wasn't very
> > different from the scabs who felled the redwood across Jess Traverse's
legs,
> > back in the day.
>
>
> This doesn't make sense.
>
> Are you saying that Hector finally comes in from the outside, gets his
> GS-14, becoming a bureaucrat, giving up the cold parking lot, door
> kicking, dangerous, death (Death & Fascist Bureaucrat, i.e. Blicero,)
> defying, maverick ways and becomes a more entertaining and endearing ink
> shitting human(e) cop at the same time?
>
> Hector changes. What else changes?
>
> As I said previously, Hector doesn't have a fucking clue. He thinks he
> does. It's funny that he knows Zoyd so well. Problem is, Zoyd is only
> one man. Zoyd is not the '60s any more than Frenesi is the '60's.
> Hector's theory has some street credence. He was in the trenches.
> Problem is, the trenches are like blinders. Now that he's in an office
> job, at last, he's getting a different perspective. Well, he hasn't been
> in the office for that long so he's got a lot to learn. And things
> change. His theory is just "trickle down" Brockisms--Reagan budget cut
> revolution and so on. Of course, even Brock doesn't know what Reagan
> will do. Hector has no idea what's going on in his own world and
> affairs. How will the Budget cuts and the Reagan revolution affect DEA?
> Again, Hector is a Mexican-American.
>
> Anyway, changes.
>
>
> As Weber writes, charismatic authority "cannot remain stable, but
> becomes either traditionalized or rationalized, or a combination of
> both."
>
> Theory of Social and Economic Organization, p. 364.
>
> p. 156.
>
>
> The Theory of Social and Economic Organization. Translated by A.M.
> Henderson
> and Talcott Parsons; edited with introduction by Talcott Parsons, Oxford
> University Press, 1947
>
> p.156.
>
> Since the concept of the state has only in modern times reached its full
> development [earlier sovereign powers had been empires, dynasties, and
> corporate bodies like churches and guilds often with overlapping
> authority and jurisdiction], it is best to define it in terms
> appropriate to the modern type of state, but at the same time, in terms
> which abstract from the values of the present day, since these are
> particularly subject to change.
>
>
>
>
> The primary formal characteristics of the modern state are as follows:
>
> It possesses an administrative and legal order subject to change by
> legislation, to
> which the organized corporate activity of the administrative staff,
> which is also regulated by legislation, is oriented.
>
>
> This system of order claims bringing authority, not only over the
> members of
> the state, the citizens, most of whom have obtained membership by birth,
> but also to a very large extent, over all action taking place in the
> area of its jurisdiction.
>
>
> It is thus a compulsory association with a territorial basis.
>
>
> Furthermore, to-day, the use of force is regarded as legitimate only so
> far as it is either permitted by the state or prescribed by it. Thus the
> right of a father to discipline his children is recognized≈- a survival
> of the former independent authority of the head of a household, which in
> the right to use force has sometimes extended to a power of life and
> death over children and slaves.
>
>
> The claim of the modern state to monopolize the use of force is as
> essential
> to it as its character of compulsory jurisdiction and of continuous
> organization.
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 09:38:30 -0700 (PDT)
> From: David Morris <fqmorris@yahoo.com>
> Subject: Re: [NPPF] Canto Three: Hue's Sloppy?
>
> - --- charles albert <calbert@hslboxmaster.com> wrote:
> > Nope....
> >
> > "hue and cry" enjoys a discreet entry in the OED.....
>
> Oops! I just Googled "hew and cry" and found a sloppy crowd all using
that.
> No OED for me...
>
> http://www.quinion.com/words/qa/qa-hue1.htm
>
> ⌠What does hue and cry mean?■
>
> This idiom, meaning a loud clamour or public outcry, contains the obsolete
word
> hue, which people these days know only as a slightly formal or technical
word
> for a colour or shade. As a result, you sometimes see the phrase written
as hew
> and cry.
>
> Our modern meaning goes back to part of English common law in the
centuries
> after the Norman Conquest. There wasn▓t an organised police force and the
job
> of fighting crime fell mostly on ordinary people. If somebody robbed you,
or
> you saw a murder or other crime of violence, it was up to you to raise the
> alarm, the hue and cry. Everybody in the neighbourhood was then obliged to
drop
> what they were doing and help pursue and capture the supposed criminal. If
the
> criminal was caught with stolen goods on him, he was summarily convicted
(he
> wasn▓t allowed to say anything in his defence, for example), while if he
> resisted arrest he could be killed. The same term was used for a
proclamation
> relating to the capture of a criminal or the finding of stolen goods. The
laws
> relating to hue and cry were repealed in Britain in 1827.
>
> This mysterious word hue is from the first part of the Anglo-Norman French
> legal phrase hu e cri. This came from the Old French hu for an outcry, in
turn
> from huer, to shout. It seems that hue could mean any cry, or even the
sound of
> a horn or trumpet≈the phrase hu e cri had a Latin equivalent, hutesium et
> clamor, ⌠with horn and with voice■.
>
> As an etymological footnote, the Old French huer survived in Cornwall
right
> down to the early twentieth century. At that time an important part of
local
> livelihoods in coastal communities came from the seasonal catch of fish
called
> pilchards, which migrated past the coast in great shoals in early autumn.
To be
> sure of not missing their arrival, fishermen posted lookouts on the
cliffs.
> They were called huers, since they commonly alerted the waiting fishermen
by
> shouting through speaking trumpets.
>
>
> __________________________________
> Do you Yahoo!?
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> http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 09:48:09 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: Re: [NPPF] Canto Three: Hue's Sloppy?
>
> >>>"hue and cry" enjoys a discreet entry in the OED.....<<<
>
> And in Websters which VN used:
>
> Main Entry: hue and cry
> Function: noun
> Etymology: hue (outcry)
> Date: 15th century
> 1 a : a loud outcry formerly used in the pursuit of one who is suspected
of
> a crime b : the pursuit of a suspect or a written proclamation for the
> capture of a suspect
> 2 : a clamor of alarm or protest
> 3 : HUBBUB
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 09:50:30 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: Re: [NPPF] Canto Three: Hue's Sloppy?
>
> - ----- Original Message -----
> From: "David Morris" <fqmorris@yahoo.com>
>
> "This idiom, meaning a loud clamour or public outcry, contains the
obsolete
> word
> hue, which people these days know only as a slightly formal or technical
> word
> for a colour or shade."
>
> hullo
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 12:50:21 -0400
> From: Terrance <lycidas2@earthlink.net>
> Subject: Re: [NPPF] Canto Three: Hue's Sloppy?
>
> A feather can be a dangerous thing too
> or a clew
> or a hue more
>
> Anyway, shadow and ashen fluff and lamp and uncurtaining the night
> dark glass and crystal land.
>
>
> All these sights and then sounds.
>
> The viewer and the view. The dancer and the dance.
>
> Romantic.
>
> There is this story that N tells about doing this sort of Yoga move
> where you hand your head down between your legs and look at the world
> (the beach I think) backward and upsidedown. Kinda of thing kids do all
> the time and poets too--trophies of the eaves.
>
>
>
>
> David Morris wrote:
> >
> > --- s~Z <keithsz@concentric.net> wrote:
> > > One entry found for hue.
> > >
> > > Entry Word: hue
> > > Function: noun
> > > Text: Synonyms: color, cast, shade, tinge, tint, tone
> >
> > A thesaurus can be a dangerous thing.
> >
> > DM
> >
> > __________________________________
> > Do you Yahoo!?
> > Yahoo! SiteBuilder - Free, easy-to-use web site design software
> > http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 09:59:21 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: Re: [NPPF] Canto Three: Hue's Sloppy?
>
> >>>lamp<<<
>
> In addition to pale, palm and lamp are used with statistically significant
> frequency from Pale Fire on. Often when there is a pale a palm is soon to
> follow and vice versa.
>
> Hugh = Hue = Shade = Ghost = You
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 10:02:23 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: Re: [NPPF] Canto Three: Hue's Sloppy?
>
> >>>backward and upsidedown--trophies of the eaves. <<<
>
> Scandle.
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 13:30:53 -0400
> From: "charles albert" <calbert@hslboxmaster.com>
> Subject: Re: [NPPF] Canto Three: Hue's Sloppy?
>
> > >>>lamp<<<
> >
> > In addition to pale, palm
>
> You stick to your guns, lad.................
>
>
> OED
>
> Hue:
>
> Form, shape, figure; appearance, aspect; species
>
> b. an apparition, a phantasm
>
> 2. External appearance of the face and skin
>
> 3. Color
>
> b. Variety of any color caused by approach to or slight admixture of
> another; tint or quality of a particular color
>
>
> To form , fashion, figure, give an external appearance to; esp. ( in later
> use) to color.In early use sometimes, To fashion falsely, feign, pretend.
> Chiefly in pa. pple: see HUED.
>
> b.To tinge
>
> 2. To depict, describe vividly
>
> 3. To take a color, to become colored
>
>
> Adding up to another bolt in the quiver of the shadeans.....
>
> Great work...
>
> love,
> cfa
>
>
>
>
>
>
> and lamp are used with statistically significant
> > frequency from Pale Fire on. Often when there is a pale a palm is soon
to
> > follow and vice versa.
> >
> > Hugh = Hue = Shade = Ghost = You
> >
> >
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 17:41:02 -0400
> From: "Don Corathers" <gumbo@fuse.net>
> Subject: Re: VLVL 3 Zoyd and Hector
>
> The question had to do with the degree of Hector's villainy. Some find the
> 1984 Hector lovable, and he is in fact a partner in a very funny scene in
> the bowling alley. I was just pointing out that the 1971 Hector was
capable
> of setting up Zoyd in a massively bogus bust to further Brock's scheme to
> isolate Frenesi, and that wasn't, you know, very nice.
>
> D.C.
>
>
>
> - ----- Original Message -----
> From: "Terrance" <lycidas2@earthlink.net>
> Cc: <pynchon-l@waste.org>
> Sent: Sunday, August 10, 2003 12:34 PM
> Subject: Re: VLVL 3 Zoyd and Hector
>
>
> > Hector has changed over the years, but it's worth remembering
> > > that for all of his endearing and entertaining qualities in 1984, he's
> the
> > > dude who thirteen years earlier set Zoyd up in a bogus marijuana bust
in
> > > service of Brock Vond's vision of America. At that point he wasn't
very
> > > different from the scabs who felled the redwood across Jess Traverse's
> legs,
> > > back in the day.
> >
> >
> > This doesn't make sense.
> >
> > Are you saying that Hector finally comes in from the outside, gets his
> > GS-14, becoming a bureaucrat, giving up the cold parking lot, door
> > kicking, dangerous, death (Death & Fascist Bureaucrat, i.e. Blicero,)
> > defying, maverick ways and becomes a more entertaining and endearing ink
> > shitting human(e) cop at the same time?
> >
> > Hector changes. What else changes?
> >
> > As I said previously, Hector doesn't have a fucking clue. He thinks he
> > does. It's funny that he knows Zoyd so well. Problem is, Zoyd is only
> > one man. Zoyd is not the '60s any more than Frenesi is the '60's.
> > Hector's theory has some street credence. He was in the trenches.
> > Problem is, the trenches are like blinders. Now that he's in an office
> > job, at last, he's getting a different perspective. Well, he hasn't been
> > in the office for that long so he's got a lot to learn. And things
> > change. His theory is just "trickle down" Brockisms--Reagan budget cut
> > revolution and so on. Of course, even Brock doesn't know what Reagan
> > will do. Hector has no idea what's going on in his own world and
> > affairs. How will the Budget cuts and the Reagan revolution affect DEA?
> > Again, Hector is a Mexican-American.
> >
> > Anyway, changes.
> >
> >
> > As Weber writes, charismatic authority "cannot remain stable, but
> > becomes either traditionalized or rationalized, or a combination of
> > both."
> >
> > Theory of Social and Economic Organization, p. 364.
> >
> > p. 156.
> >
> >
> > The Theory of Social and Economic Organization. Translated by A.M.
> > Henderson
> > and Talcott Parsons; edited with introduction by Talcott Parsons, Oxford
> > University Press, 1947
> >
> > p.156.
> >
> > Since the concept of the state has only in modern times reached its full
> > development [earlier sovereign powers had been empires, dynasties, and
> > corporate bodies like churches and guilds often with overlapping
> > authority and jurisdiction], it is best to define it in terms
> > appropriate to the modern type of state, but at the same time, in terms
> > which abstract from the values of the present day, since these are
> > particularly subject to change.
> >
> >
> >
> >
> > The primary formal characteristics of the modern state are as follows:
> >
> > It possesses an administrative and legal order subject to change by
> > legislation, to
> > which the organized corporate activity of the administrative staff,
> > which is also regulated by legislation, is oriented.
> >
> >
> > This system of order claims bringing authority, not only over the
> > members of
> > the state, the citizens, most of whom have obtained membership by birth,
> > but also to a very large extent, over all action taking place in the
> > area of its jurisdiction.
> >
> >
> > It is thus a compulsory association with a territorial basis.
> >
> >
> > Furthermore, to-day, the use of force is regarded as legitimate only so
> > far as it is either permitted by the state or prescribed by it. Thus the
> > right of a father to discipline his children is recognized-- a survival
> > of the former independent authority of the head of a household, which in
> > the right to use force has sometimes extended to a power of life and
> > death over children and slaves.
> >
> >
> > The claim of the modern state to monopolize the use of force is as
> > essential
> > to it as its character of compulsory jurisdiction and of continuous
> > organization.
> >
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 15:01:21 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: Re: [NPPF] Incest Motif
>
> "The whole affair (with a sullen maid, an old Cannicoise slapping down
> plates in the margin of the scene) belonged to another life, to another
> book, to a world of vaguely incestuous games that I had not yet
consciously
> invented." (Vadim Vadimovich N.)
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 17:09:29 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: [NPPF] _See under Real_
>
> This sumary of the fictional work of fiction, _See under Real_, written by
> the fictional author, Vadim Vadimovich N., in LOOK AT THE HARLEQUINS!
reads
> like a hyperbolic hybrid of SEBASTIAN KNIGHT and PALE FIRE.
>
>
> As was also to happen in regard to my next English books (including
> thepresent sketch), the title of my first one came to me at the moment of
> impregnation, long before actual birth and growth. Holding that name to
the
> light, I distinguished the entire contents of the semitransparent capsule.
> The title was to be without any choice or change: See under Real. A
preview
> of its eventual tribulations in the catalogues of public libraries
> could not have deterred me.
> The idea may have been an oblique effect of the insult dealt by the
two
> bunglers to my careful art. An English novelist, a brilliant and unique
> performer, was supposed to have recently died. The story of his life was
> being knocked together by the uninformed, coarse-minded, malevolent
Hamlet
> Godman, an Oxonian Dane, who found in this grotesque task a Kovalevskian
> "outlet" for the literary flops that his proper mediocrity fully
deserved.
> The biography was being edited, rather unfortunately for its reckless
> concocter, by the indignant brother of the dead novelist. As the opening
> chapter unfolded its first reptilian coil (with insinuations of
> "masturbation guilt" and the castration of toy soldiers) there commenced
> what was to me the delight and the magic of my book: fraternal footnotes,
> half-a-dozen lines per page, then more, then much more, which started
to
> question, then refute, then demolish by ridicule the would-be
biographer's
> doctored anecdotes and vulgar inventions. A multiplication of such notes
at
> the bottom of the page led to an ominous increase (no doubt disturbing
to
> clubby or convalescent readers) of astronomical symbols bespeckling the
> text. By the end of the biographee's college years the height of the
> critical apparatus had reached one third of each page. Editorial warnings
of
> a national disaster--flooded fields and so on--accompanied a further rise
of
> the water line. By page 200 the footnote material had crowded
out
> three-quarters of the text and the type of the note had changed,
> psychologically at least (I loathe typographical frolics in books) from
> brevier to long primer. In the course of the last chapters the
commentary
> not only replaced the entire text but finally swelled to boldface.
"We
> witness here the admirable phenomenon of a bogus biographie romancиe
> being gradually supplanted by the true story of a great man's life."
For
> good measure I appended a three-page account of the great
annotator's
> academic career: "He now teaches Modern Literature, including his
brother's
> works, at Paragon University, Oregon."
> This is the description of a novel written almost forty-five years
ago
> and probably forgotten by the general public. I have never reread it
because
> I reread (je relis, perechityvayu--I'm teasing an adorable mistress!) only
> the page proofs of my paperbacks; and for reasons which, I am sure, J.
Lodge
> finds judicious, the thing is still in its hard-cover instar. But in rosy
> retrospect I feel it as a pleasurable event, and have completely
dissociated
> it in my mind from the terrors and torments that attended the writing of
> that rather lightweight little satire.
> Actually, its composition, despite the pleasure (maybe also noxious)
> that the iridescent bubbles in my alembics gave me after a night of
> inspiration, trial, and triumph (look at the harlequins, everybody
> look--Iris, Annette, Bel, Louise, and you, you, my ultimate and immortal
> one!), almost led to the dementia paralytica that I feared since youth.
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 17:35:15 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: Re: [NPPF] Canto Three: The British stuff.. hullo
>
> Technically speaking, the narrator's art of integrating telephone
> conversations still lags far behind that of rendering dialogues conducted
> from room to room, or from window to window across some narrow blue alley
in
> an ancient town with water so precious, and the misery of donkeys, and
rugs
> for sale, and minarets, and foreigners and melons, and the vibrant morning
> echoes. When Joan, in her brisk long-limbed way, got to the compelling
> instrument before it gave up, and said hullo (eyebrows up, eyes roaming),
a
> hollow quiet greeted her; all she could hear was the informal sound of a
> steady breathing; presently the breather's voice said, with a cosy foreign
> accent: 'One moment, excuse me' - this was quite casual, and he continued
to
> breathe and perhaps hem and hum or even sigh a lime to the accompaniment
of
> a crepitation that evoked the turning over of small pages.
> 'Hullo!' she repeated.
> 'You are,' suggested the voice warily, 'Mrs Fire?'
>
>
> (from PNIN)
> - ------------------------------------------------------------------------
----
>
> "Oh, hullo, V.," he said looking up. "This is my brother, Miss Bishop. Sit
> down and make yourself comfortable." She was pretty in a quiet sort of way
> with a pale faintly freckled complexion, slightly hollowed cheeks,
blue-gray
> near-sighted eyes, a thin mouth. She wore a gray tailor-made with a blue
> scarf and a small three-cornered hat. I believe her hair was bobbed.
>
> (from Sebastian Knight)
> - ------------------------------------------------------------------------
----
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 18:03:49 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: [NPPF] Gray's Yew-Tree Shade
>
> http://eir.library.utoronto.ca/rpo/display/poem882.html
>
> Thomas Gray (1716-1771)
>
> Elegy Written in a Country Churchyard
>
>
> 1The curfew tolls the knell of parting day,
> 2 The lowing herd wind slowly o'er the lea,
> 3The plowman homeward plods his weary way,
> 4 And leaves the world to darkness and to me.
>
>
> 5Now fades the glimm'ring landscape on the sight,
> 6 And all the air a solemn stillness holds,
> 7Save where the beetle wheels his droning flight,
> 8 And drowsy tinklings lull the distant folds;
>
>
> 9Save that from yonder ivy-mantled tow'r
> 10 The moping owl does to the moon complain
> 11Of such, as wand'ring near her secret bow'r,
> 12 Molest her ancient solitary reign.
>
>
> 13Beneath those rugged elms, that yew-tree's shade,
> 14 Where heaves the turf in many a mould'ring heap,
> 15Each in his narrow cell for ever laid,
> 16 The rude forefathers of the hamlet sleep.
>
>
> 17The breezy call of incense-breathing Morn,
> 18 The swallow twitt'ring from the straw-built shed,
> 19The cock's shrill clarion, or the echoing horn,
> 20 No more shall rouse them from their lowly bed.
>
>
> 21For them no more the blazing hearth shall burn,
> 22 Or busy housewife ply her evening care:
> 23No children run to lisp their sire's return,
> 24 Or climb his knees the envied kiss to share.
>
>
>
>
> ------------------------------
>
> Date: Sun, 10 Aug 2003 21:28:06 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: [NPPF] Canto Four: Versipellis
>
> Perhaps Mr. Shade's seizures were a bit stranger than we thought:
>
> And that odd muse of mine,
> My versipel, is with me everywhere,
> In carrel and in car, and in my chair.
>
> Thus we need no longer regard our werewolf as an inexplicable creature of
> undetermined pedigree. But any account of him would be quite imperfect
which
> should omit all consideration of the methods by which his change of form
was
> accomplished. By the ancient Romans the werewolf was commonly called a
"skin
> changer" or "turn-coat" (versipellis), and similar epithets were applied
to
> him in the Middle Ages. The medieval theory was that, while the werewolf
> kept his human form, his hair grew inwards; when he wished to become a
wolf,
> he simply turned himself inside out. In many trials on record, the
prisoners
> were closely interrogated as to how this inversion might be accomplished
but
> I am not aware that any one of them ever gave a satisfactory answer. At
the
> moment of change their memories seem to have become temporarily befogged.
> Now and then a poor wretch had his arms and legs cut off or was partially
> flayed, in order that the ingrowing hair might be detected. Another theory
> was, that the possessed person had merely to put on a wolf's skin, in
order
> to assume instantly the lupine form and character; and in this may perhaps
> be seen a vague reminiscence of the alleged fact that Berserkers were in
the
> habit of haunting the woods by night, clothed in the hides of wolves or
> bears. Such a wolf-skin was kept by the boy Grenier. Roulet, on the other
> hand, confessed to using a magic salve or ointment. A fourth method of
> becoming a werewolf was to obtain a girdle, usually made of human skin.
> Several cases are related in Thorpe's "Northern Mythology." One hot day in
> harvest-time some reapers lay down to sleep in the shade; when one of
them,
> who could not sleep, saw the man next him arise quietly and gird him with
a
> strap, whereupon he instantly vanished, and a wolf jumped up from among
the
> sleepers and ran off across the fields. Another man, who possessed such a
> girdle, once went away from home without remembering to lock it up. His
> little son climbed up to the cupboard and got it, and as he proceeded to
> buckle it around his waist, he became instantly transformed into a
> strange-looking beast. Just then his father came in, and seizing the
girdle
> restored the child to his natural shape. The boy said that no sooner had
he
> buckled it on than he was tormented with a raging hunger.
> http://www.theatlantic.com/issues/1871aug/fiskej.htm
>
> ------------------------------
>
> End of pynchon-l-digest V2 #3478
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