Subject
Fw: pynchon-l-digest V2 #3550 Pale Fire
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Date
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----- Original Message -----
From: "pynchon-l-digest" <owner-pynchon-l-digest@waste.org>
To: <pynchon-l-digest@waste.org>
Sent: Monday, September 15, 2003 9:56 AM
Subject: pynchon-l-digest V2 #3550
>
> pynchon-l-digest Monday, September 15 2003 Volume 02 : Number
3550
>
>
>
> Re: NPPF From the Nabokov-List
> Re: NPPF More On Seizures - LATH
> Re: NPPF More On Seizures - LATH
> Re: NPPF From the Nabokov-List
> Re: NPPF From the Nabokov-List
> Re: NPPF More On Seizures - LATH
> Re: NPPF From the Nabokov-List
> Fw: Canto One - Seizures (pt. 2)
> Re: NPPF From the Nabokov-List
> Re: NPPF From the Nabokov-List
> Fw: Oleg's sunflower
> Re: NPPF Comm3: Misc notes (5)
> re: liguistic [sic] showoff
> Re: NPPF From the Nabokov-List
> Re: NPPF From the Nabokov-List
> RE: liguistic [sic] showoff
> Re: NPPF From the Nabokov-List
> Re: NPPF From the Nabokov-List (notes)
>
> ----------------------------------------------------------------------
>
> Date: Mon, 15 Sep 2003 05:09:42 -0700 (PDT)
> From: "sloth e. pride" <slothenvypride7@yahoo.com>
> Subject: Re: NPPF From the Nabokov-List
>
> - --0-1680977092-1063627782=:57466
> Content-Type: text/plain; charset=us-ascii
>
> Dmitri better be careful, or he'll get one of Morris's insightfully witty
"Fuck off" retorts.
>
>
>
> sZ <keithsz@concentric.net> wrote:
> >From Dmitri Nabokov
> Sent: Sunday, September 14, 2003 9:33 AM
>
> I know we shall all be grateful to David Morris for finally unmasking VN
as
> a liguistic [sic] showoff. I, personally, would be grateful if he would
> illustrate his vision with a few specific instances. That would help me
read
> my father with a new perspective, and finally give me insight into
locutions
> whose meaning, it seems, has escaped me ever since, when I was fourteen,
he
> first gave me a novel of his to read. It was Bend Sinister and, naОvely, I
> thought I understood most of it, partly because I was then studying
> Shakespeare. When I was stumped, he was always ready to expain, but, since
> Mr. Morris has at last established that Father was little more than a
> nacissistic nobody, I see now why he never once owned up to having said
> something for the sake of showing off. Live and learn. While he's at it,
> Mr. Morris might clarify his assessment of "so many quotes" from VN.
>
> With utmost respect for such perspicacity,
>
> Dmitri Nabokov
>
> Date: Mon, 15 Sep 2003 09:57:33 -0400
> From: "charles albert" <calbert@hslboxmaster.com>
> Subject: Re: NPPF More On Seizures - LATH
>
> I would urge anyone seeking to grasp the function of seizures in PF to
learn
> about "fugue states"
>
>
> love,
> cfa
> - ----- Original Message -----
> From: "sZ" <keithsz@concentric.net>
> To: "The Neo-Nabokov List" <pynchon-l@waste.org>
> Sent: Sunday, September 14, 2003 7:41 PM
> Subject: NPPF More On Seizures - LATH
>
>
> > From Book 7/Chapter 2 of _Look at the Harlequins!_
> >
> > At the start of the great seizure, I must have been
> totally
> > incapacitated, from top to toe, while my mind, the images racing through
> me,
> > the tang of thought, the genius of insomnia, remained as strong and
> active
> > as ever (except for the blots in between). By the time I had been
flown
> to
> > the Lecouchant Hospital in coastal France, highly recommended by Dr.
> Genfer,
> > a Swiss relative of its director, I became aware of certain curious
> details:
> > from the head down I was paralyzed in symmetrical patches separated
by
> a
> > geography of weak tactility. When in the course of that first week
> my
> > fingers "awoke" (a circumstance that stupefied and even angered
> the
> > Lecouchant sages, experts in dementia paralydea, to such a degree that
> they
> > advised you to rush me off to some more exotic and
> broadminded
> > institution---which you did) I derived much entertainment from
mapping
> my
> > sensitive spots which were always situated in exact opposition, e.g. on
> both
> > sides of my forehead, on the jaws, orbital parts, breasts, testicles,
> knees,
> > flanks. At an average stage of observation, the average size of each
spot
> of
> > life never exceeded that of Australia (I felt gigantic at times) and
> never
> > dwindled (when I dwindled myself) below the diameter of a medal of
> medium
> > merit, at which level I perceived my entire skin as that of a leopard
> > painted by a meticulous lunatic from a broken home.
> > In some connection with those "tactile symmetries" (about which
I
> am
> > still attempting to correspond with a not too responsive medical
> journal,
> > swarming with Freudians), I would like to place the first
> pictorial
> > compositions, flat, primitive images, which occurred in duplicate, right
> and
> > left of my traveling body, on the opposite panels of my hallucinations.
> If,
> > for example, Annette boarded a bus with her empty basket on the left
of
> my
> > being, she came out of that bus on my right with a load of
vegetables,
> a
> > royal cauliflower presiding over the cucumbers. As the days passed,
> the
> > symmetries got replaced by more elaborate inter-responses, or reappeared
> in
> > miniature within the limits of a given image. Picturesque episodes
> now
> > accompanied my mysterious voyage. I glimpsed Bel rummaging after work
> amidst
> > a heap of naked babies at the communal day-nursery, in frantic search
> for
> > her own firstborn, now ten months old, and recognizable by the
> symmetrical
> > blotches of red eczema on its sides and little legs. A
> glossy-haunched
> > swimmer used one hand to brush away from her face wet strands of hair,
> and
> > pushed with the other (on the other side of my mind) the raft on
which
> I
> > lay, a naked old man with a rag around his foremast, gliding supine
into
> a
> > full moon whose snaky reflections rippled among the water lilies. A
> long
> > tunnel engulfed me, half-promised a circlet of light at its far
> end,
> > half-kept the promise, revealing a publicity sunset, but I never reached
> it,
> > the tunnel faded, and a familiar mist took over again. As was "done"
> that
> > season, groups of smart idlers visited my bed, which had slowed down
in
> a
> > display hall where Ivor Black in the role of a fashionable young
> doctor
> > demonstrated me to three actresses playing society belles: their
> skirts
> > ballooned as they settled down on white chairs, and one lady,
indicating
> my
> > groin, would have touched me with her cold fan, had not the learned
> > Moor struck it aside with his ivory pointer, whereupon my raft resumed
> its
> > lone glide.
> > Whoever charted my destiny had moments of triteness. At times my
> swift
> > course became a celestial affair at an allegorical altitude that
> bore
> > unpleasant religious connotations--unless simply reflecting
> transportation
> > of cadavers by commercial aircraft. A certain notion of daytime
> and
> > nighttime, in more or less regular alternation, gradually established
> itself
> > in my mind as my grotesque adventure reached its final phase. Diurnal
> and
> > nocturnal effects were rendered obliquely at first with nurses and
> other
> > stagehands going to extreme lengths in the handling of movable
> properties,
> > such as the bouncing of fake starlight from reflecting surfaces or
> the
> > daubing of dawns here and there at suitable intervals. It had never
> occurred
> > to me before that, historically, art, or at least artifacts, had
> preceded,
> > not followed, nature; yet that is exactly what happened in my case.
Thus,
> in
> > the mute remoteness clouding around me, recognizable sounds were
produced
> at
> > first optically in the pale margin of the film track during the taking
> of
> > the actual scene (say, the ceremony of scientific feeding);
> eventually
> > something about the running ribbon tempted the ear to replace the eye;
> and
> > finally hearing returned--with a vengeance. The first crisp nurse-rustle
> was
> > a thunderclap; my first belly wamble, a crash of cymbals.
> > I owe thwarted obituarists, as well as all lovers of medical lore,
> some
> > clinical elucidations. My lungs and my heart acted, or were induced to
> act,
> > normally; so did my bowels, those buffoons in the cast of our
> private
> > miracle plays. My frame lay flat as in an Old Master's Lesson of
> Anatomy.
> > The prevention of bedsores, especially at the Lecouchant Hospital,
> was
> > nothing short of a mania, explicable, maybe, by a desperate urge
> to
> > substitute pillows and various mechanical devices for the rational
> treatment
> > of an unfathomable disease. My body was "sleeping" as a giant's foot
> might
> > be "sleeping"; more accurately, however, my condition was a horrible
> > form of protracted (twenty nights!) insomnia with my mind as
> consistently
> > alert as that of the Sleepless Slav in some circus show I once read
about
> in
> > The Graphic. I was not even a mummy; I was--in the beginning, at
> least--the
> > longitudinal section of a mummy, or rather the abstraction of its
> thinnest
> > possible cut. What about the head?--readers who are all head must
> be
> > clamoring to be told. Well, my brow was like misty glass (before two
> lateral
> > spots got cleared somehow or other); my mouth stayed mute and benumbed
> until
> > I realized I could feel my tongue--feel it in the phantom form of the
> kind
> > of air bladder that might help a fish with his respiration problems, but
> was
> > useless to me. I had some sense of duration and direction--two things
> which
> > a beloved creature seeking to help a poor madman with the whitest of
> lies,
> > affirmed, in a later world, were quite separate phases of a
> single
> > phenomenon. Most of my cerebral aqueduct (this is getting a
> little
> > technical) seemed to descend wedgewise, after some derailment or
> inundation,
> > into the structure housing its closest ally--which oddly enough is also
> our
> > humblest sense, the easiest and sometimes the most gratifying to
> dispense
> > with--and, oh, how I cursed it when I could not close it to ether
> or
> > excrements, and, oh (cheers for old "oh"), how I thanked it for
> crying
> > "Coffee!" or "Plage!" (because an anonymous drug smelled like the cream
> Iris
> > used to rub my back with in Cannice half a century ago!).
> > Now comes a snaggy bit: I do not know if my eyes remained always
> wide
> > open "in a glazed look of arrogant stupor" as imagined by a reporter who
> got
> > as far as the corridor desk. But I doubt very much I could
> blink--and
> > without the oil of blinking the motor of sight could hardly have run.
> Yet,
> > somehow, during my glide down those illusory canals and cloudways, and
> right
> > over another continent, I did glimpse off and on, through
> subpalpebral
> > mirages, the shadow of a hand or the glint of an instrument. As to my
> > world of sound, it remained solid fantasy. I heard strangers
discuss
> in
> > droning voices all the books I had written or thought I had written,
> for
> > everything they mentioned, titles, the names of characters, every
> phrase
> > they shouted was preposterously distorted by the delirium of
> demonic
> > scholarship. Louise regaled the company with one of her good
> stories--those
> > I called "name hangers" because they only seemed to reach this or
> that
> >
> > point--a quid pro quo, say, at a party--but were really meant to
> introduce
> > some high-born "old friend" of hers, or a glamorous politician, or a
> cousin
> > of that politician. Learned papers were read at fantastic symposiums. In
> the
> > year of grace 1798, Gavrila Petrovich Kamenev, a gifted young poet,
> was
> > heard chuckling as he composed his Ossianic pastiche Slovo o polku
> Igoreve.
> > Somewhere in Abyssinia drunken Rimbaud was reciting to a surprised
> Russian
> > traveler the poem Le Tramway ivre (...En blouse rouge, ? face en
pis
> de
> > vache, le bourreau me trancha la t?te aussi...). Or else I'd hear
> the
> > pressed repeater hiss in a pocket of my brain and tell the time, the
> rime,
> > the meter that who could dream I'd hear again?
> >
> >
>
> ------------------------------
>
> Date: Mon, 15 Sep 2003 07:10:19 -0700
> From: "sZ" <keithsz@concentric.net>
> Subject: Re: NPPF More On Seizures - LATH
>
> >>>I would urge anyone seeking to grasp the function of seizures in PF to
> learn
> about "fugue states"<<<
>
> I would urge you to share your research and connections as part of the
group
> read.
>
> ------------------------------
>
> Date: Mon, 15 Sep 2003 07:11:47 -0700 (PDT)
> From: David Morris <fqmorris@yahoo.com>
> Subject: Re: NPPF From the Nabokov-List
>
> Yeah, I was just going to post this here myself. I seem to have struck a
nerve
> from here all the way over to the N-List, with Dimitri rushing to his
father's
> defense (and with everyone gleefully repeating my typo [sic] - Childish,
no?).
>
> The N-List (but not its moderator) is dominated by worshippers who bristle
at
> the smallest criticism of Nabokov. If their position was so undeniably
secure
> one would think a little comment posted to the PYNCHON List wouldn't cause
such
> a stir and would be easily ignored! Pardon me if I don't think Nabokov is
the
> greatest author ever and above any reproach. I love most of his early
work up
> to and including Lolita, but I have only pale admiration for Pale Fire and
even
> less for Ada, because both of these later works fail to make me "care"
(and
> we've discussed what this means before) much about their main characters.
The
> puzzle of Pale Fire keeps me interested up to a degree, but the wildly
rich and
> intellectually superior characters of Van & Ada leave me cold, despite
their
> mastery and play with language. And if, as I suspect, Ada contains a
puzzle
> similar to that in Pale Fire, the length of the book discourages me from
trying
> to solve it (which wouldn't be the case if the story had been more
compelling).
>
>
>
> - --- sZ <keithsz@concentric.net> wrote:
> > >From Dmitri Nabokov
> > Sent: Sunday, September 14, 2003 9:33 AM
> >
> > I know we shall all be grateful to David Morris for finally unmasking VN
as
> > a liguistic [sic] showoff. I, personally, would be grateful if he would
> > illustrate his vision with a few specific instances. That would help me
read
> > my father with a new perspective, and finally give me insight into
locutions
> > whose meaning, it seems, has escaped me ever since, when I was
fourteen, he
> > first gave me a novel of his to read. It was Bend Sinister and, naОvely,
I
> > thought I understood most of it, partly because I was then studying
> > Shakespeare. When I was stumped, he was always ready to expain, but,
since
> > Mr. Morris has at last established that Father was little more than a
> > nacissistic nobody, I see now why he never once owned up to having said
> > something for the sake of showing off. Live and learn. While he's at
it,
> > Mr. Morris might clarify his assessment of "so many quotes" from VN.
> >
> > With utmost respect for such perspicacity,
> >
> > Dmitri Nabokov
> >
>
>
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
> http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Mon, 15 Sep 2003 08:03:17 -0700 (PDT)
> From: David Morris <fqmorris@yahoo.com>
> Subject: Re: NPPF From the Nabokov-List
>
> Oops, I did it again...
>
> ------------------------------
>
> Date: Mon, 15 Sep 2003 11:11:36 -0400
> From: "charles albert" <calbert@hslboxmaster.com>
> Subject: Re: NPPF More On Seizures - LATH
>
> I assure you that I am not holding out....I am hoping that someone more
> qualified can engage the matter, and that in unison we might make
> progress....
>
> But the short version of what I do understand is as follows.
>
> Fugue state is an element of grand mal seizures, and involve the emergence
> of a differentiated personality which takes "flight", literally.....A
> prominent example would be Kaspar Hauser
> http://kbs.cs.tu-berlin.de/~jutta/me/notes/kaspar-hauser.html
>
> One problem with this angle is that, if relevant, it informs the
> relationship between Shade and Kinbote in a fairly definitive way, and
this,
> in turn, creates a problem with respect to the "timing" of such a
discussion
> in the current read. I am fairly confident that I may be on the right
> track - but I would love to hear some kind of challenge to my assumptions
> from the assembled learned.....
>
> I also must admit that I have been sending you such hints under the
> assumption that you were in a related field.....
>
> It is lonely out here in left field - a few moments with google ("charcot
> fugue state") would bring anyone to the point where I am at.........and I
> urge the bright lights to take a look at this angle and prod the
discussion
> along....
>
> Furthermore, I must plead extenuating circumstances in my personal and
> professional life which I had no way to anticipate when I joined those
> arguing for this effort - I had visions of a summer devoted to Nab and my
> golf game, and I've been screwed.......
>
> And I type even more slowly than I think.....
>
> I can appreciate your pique - but run with the plea for assistance, and
> let's see what it yields...
>
> love,
> cfa
> - ----- Original Message -----
> From: "sZ" <keithsz@concentric.net>
> To: <pynchon-l@waste.org>
> Sent: Monday, September 15, 2003 10:10 AM
> Subject: Re: NPPF More On Seizures - LATH
>
>
> > >>>I would urge anyone seeking to grasp the function of seizures in PF
to
> > learn
> > about "fugue states"<<<
> >
> > I would urge you to share your research and connections as part of the
> group
> > read.
> >
> >
>
> ------------------------------
>
> Date: 15 Sep 2003 11:12:37 -0400
> From: Paul Mackin <paul.mackin@verizon.net>
> Subject: Re: NPPF From the Nabokov-List
>
> In a few years young Jackson can assume the Dmitri role on the p-list.
>
> P
>
>
> On Mon, 2003-09-15 at 10:11, David Morris wrote:
> >
> > Yeah, I was just going to post this here myself. I seem to have struck
a nerve
> > from here all the way over to the N-List, with Dimitri rushing to his
father's
> > defense (and with everyone gleefully repeating my typo [sic] - Childish,
no?).
> >
> > The N-List (but not its moderator) is dominated by worshippers who
bristle at
> > the smallest criticism of Nabokov. If there position was so undeniably
secure
> > one would think a little comment posted to the PYNCHON List wouldn't
cause such
> > a stir and would be easily ignored! Pardon me if I don't think Nabokov
is the
> > greatest author ever and above any reproach. I love most of his early
work up
> > to and including Lolita, but I have only pale admiration for Pale Fire
and even
> > less for Ada, because both of these later works fail to make me "care"
(and
> > we've discussed what this means before) much about their main
characters. The
> > puzzle of Pale Fire keeps me interested up to a degree, but the wildly
rich and
> > intellectually superior characters of Van & Ada leave me cold, despite
their
> > mastery and play with language. And if, as I suspect, Ada contains a
puzzle
> > similar to that in Pale Fire, the length of the book discourages me from
trying
> > to solve it (which wouldn't be the case if the story had been more
compelling).
> >
> >
> >
> > --- sZ <keithsz@concentric.net> wrote:
> > > >From Dmitri Nabokov
> > > Sent: Sunday, September 14, 2003 9:33 AM
> > >
> > > I know we shall all be grateful to David Morris for finally unmasking
VN as
> > > a liguistic [sic] showoff. I, personally, would be grateful if he
would
> > > illustrate his vision with a few specific instances. That would help
me read
> > > my father with a new perspective, and finally give me insight into
locutions
> > > whose meaning, it seems, has escaped me ever since, when I was
fourteen, he
> > > first gave me a novel of his to read. It was Bend Sinister and,
naОvely, I
> > > thought I understood most of it, partly because I was then studying
> > > Shakespeare. When I was stumped, he was always ready to expain, but,
since
> > > Mr. Morris has at last established that Father was little more than a
> > > nacissistic nobody, I see now why he never once owned up to having
said
> > > something for the sake of showing off. Live and learn. While he's at
it,
> > > Mr. Morris might clarify his assessment of "so many quotes" from VN.
> > >
> > > With utmost respect for such perspicacity,
> > >
> > > Dmitri Nabokov
> > >
> >
> >
>
> Date: Mon, 15 Sep 2003 11:13:11 -0400
> From: "charles albert" <calbert@hslboxmaster.com>
> Subject: Fw: Canto One - Seizures (pt. 2)
>
> This is a multi-part message in MIME format.
>
> - ------=_NextPart_000_0037_01C37B7A.595FC120
> Content-Type: text/plain;
> charset="iso-8859-1"
> Content-Transfer-Encoding: quoted-printable
>
>
>
> Did I mention that I cannot type for xit?
>
>
> - ----- Original Message -----=20
> From: charles albert=20
> To: pycnhon-l@waste.org=20
> Sent: Monday, September 15, 2003 10:58 AM
> Subject: NPPF: Canto One - Seizures (pt. 2)
>
>
> I could find no traction trying to decipher lines 147-156 in Canto One. =
> I thought there might be some reference to Byron and Shelley, but don't =
> know enough about either to pursue it. But I wonder if this might not =
> shed some light (and I stipulate to Nab's apparent distaste for both =
> Dostoevsky and Freud).
>
> =20
>
> From the Dalton article:
>
> =20
>
> "Myshkin understands during the ecstatic moment the saying "there shall =
> be no more time"; it is the moment, he says, "which was not long enough =
> for the water to be spilt out of Mahomet's pitcher, though the epileptic =
> prophet had time to gaze at all the inhabitants of Allah" (pt. 2, chapt. =
> 5)
>
> =20
>
> Thus the brilliant , unlimited, harmonious, vision that comes to Myshkin =
> during the pre-epileptic aura is a regression to the timeless world of =
> the primitive ego, buried in the oldest layers of the mind and =
> illuminated during the instant of the aura like a dark landscape in a =
> flash of lightning. The vision occurs during the moment when the =
> structures of the differentiated personality collapse under the pressure =
> of unconscious instinctual impulses, and the mind regresses to an =
> earlier and simpler mode of function, which is remembered after the =
> experience as a sort of prelapsarian paradise in contrast to the fallen =
> world of the reality principle and the adult ego...."
>
> =20
>
> Pg 178 of the Bloom Dostoevsky anthology
>
>
>
>
>
> love,
>
> cfa
>
>
> Date: Mon, 15 Sep 2003 11:17:18 -0400
> From: The Great Quail <quail@libyrinth.com>
> Subject: Re: NPPF From the Nabokov-List
>
> This is either:
>
> 1. Evidence why the presence of the author's son on a moderated mailing
list
> probably doesn't make for a very freewheeling forum; or:
>
> 2. Proof that Dmitri Nabokov is actually Slothenvypride.
>
> - --Quail
>
>
> >> From Dmitri Nabokov
> > Sent: Sunday, September 14, 2003 9:33 AM
> >
> > I know we shall all be grateful to David Morris for finally unmasking VN
as
> > a liguistic [sic] showoff. I, personally, would be grateful if he would
> > illustrate his vision with a few specific instances. That would help me
read
> > my father with a new perspective, and finally give me insight into
locutions
> > whose meaning, it seems, has escaped me ever since, when I was
fourteen, he
> > first gave me a novel of his to read. It was Bend Sinister and, naОvely,
I
> > thought I understood most of it, partly because I was then studying
> > Shakespeare. When I was stumped, he was always ready to expain, but,
since
> > Mr. Morris has at last established that Father was little more than a
> > nacissistic nobody, I see now why he never once owned up to having said
> > something for the sake of showing off. Live and learn. While he's at
it,
> > Mr. Morris might clarify his assessment of "so many quotes" from VN.
> >
> > With utmost respect for such perspicacity,
> >
> > Dmitri Nabokov
>
> ------------------------------
>
> Date: Mon, 15 Sep 2003 11:21:50 -0400 (EDT)
> From: Michael Joseph <mjoseph@rci.rutgers.edu>
> Subject: Re: NPPF From the Nabokov-List
>
> Rilly funny, Paul. Actually, in a few yrs J. will have outgrown it.
>
> M
>
>
> On 15 Sep 2003, Paul Mackin wrote:
>
> > In a few years young Jackson can assume the Dmitri role on the p-list.
> >
> > P
> >
> >
> > On Mon, 2003-09-15 at 10:11, David Morris wrote:
> > >
> > > Yeah, I was just going to post this here myself. I seem to have
struck a nerve
> > > from here all the way over to the N-List, with Dimitri rushing to his
father's
> > > defense (and with everyone gleefully repeating my typo [sic] -
Childish, no?).
> > >
> > > The N-List (but not its moderator) is dominated by worshippers who
bristle at
> > > the smallest criticism of Nabokov. If there position was so
undeniably secure
> > > one would think a little comment posted to the PYNCHON List wouldn't
cause such
> > > a stir and would be easily ignored! Pardon me if I don't think
Nabokov is the
> > > greatest author ever and above any reproach. I love most of his early
work up
> > > to and including Lolita, but I have only pale admiration for Pale Fire
and even
> > > less for Ada, because both of these later works fail to make me "care"
(and
> > > we've discussed what this means before) much about their main
characters. The
> > > puzzle of Pale Fire keeps me interested up to a degree, but the wildly
rich and
> > > intellectually superior characters of Van & Ada leave me cold, despite
their
> > > mastery and play with language. And if, as I suspect, Ada contains a
puzzle
> > > similar to that in Pale Fire, the length of the book discourages me
from trying
> > > to solve it (which wouldn't be the case if the story had been more
compelling).
> > >
> > >
> > >
> > > --- sZ <keithsz@concentric.net> wrote:
> > > > >From Dmitri Nabokov
> > > > Sent: Sunday, September 14, 2003 9:33 AM
> > > >
> > > > I know we shall all be grateful to David Morris for finally
unmasking VN as
> > > > a liguistic [sic] showoff. I, personally, would be grateful if he
would
> > > > illustrate his vision with a few specific instances. That would help
me read
> > > > my father with a new perspective, and finally give me insight into
locutions
> > > > whose meaning, it seems, has escaped me ever since, when I was
fourteen, he
> > > > first gave me a novel of his to read. It was Bend Sinister and,
naОvely, I
> > > > thought I understood most of it, partly because I was then studying
> > > > Shakespeare. When I was stumped, he was always ready to expain, but,
since
> > > > Mr. Morris has at last established that Father was little more than
a
> > > > nacissistic nobody, I see now why he never once owned up to having
said
> > > > something for the sake of showing off. Live and learn. While he's
at it,
> > > > Mr. Morris might clarify his assessment of "so many quotes" from VN.
> > > >
> > > > With utmost respect for such perspicacity,
> > > >
> > > > Dmitri Nabokov
> > > >
> > >
> > >
> > > __________________________________
> > > Do you Yahoo!?
> > > Yahoo! SiteBuilder - Free, easy-to-use web site design software
> > > http://sitebuilder.yahoo.com
> >
> >
> >
> >
>
> ------------------------------
> - ----- Original Message -----
> From: Carolyn Kunin <mailto:chaiselongue@earthlink.net>
> To: Vladimir Nabokov Forum <mailto:NABOKV-L@listserv.ucsb.edu>
> Sent: Sunday, September 14, 2003 11:46 AM
> Subject: another tulip for the Pynchoners
>
> My 2 cents worth:
>
> "Born in Dublin, writer Oscar Fingal O'Flahertie Wills Wilde (1854-1900),
> author of the morality tale The Picture of Dorian Gray (1891),
> eccentrically and often carried a sunflower."
>
> (found somewhere on the web)
>
>
> Carolyn
>
> ------------------------------
>
> Date: Mon, 15 Sep 2003 17:35:15 +0200
> From: "Otto" <ottosell@yahoo.de>
> Subject: Re: NPPF Comm3: Misc notes (5)
>
> - ----- Original Message -----
> From: "Jasper Fidget" <fakename@verizon.net>
> To: <pynchon-l@waste.org>
> Sent: Thursday, September 11, 2003 6:46 PM
> Subject: NPPF Comm3: Misc notes (5)
>
> > p. 122
> > "under an enclosed poplar two soldiers on a stone bench were playing
> > lansquenet."
> >
> > "A gambling card-game of German origin" (OED), but also: "a member of a
> > class of mercenary soldiers in the German and other Continental armies
in
> > the 16th and 17th cents" (OED), so these soldiers may also have been
> > playing soldier.
> >
> > Jasper Fidget
>
> Landsknecht
>
> This is a game for two or more players. One player must act as the
> Banker/Dealer and must be able to cover all bets. Normally the Dealer
passes
> on the deal when the game is over, but a Dealer can start the game under
the
> agreement that he will remain the Dealer throughout. As in most wagering
> game, players may agree to use credit if someone runs out of cash. Any
deck
> will do, but its probably best with a standard 52 card deck.
>
> All players ante some agreed to amount into the game.
>
> DEAL:
> The Dealer deals the two "Hand Cards" face up on the table. One card is
> dealt to himself face up, and one "RИjoussance" card is then dealt face up
> for all the players or each player receives his own RИjoussance card
> (variation of the game). If any of these cards are the same face value,
then
> the Dealer wins the antes in the pot and a new game is started. If you are
> playing the variation where each player has his own RИjoussance card, then
> the players cards may match each other, but not the Hand cards.
>
> WAGER:
> The players then wager on the RИjoussance card for the group, or their own
> card if playing that variation.
>
> PLAY:
> One at a time, the Dealer draws a card from the top of the deck.
>
> - - Cards that match the Hand Cards are laid beside them. If each Hand
card is
> matched, then the hand is over. All bets are returned and cards are
shuffled
> and redealt by the Dealer (the game is not over).
>
> - - Cards that have no match are laid beside the RИjoussance card and the
> players can wager on those cards as well.
>
> - - If a card matches the RИjoussance card or one of the subsequent cards,
the
> Dealer wins all bets laid on the particular card. Whenever the Dealer wins
a
> bet, the RИjoussance card or subsequent card is removed from play.
>
> - - If a Card matches the Dealers card, the dealer loses, matches all bets
on
> the table and the game is over.
>
> The game is also over if all the wagers have been lost or the cards are
all
> played.
>
> According to The Merry Gamester, by Walter Nelson, the first mention of
this
> game was in 1534.
>
> ------------------------------
>
> Date: Mon, 15 Sep 2003 12:00:39 -0400
> From: Terrance <lycidas2@earthlink.net>
> Subject: re: liguistic [sic] showoff
>
> I'm not quite sure what David Morris & Dmitri Nabokov mean by
> "linguistic showoff."
>
>
> [VN] can turn all sorts of verbal tricks, to puns, transposition of
> words, verbal echoes, monstrous twinning of verbs, or the imitation of
> sounds. In these, as in the overweight of local allusions and foreign
> expressions, a needless obscurity can be produced by details not brought
> out with sufficient clarity but only suggested for the knowledgeable.
>
> ------------------------------
>
> Date: Mon, 15 Sep 2003 09:16:49 -0700 (PDT)
> From: Dave Monroe <monrovius@yahoo.com>
> Subject: Re: NPPF From the Nabokov-List
>
> Well, if it's any consolation, Young Master Nabokov
> ain't so sharp a reader hisself sometimes ...
>
> http://waste.org/mail/?list=pynchon-l&month=0307&msg=82538&sort=date
>
> http://waste.org/mail/?list=pynchon-
> l&month=0307&msg=82861&sort=date
>
> http://waste.org/mail/?list=pynchon-l&month=0307&msg=82989&sort=date
>
> He also apparently missed out on inheriting the
> patrilinear humor gene. DN have any VN grandkids?
> These things sometimes skip a generation ...
>
> - --- David Morris <fqmorris@yahoo.com> wrote:
> >
> > Oops, I did it again...
>
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
> http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Mon, 15 Sep 2003 12:35:59 -0400
> From: Terrance <lycidas2@earthlink.net>
> Subject: Re: NPPF From the Nabokov-List
>
> He also apparently missed out on inheriting the patrilinear humor gene.
>
> All this is a typical Nabokovian Joak, down to the "academic" [sic]ness
> and exhausted spelling.
>
> ------------------------------
>
> Date: Mon, 15 Sep 2003 12:57:26 -0400
> From: "Jasper Fidget" <fakename@verizon.net>
> Subject: RE: liguistic [sic] showoff
>
> > -----Original Message-----
> > From: owner-pynchon-l@waste.org [mailto:owner-pynchon-l@waste.org] On
> > Behalf Of Terrance
> > Sent: Monday, September 15, 2003 12:01 PM
> > To: pynchon-l@waste.org
> > Subject: re: liguistic [sic] showoff
> >
> > I'm not quite sure what David Morris & Dmitri Nabokov mean by
> > "linguistic showoff."
> >
> >
>
> I guess the controversy would surround the sense of the word "showoff" as
> pejorative, as in:
>
> "intransitive senses: to seek to attract attention by conspicuous behavior
> <boys showing off for the girls>" (MW11), "Someone who deliberately
behaves
> in such a way as to attract attention", "Display proudly; act
ostentatiously
> or pretentiously" (Wordweb); rather than "transitive senses: to display
> proudly <wanted to show our new car off>" (MW11), or simply "A display or
> exposure of something" (OED).
>
> I'm not sure I find anything wrong with being a liguistic [sic] showoff.
> Aren't most great writers to some extent showoffs? Isn't the elevated,
> artistic use of language one of the things that makes them great? Or is
it
> indeed the case that VN's (and others') prose is written in the only
manner
> possible in order to exactly express the author's intentions? Would
anyone
> claim that's the case for Pynchon?
>
> Perhaps Dmitri took David's expression literally when DM wrote "VN is
> nothing if not a liguistic [sic] show-off," which common American
vernacular
> is meant to convey "he's *certainly* a liguistic [sic] show-off," rather
> than "if he's not a liguistic [sic] show-off then he's nothing." I would
be
> pretty annoyed too if somebody implied my father was either a "showoff" or
> "nothing".
>
> JF
>
> ------------------------------
>
> Date: Mon, 15 Sep 2003 12:53:03 -0400
> From: Queen Jane Mabokov <lycidas2@earthlink.net>
> Subject: Re: NPPF From the Nabokov-List
>
> according to VN, great writing needs magic, story, lesson
>
> if this is true, a great writer is a show off.
>
> it in the Job description.
>
> ------------------------------
>
> Date: Mon, 15 Sep 2003 12:53:53 -0400
> From: Queen Jane Mabokov <lycidas2@earthlink.net>
> Subject: Re: NPPF From the Nabokov-List (notes)
>
> http://www.english.upenn.edu/~curran/250/mabnotes.html
>
>
> according to VN, great writing needs magic, story, lesson
>
> if this is true, a great writer is a show off.
>
> it in the Job description.
>
> ------------------------------
>
> End of pynchon-l-digest V2 #3550
> ********************************
>
> 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: Monday, September 15, 2003 9:56 AM
Subject: pynchon-l-digest V2 #3550
>
> pynchon-l-digest Monday, September 15 2003 Volume 02 : Number
3550
>
>
>
> Re: NPPF From the Nabokov-List
> Re: NPPF More On Seizures - LATH
> Re: NPPF More On Seizures - LATH
> Re: NPPF From the Nabokov-List
> Re: NPPF From the Nabokov-List
> Re: NPPF More On Seizures - LATH
> Re: NPPF From the Nabokov-List
> Fw: Canto One - Seizures (pt. 2)
> Re: NPPF From the Nabokov-List
> Re: NPPF From the Nabokov-List
> Fw: Oleg's sunflower
> Re: NPPF Comm3: Misc notes (5)
> re: liguistic [sic] showoff
> Re: NPPF From the Nabokov-List
> Re: NPPF From the Nabokov-List
> RE: liguistic [sic] showoff
> Re: NPPF From the Nabokov-List
> Re: NPPF From the Nabokov-List (notes)
>
> ----------------------------------------------------------------------
>
> Date: Mon, 15 Sep 2003 05:09:42 -0700 (PDT)
> From: "sloth e. pride" <slothenvypride7@yahoo.com>
> Subject: Re: NPPF From the Nabokov-List
>
> - --0-1680977092-1063627782=:57466
> Content-Type: text/plain; charset=us-ascii
>
> Dmitri better be careful, or he'll get one of Morris's insightfully witty
"Fuck off" retorts.
>
>
>
> sZ <keithsz@concentric.net> wrote:
> >From Dmitri Nabokov
> Sent: Sunday, September 14, 2003 9:33 AM
>
> I know we shall all be grateful to David Morris for finally unmasking VN
as
> a liguistic [sic] showoff. I, personally, would be grateful if he would
> illustrate his vision with a few specific instances. That would help me
read
> my father with a new perspective, and finally give me insight into
locutions
> whose meaning, it seems, has escaped me ever since, when I was fourteen,
he
> first gave me a novel of his to read. It was Bend Sinister and, naОvely, I
> thought I understood most of it, partly because I was then studying
> Shakespeare. When I was stumped, he was always ready to expain, but, since
> Mr. Morris has at last established that Father was little more than a
> nacissistic nobody, I see now why he never once owned up to having said
> something for the sake of showing off. Live and learn. While he's at it,
> Mr. Morris might clarify his assessment of "so many quotes" from VN.
>
> With utmost respect for such perspicacity,
>
> Dmitri Nabokov
>
> Date: Mon, 15 Sep 2003 09:57:33 -0400
> From: "charles albert" <calbert@hslboxmaster.com>
> Subject: Re: NPPF More On Seizures - LATH
>
> I would urge anyone seeking to grasp the function of seizures in PF to
learn
> about "fugue states"
>
>
> love,
> cfa
> - ----- Original Message -----
> From: "sZ" <keithsz@concentric.net>
> To: "The Neo-Nabokov List" <pynchon-l@waste.org>
> Sent: Sunday, September 14, 2003 7:41 PM
> Subject: NPPF More On Seizures - LATH
>
>
> > From Book 7/Chapter 2 of _Look at the Harlequins!_
> >
> > At the start of the great seizure, I must have been
> totally
> > incapacitated, from top to toe, while my mind, the images racing through
> me,
> > the tang of thought, the genius of insomnia, remained as strong and
> active
> > as ever (except for the blots in between). By the time I had been
flown
> to
> > the Lecouchant Hospital in coastal France, highly recommended by Dr.
> Genfer,
> > a Swiss relative of its director, I became aware of certain curious
> details:
> > from the head down I was paralyzed in symmetrical patches separated
by
> a
> > geography of weak tactility. When in the course of that first week
> my
> > fingers "awoke" (a circumstance that stupefied and even angered
> the
> > Lecouchant sages, experts in dementia paralydea, to such a degree that
> they
> > advised you to rush me off to some more exotic and
> broadminded
> > institution---which you did) I derived much entertainment from
mapping
> my
> > sensitive spots which were always situated in exact opposition, e.g. on
> both
> > sides of my forehead, on the jaws, orbital parts, breasts, testicles,
> knees,
> > flanks. At an average stage of observation, the average size of each
spot
> of
> > life never exceeded that of Australia (I felt gigantic at times) and
> never
> > dwindled (when I dwindled myself) below the diameter of a medal of
> medium
> > merit, at which level I perceived my entire skin as that of a leopard
> > painted by a meticulous lunatic from a broken home.
> > In some connection with those "tactile symmetries" (about which
I
> am
> > still attempting to correspond with a not too responsive medical
> journal,
> > swarming with Freudians), I would like to place the first
> pictorial
> > compositions, flat, primitive images, which occurred in duplicate, right
> and
> > left of my traveling body, on the opposite panels of my hallucinations.
> If,
> > for example, Annette boarded a bus with her empty basket on the left
of
> my
> > being, she came out of that bus on my right with a load of
vegetables,
> a
> > royal cauliflower presiding over the cucumbers. As the days passed,
> the
> > symmetries got replaced by more elaborate inter-responses, or reappeared
> in
> > miniature within the limits of a given image. Picturesque episodes
> now
> > accompanied my mysterious voyage. I glimpsed Bel rummaging after work
> amidst
> > a heap of naked babies at the communal day-nursery, in frantic search
> for
> > her own firstborn, now ten months old, and recognizable by the
> symmetrical
> > blotches of red eczema on its sides and little legs. A
> glossy-haunched
> > swimmer used one hand to brush away from her face wet strands of hair,
> and
> > pushed with the other (on the other side of my mind) the raft on
which
> I
> > lay, a naked old man with a rag around his foremast, gliding supine
into
> a
> > full moon whose snaky reflections rippled among the water lilies. A
> long
> > tunnel engulfed me, half-promised a circlet of light at its far
> end,
> > half-kept the promise, revealing a publicity sunset, but I never reached
> it,
> > the tunnel faded, and a familiar mist took over again. As was "done"
> that
> > season, groups of smart idlers visited my bed, which had slowed down
in
> a
> > display hall where Ivor Black in the role of a fashionable young
> doctor
> > demonstrated me to three actresses playing society belles: their
> skirts
> > ballooned as they settled down on white chairs, and one lady,
indicating
> my
> > groin, would have touched me with her cold fan, had not the learned
> > Moor struck it aside with his ivory pointer, whereupon my raft resumed
> its
> > lone glide.
> > Whoever charted my destiny had moments of triteness. At times my
> swift
> > course became a celestial affair at an allegorical altitude that
> bore
> > unpleasant religious connotations--unless simply reflecting
> transportation
> > of cadavers by commercial aircraft. A certain notion of daytime
> and
> > nighttime, in more or less regular alternation, gradually established
> itself
> > in my mind as my grotesque adventure reached its final phase. Diurnal
> and
> > nocturnal effects were rendered obliquely at first with nurses and
> other
> > stagehands going to extreme lengths in the handling of movable
> properties,
> > such as the bouncing of fake starlight from reflecting surfaces or
> the
> > daubing of dawns here and there at suitable intervals. It had never
> occurred
> > to me before that, historically, art, or at least artifacts, had
> preceded,
> > not followed, nature; yet that is exactly what happened in my case.
Thus,
> in
> > the mute remoteness clouding around me, recognizable sounds were
produced
> at
> > first optically in the pale margin of the film track during the taking
> of
> > the actual scene (say, the ceremony of scientific feeding);
> eventually
> > something about the running ribbon tempted the ear to replace the eye;
> and
> > finally hearing returned--with a vengeance. The first crisp nurse-rustle
> was
> > a thunderclap; my first belly wamble, a crash of cymbals.
> > I owe thwarted obituarists, as well as all lovers of medical lore,
> some
> > clinical elucidations. My lungs and my heart acted, or were induced to
> act,
> > normally; so did my bowels, those buffoons in the cast of our
> private
> > miracle plays. My frame lay flat as in an Old Master's Lesson of
> Anatomy.
> > The prevention of bedsores, especially at the Lecouchant Hospital,
> was
> > nothing short of a mania, explicable, maybe, by a desperate urge
> to
> > substitute pillows and various mechanical devices for the rational
> treatment
> > of an unfathomable disease. My body was "sleeping" as a giant's foot
> might
> > be "sleeping"; more accurately, however, my condition was a horrible
> > form of protracted (twenty nights!) insomnia with my mind as
> consistently
> > alert as that of the Sleepless Slav in some circus show I once read
about
> in
> > The Graphic. I was not even a mummy; I was--in the beginning, at
> least--the
> > longitudinal section of a mummy, or rather the abstraction of its
> thinnest
> > possible cut. What about the head?--readers who are all head must
> be
> > clamoring to be told. Well, my brow was like misty glass (before two
> lateral
> > spots got cleared somehow or other); my mouth stayed mute and benumbed
> until
> > I realized I could feel my tongue--feel it in the phantom form of the
> kind
> > of air bladder that might help a fish with his respiration problems, but
> was
> > useless to me. I had some sense of duration and direction--two things
> which
> > a beloved creature seeking to help a poor madman with the whitest of
> lies,
> > affirmed, in a later world, were quite separate phases of a
> single
> > phenomenon. Most of my cerebral aqueduct (this is getting a
> little
> > technical) seemed to descend wedgewise, after some derailment or
> inundation,
> > into the structure housing its closest ally--which oddly enough is also
> our
> > humblest sense, the easiest and sometimes the most gratifying to
> dispense
> > with--and, oh, how I cursed it when I could not close it to ether
> or
> > excrements, and, oh (cheers for old "oh"), how I thanked it for
> crying
> > "Coffee!" or "Plage!" (because an anonymous drug smelled like the cream
> Iris
> > used to rub my back with in Cannice half a century ago!).
> > Now comes a snaggy bit: I do not know if my eyes remained always
> wide
> > open "in a glazed look of arrogant stupor" as imagined by a reporter who
> got
> > as far as the corridor desk. But I doubt very much I could
> blink--and
> > without the oil of blinking the motor of sight could hardly have run.
> Yet,
> > somehow, during my glide down those illusory canals and cloudways, and
> right
> > over another continent, I did glimpse off and on, through
> subpalpebral
> > mirages, the shadow of a hand or the glint of an instrument. As to my
> > world of sound, it remained solid fantasy. I heard strangers
discuss
> in
> > droning voices all the books I had written or thought I had written,
> for
> > everything they mentioned, titles, the names of characters, every
> phrase
> > they shouted was preposterously distorted by the delirium of
> demonic
> > scholarship. Louise regaled the company with one of her good
> stories--those
> > I called "name hangers" because they only seemed to reach this or
> that
> >
> > point--a quid pro quo, say, at a party--but were really meant to
> introduce
> > some high-born "old friend" of hers, or a glamorous politician, or a
> cousin
> > of that politician. Learned papers were read at fantastic symposiums. In
> the
> > year of grace 1798, Gavrila Petrovich Kamenev, a gifted young poet,
> was
> > heard chuckling as he composed his Ossianic pastiche Slovo o polku
> Igoreve.
> > Somewhere in Abyssinia drunken Rimbaud was reciting to a surprised
> Russian
> > traveler the poem Le Tramway ivre (...En blouse rouge, ? face en
pis
> de
> > vache, le bourreau me trancha la t?te aussi...). Or else I'd hear
> the
> > pressed repeater hiss in a pocket of my brain and tell the time, the
> rime,
> > the meter that who could dream I'd hear again?
> >
> >
>
> ------------------------------
>
> Date: Mon, 15 Sep 2003 07:10:19 -0700
> From: "sZ" <keithsz@concentric.net>
> Subject: Re: NPPF More On Seizures - LATH
>
> >>>I would urge anyone seeking to grasp the function of seizures in PF to
> learn
> about "fugue states"<<<
>
> I would urge you to share your research and connections as part of the
group
> read.
>
> ------------------------------
>
> Date: Mon, 15 Sep 2003 07:11:47 -0700 (PDT)
> From: David Morris <fqmorris@yahoo.com>
> Subject: Re: NPPF From the Nabokov-List
>
> Yeah, I was just going to post this here myself. I seem to have struck a
nerve
> from here all the way over to the N-List, with Dimitri rushing to his
father's
> defense (and with everyone gleefully repeating my typo [sic] - Childish,
no?).
>
> The N-List (but not its moderator) is dominated by worshippers who bristle
at
> the smallest criticism of Nabokov. If their position was so undeniably
secure
> one would think a little comment posted to the PYNCHON List wouldn't cause
such
> a stir and would be easily ignored! Pardon me if I don't think Nabokov is
the
> greatest author ever and above any reproach. I love most of his early
work up
> to and including Lolita, but I have only pale admiration for Pale Fire and
even
> less for Ada, because both of these later works fail to make me "care"
(and
> we've discussed what this means before) much about their main characters.
The
> puzzle of Pale Fire keeps me interested up to a degree, but the wildly
rich and
> intellectually superior characters of Van & Ada leave me cold, despite
their
> mastery and play with language. And if, as I suspect, Ada contains a
puzzle
> similar to that in Pale Fire, the length of the book discourages me from
trying
> to solve it (which wouldn't be the case if the story had been more
compelling).
>
>
>
> - --- sZ <keithsz@concentric.net> wrote:
> > >From Dmitri Nabokov
> > Sent: Sunday, September 14, 2003 9:33 AM
> >
> > I know we shall all be grateful to David Morris for finally unmasking VN
as
> > a liguistic [sic] showoff. I, personally, would be grateful if he would
> > illustrate his vision with a few specific instances. That would help me
read
> > my father with a new perspective, and finally give me insight into
locutions
> > whose meaning, it seems, has escaped me ever since, when I was
fourteen, he
> > first gave me a novel of his to read. It was Bend Sinister and, naОvely,
I
> > thought I understood most of it, partly because I was then studying
> > Shakespeare. When I was stumped, he was always ready to expain, but,
since
> > Mr. Morris has at last established that Father was little more than a
> > nacissistic nobody, I see now why he never once owned up to having said
> > something for the sake of showing off. Live and learn. While he's at
it,
> > Mr. Morris might clarify his assessment of "so many quotes" from VN.
> >
> > With utmost respect for such perspicacity,
> >
> > Dmitri Nabokov
> >
>
>
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
> http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Mon, 15 Sep 2003 08:03:17 -0700 (PDT)
> From: David Morris <fqmorris@yahoo.com>
> Subject: Re: NPPF From the Nabokov-List
>
> Oops, I did it again...
>
> ------------------------------
>
> Date: Mon, 15 Sep 2003 11:11:36 -0400
> From: "charles albert" <calbert@hslboxmaster.com>
> Subject: Re: NPPF More On Seizures - LATH
>
> I assure you that I am not holding out....I am hoping that someone more
> qualified can engage the matter, and that in unison we might make
> progress....
>
> But the short version of what I do understand is as follows.
>
> Fugue state is an element of grand mal seizures, and involve the emergence
> of a differentiated personality which takes "flight", literally.....A
> prominent example would be Kaspar Hauser
> http://kbs.cs.tu-berlin.de/~jutta/me/notes/kaspar-hauser.html
>
> One problem with this angle is that, if relevant, it informs the
> relationship between Shade and Kinbote in a fairly definitive way, and
this,
> in turn, creates a problem with respect to the "timing" of such a
discussion
> in the current read. I am fairly confident that I may be on the right
> track - but I would love to hear some kind of challenge to my assumptions
> from the assembled learned.....
>
> I also must admit that I have been sending you such hints under the
> assumption that you were in a related field.....
>
> It is lonely out here in left field - a few moments with google ("charcot
> fugue state") would bring anyone to the point where I am at.........and I
> urge the bright lights to take a look at this angle and prod the
discussion
> along....
>
> Furthermore, I must plead extenuating circumstances in my personal and
> professional life which I had no way to anticipate when I joined those
> arguing for this effort - I had visions of a summer devoted to Nab and my
> golf game, and I've been screwed.......
>
> And I type even more slowly than I think.....
>
> I can appreciate your pique - but run with the plea for assistance, and
> let's see what it yields...
>
> love,
> cfa
> - ----- Original Message -----
> From: "sZ" <keithsz@concentric.net>
> To: <pynchon-l@waste.org>
> Sent: Monday, September 15, 2003 10:10 AM
> Subject: Re: NPPF More On Seizures - LATH
>
>
> > >>>I would urge anyone seeking to grasp the function of seizures in PF
to
> > learn
> > about "fugue states"<<<
> >
> > I would urge you to share your research and connections as part of the
> group
> > read.
> >
> >
>
> ------------------------------
>
> Date: 15 Sep 2003 11:12:37 -0400
> From: Paul Mackin <paul.mackin@verizon.net>
> Subject: Re: NPPF From the Nabokov-List
>
> In a few years young Jackson can assume the Dmitri role on the p-list.
>
> P
>
>
> On Mon, 2003-09-15 at 10:11, David Morris wrote:
> >
> > Yeah, I was just going to post this here myself. I seem to have struck
a nerve
> > from here all the way over to the N-List, with Dimitri rushing to his
father's
> > defense (and with everyone gleefully repeating my typo [sic] - Childish,
no?).
> >
> > The N-List (but not its moderator) is dominated by worshippers who
bristle at
> > the smallest criticism of Nabokov. If there position was so undeniably
secure
> > one would think a little comment posted to the PYNCHON List wouldn't
cause such
> > a stir and would be easily ignored! Pardon me if I don't think Nabokov
is the
> > greatest author ever and above any reproach. I love most of his early
work up
> > to and including Lolita, but I have only pale admiration for Pale Fire
and even
> > less for Ada, because both of these later works fail to make me "care"
(and
> > we've discussed what this means before) much about their main
characters. The
> > puzzle of Pale Fire keeps me interested up to a degree, but the wildly
rich and
> > intellectually superior characters of Van & Ada leave me cold, despite
their
> > mastery and play with language. And if, as I suspect, Ada contains a
puzzle
> > similar to that in Pale Fire, the length of the book discourages me from
trying
> > to solve it (which wouldn't be the case if the story had been more
compelling).
> >
> >
> >
> > --- sZ <keithsz@concentric.net> wrote:
> > > >From Dmitri Nabokov
> > > Sent: Sunday, September 14, 2003 9:33 AM
> > >
> > > I know we shall all be grateful to David Morris for finally unmasking
VN as
> > > a liguistic [sic] showoff. I, personally, would be grateful if he
would
> > > illustrate his vision with a few specific instances. That would help
me read
> > > my father with a new perspective, and finally give me insight into
locutions
> > > whose meaning, it seems, has escaped me ever since, when I was
fourteen, he
> > > first gave me a novel of his to read. It was Bend Sinister and,
naОvely, I
> > > thought I understood most of it, partly because I was then studying
> > > Shakespeare. When I was stumped, he was always ready to expain, but,
since
> > > Mr. Morris has at last established that Father was little more than a
> > > nacissistic nobody, I see now why he never once owned up to having
said
> > > something for the sake of showing off. Live and learn. While he's at
it,
> > > Mr. Morris might clarify his assessment of "so many quotes" from VN.
> > >
> > > With utmost respect for such perspicacity,
> > >
> > > Dmitri Nabokov
> > >
> >
> >
>
> Date: Mon, 15 Sep 2003 11:13:11 -0400
> From: "charles albert" <calbert@hslboxmaster.com>
> Subject: Fw: Canto One - Seizures (pt. 2)
>
> This is a multi-part message in MIME format.
>
> - ------=_NextPart_000_0037_01C37B7A.595FC120
> Content-Type: text/plain;
> charset="iso-8859-1"
> Content-Transfer-Encoding: quoted-printable
>
>
>
> Did I mention that I cannot type for xit?
>
>
> - ----- Original Message -----=20
> From: charles albert=20
> To: pycnhon-l@waste.org=20
> Sent: Monday, September 15, 2003 10:58 AM
> Subject: NPPF: Canto One - Seizures (pt. 2)
>
>
> I could find no traction trying to decipher lines 147-156 in Canto One. =
> I thought there might be some reference to Byron and Shelley, but don't =
> know enough about either to pursue it. But I wonder if this might not =
> shed some light (and I stipulate to Nab's apparent distaste for both =
> Dostoevsky and Freud).
>
> =20
>
> From the Dalton article:
>
> =20
>
> "Myshkin understands during the ecstatic moment the saying "there shall =
> be no more time"; it is the moment, he says, "which was not long enough =
> for the water to be spilt out of Mahomet's pitcher, though the epileptic =
> prophet had time to gaze at all the inhabitants of Allah" (pt. 2, chapt. =
> 5)
>
> =20
>
> Thus the brilliant , unlimited, harmonious, vision that comes to Myshkin =
> during the pre-epileptic aura is a regression to the timeless world of =
> the primitive ego, buried in the oldest layers of the mind and =
> illuminated during the instant of the aura like a dark landscape in a =
> flash of lightning. The vision occurs during the moment when the =
> structures of the differentiated personality collapse under the pressure =
> of unconscious instinctual impulses, and the mind regresses to an =
> earlier and simpler mode of function, which is remembered after the =
> experience as a sort of prelapsarian paradise in contrast to the fallen =
> world of the reality principle and the adult ego...."
>
> =20
>
> Pg 178 of the Bloom Dostoevsky anthology
>
>
>
>
>
> love,
>
> cfa
>
>
> Date: Mon, 15 Sep 2003 11:17:18 -0400
> From: The Great Quail <quail@libyrinth.com>
> Subject: Re: NPPF From the Nabokov-List
>
> This is either:
>
> 1. Evidence why the presence of the author's son on a moderated mailing
list
> probably doesn't make for a very freewheeling forum; or:
>
> 2. Proof that Dmitri Nabokov is actually Slothenvypride.
>
> - --Quail
>
>
> >> From Dmitri Nabokov
> > Sent: Sunday, September 14, 2003 9:33 AM
> >
> > I know we shall all be grateful to David Morris for finally unmasking VN
as
> > a liguistic [sic] showoff. I, personally, would be grateful if he would
> > illustrate his vision with a few specific instances. That would help me
read
> > my father with a new perspective, and finally give me insight into
locutions
> > whose meaning, it seems, has escaped me ever since, when I was
fourteen, he
> > first gave me a novel of his to read. It was Bend Sinister and, naОvely,
I
> > thought I understood most of it, partly because I was then studying
> > Shakespeare. When I was stumped, he was always ready to expain, but,
since
> > Mr. Morris has at last established that Father was little more than a
> > nacissistic nobody, I see now why he never once owned up to having said
> > something for the sake of showing off. Live and learn. While he's at
it,
> > Mr. Morris might clarify his assessment of "so many quotes" from VN.
> >
> > With utmost respect for such perspicacity,
> >
> > Dmitri Nabokov
>
> ------------------------------
>
> Date: Mon, 15 Sep 2003 11:21:50 -0400 (EDT)
> From: Michael Joseph <mjoseph@rci.rutgers.edu>
> Subject: Re: NPPF From the Nabokov-List
>
> Rilly funny, Paul. Actually, in a few yrs J. will have outgrown it.
>
> M
>
>
> On 15 Sep 2003, Paul Mackin wrote:
>
> > In a few years young Jackson can assume the Dmitri role on the p-list.
> >
> > P
> >
> >
> > On Mon, 2003-09-15 at 10:11, David Morris wrote:
> > >
> > > Yeah, I was just going to post this here myself. I seem to have
struck a nerve
> > > from here all the way over to the N-List, with Dimitri rushing to his
father's
> > > defense (and with everyone gleefully repeating my typo [sic] -
Childish, no?).
> > >
> > > The N-List (but not its moderator) is dominated by worshippers who
bristle at
> > > the smallest criticism of Nabokov. If there position was so
undeniably secure
> > > one would think a little comment posted to the PYNCHON List wouldn't
cause such
> > > a stir and would be easily ignored! Pardon me if I don't think
Nabokov is the
> > > greatest author ever and above any reproach. I love most of his early
work up
> > > to and including Lolita, but I have only pale admiration for Pale Fire
and even
> > > less for Ada, because both of these later works fail to make me "care"
(and
> > > we've discussed what this means before) much about their main
characters. The
> > > puzzle of Pale Fire keeps me interested up to a degree, but the wildly
rich and
> > > intellectually superior characters of Van & Ada leave me cold, despite
their
> > > mastery and play with language. And if, as I suspect, Ada contains a
puzzle
> > > similar to that in Pale Fire, the length of the book discourages me
from trying
> > > to solve it (which wouldn't be the case if the story had been more
compelling).
> > >
> > >
> > >
> > > --- sZ <keithsz@concentric.net> wrote:
> > > > >From Dmitri Nabokov
> > > > Sent: Sunday, September 14, 2003 9:33 AM
> > > >
> > > > I know we shall all be grateful to David Morris for finally
unmasking VN as
> > > > a liguistic [sic] showoff. I, personally, would be grateful if he
would
> > > > illustrate his vision with a few specific instances. That would help
me read
> > > > my father with a new perspective, and finally give me insight into
locutions
> > > > whose meaning, it seems, has escaped me ever since, when I was
fourteen, he
> > > > first gave me a novel of his to read. It was Bend Sinister and,
naОvely, I
> > > > thought I understood most of it, partly because I was then studying
> > > > Shakespeare. When I was stumped, he was always ready to expain, but,
since
> > > > Mr. Morris has at last established that Father was little more than
a
> > > > nacissistic nobody, I see now why he never once owned up to having
said
> > > > something for the sake of showing off. Live and learn. While he's
at it,
> > > > Mr. Morris might clarify his assessment of "so many quotes" from VN.
> > > >
> > > > With utmost respect for such perspicacity,
> > > >
> > > > Dmitri Nabokov
> > > >
> > >
> > >
> > > __________________________________
> > > Do you Yahoo!?
> > > Yahoo! SiteBuilder - Free, easy-to-use web site design software
> > > http://sitebuilder.yahoo.com
> >
> >
> >
> >
>
> ------------------------------
> - ----- Original Message -----
> From: Carolyn Kunin <mailto:chaiselongue@earthlink.net>
> To: Vladimir Nabokov Forum <mailto:NABOKV-L@listserv.ucsb.edu>
> Sent: Sunday, September 14, 2003 11:46 AM
> Subject: another tulip for the Pynchoners
>
> My 2 cents worth:
>
> "Born in Dublin, writer Oscar Fingal O'Flahertie Wills Wilde (1854-1900),
> author of the morality tale The Picture of Dorian Gray (1891),
> eccentrically and often carried a sunflower."
>
> (found somewhere on the web)
>
>
> Carolyn
>
> ------------------------------
>
> Date: Mon, 15 Sep 2003 17:35:15 +0200
> From: "Otto" <ottosell@yahoo.de>
> Subject: Re: NPPF Comm3: Misc notes (5)
>
> - ----- Original Message -----
> From: "Jasper Fidget" <fakename@verizon.net>
> To: <pynchon-l@waste.org>
> Sent: Thursday, September 11, 2003 6:46 PM
> Subject: NPPF Comm3: Misc notes (5)
>
> > p. 122
> > "under an enclosed poplar two soldiers on a stone bench were playing
> > lansquenet."
> >
> > "A gambling card-game of German origin" (OED), but also: "a member of a
> > class of mercenary soldiers in the German and other Continental armies
in
> > the 16th and 17th cents" (OED), so these soldiers may also have been
> > playing soldier.
> >
> > Jasper Fidget
>
> Landsknecht
>
> This is a game for two or more players. One player must act as the
> Banker/Dealer and must be able to cover all bets. Normally the Dealer
passes
> on the deal when the game is over, but a Dealer can start the game under
the
> agreement that he will remain the Dealer throughout. As in most wagering
> game, players may agree to use credit if someone runs out of cash. Any
deck
> will do, but its probably best with a standard 52 card deck.
>
> All players ante some agreed to amount into the game.
>
> DEAL:
> The Dealer deals the two "Hand Cards" face up on the table. One card is
> dealt to himself face up, and one "RИjoussance" card is then dealt face up
> for all the players or each player receives his own RИjoussance card
> (variation of the game). If any of these cards are the same face value,
then
> the Dealer wins the antes in the pot and a new game is started. If you are
> playing the variation where each player has his own RИjoussance card, then
> the players cards may match each other, but not the Hand cards.
>
> WAGER:
> The players then wager on the RИjoussance card for the group, or their own
> card if playing that variation.
>
> PLAY:
> One at a time, the Dealer draws a card from the top of the deck.
>
> - - Cards that match the Hand Cards are laid beside them. If each Hand
card is
> matched, then the hand is over. All bets are returned and cards are
shuffled
> and redealt by the Dealer (the game is not over).
>
> - - Cards that have no match are laid beside the RИjoussance card and the
> players can wager on those cards as well.
>
> - - If a card matches the RИjoussance card or one of the subsequent cards,
the
> Dealer wins all bets laid on the particular card. Whenever the Dealer wins
a
> bet, the RИjoussance card or subsequent card is removed from play.
>
> - - If a Card matches the Dealers card, the dealer loses, matches all bets
on
> the table and the game is over.
>
> The game is also over if all the wagers have been lost or the cards are
all
> played.
>
> According to The Merry Gamester, by Walter Nelson, the first mention of
this
> game was in 1534.
>
> ------------------------------
>
> Date: Mon, 15 Sep 2003 12:00:39 -0400
> From: Terrance <lycidas2@earthlink.net>
> Subject: re: liguistic [sic] showoff
>
> I'm not quite sure what David Morris & Dmitri Nabokov mean by
> "linguistic showoff."
>
>
> [VN] can turn all sorts of verbal tricks, to puns, transposition of
> words, verbal echoes, monstrous twinning of verbs, or the imitation of
> sounds. In these, as in the overweight of local allusions and foreign
> expressions, a needless obscurity can be produced by details not brought
> out with sufficient clarity but only suggested for the knowledgeable.
>
> ------------------------------
>
> Date: Mon, 15 Sep 2003 09:16:49 -0700 (PDT)
> From: Dave Monroe <monrovius@yahoo.com>
> Subject: Re: NPPF From the Nabokov-List
>
> Well, if it's any consolation, Young Master Nabokov
> ain't so sharp a reader hisself sometimes ...
>
> http://waste.org/mail/?list=pynchon-l&month=0307&msg=82538&sort=date
>
> http://waste.org/mail/?list=pynchon-
> l&month=0307&msg=82861&sort=date
>
> http://waste.org/mail/?list=pynchon-l&month=0307&msg=82989&sort=date
>
> He also apparently missed out on inheriting the
> patrilinear humor gene. DN have any VN grandkids?
> These things sometimes skip a generation ...
>
> - --- David Morris <fqmorris@yahoo.com> wrote:
> >
> > Oops, I did it again...
>
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
> http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Mon, 15 Sep 2003 12:35:59 -0400
> From: Terrance <lycidas2@earthlink.net>
> Subject: Re: NPPF From the Nabokov-List
>
> He also apparently missed out on inheriting the patrilinear humor gene.
>
> All this is a typical Nabokovian Joak, down to the "academic" [sic]ness
> and exhausted spelling.
>
> ------------------------------
>
> Date: Mon, 15 Sep 2003 12:57:26 -0400
> From: "Jasper Fidget" <fakename@verizon.net>
> Subject: RE: liguistic [sic] showoff
>
> > -----Original Message-----
> > From: owner-pynchon-l@waste.org [mailto:owner-pynchon-l@waste.org] On
> > Behalf Of Terrance
> > Sent: Monday, September 15, 2003 12:01 PM
> > To: pynchon-l@waste.org
> > Subject: re: liguistic [sic] showoff
> >
> > I'm not quite sure what David Morris & Dmitri Nabokov mean by
> > "linguistic showoff."
> >
> >
>
> I guess the controversy would surround the sense of the word "showoff" as
> pejorative, as in:
>
> "intransitive senses: to seek to attract attention by conspicuous behavior
> <boys showing off for the girls>" (MW11), "Someone who deliberately
behaves
> in such a way as to attract attention", "Display proudly; act
ostentatiously
> or pretentiously" (Wordweb); rather than "transitive senses: to display
> proudly <wanted to show our new car off>" (MW11), or simply "A display or
> exposure of something" (OED).
>
> I'm not sure I find anything wrong with being a liguistic [sic] showoff.
> Aren't most great writers to some extent showoffs? Isn't the elevated,
> artistic use of language one of the things that makes them great? Or is
it
> indeed the case that VN's (and others') prose is written in the only
manner
> possible in order to exactly express the author's intentions? Would
anyone
> claim that's the case for Pynchon?
>
> Perhaps Dmitri took David's expression literally when DM wrote "VN is
> nothing if not a liguistic [sic] show-off," which common American
vernacular
> is meant to convey "he's *certainly* a liguistic [sic] show-off," rather
> than "if he's not a liguistic [sic] show-off then he's nothing." I would
be
> pretty annoyed too if somebody implied my father was either a "showoff" or
> "nothing".
>
> JF
>
> ------------------------------
>
> Date: Mon, 15 Sep 2003 12:53:03 -0400
> From: Queen Jane Mabokov <lycidas2@earthlink.net>
> Subject: Re: NPPF From the Nabokov-List
>
> according to VN, great writing needs magic, story, lesson
>
> if this is true, a great writer is a show off.
>
> it in the Job description.
>
> ------------------------------
>
> Date: Mon, 15 Sep 2003 12:53:53 -0400
> From: Queen Jane Mabokov <lycidas2@earthlink.net>
> Subject: Re: NPPF From the Nabokov-List (notes)
>
> http://www.english.upenn.edu/~curran/250/mabnotes.html
>
>
> according to VN, great writing needs magic, story, lesson
>
> if this is true, a great writer is a show off.
>
> it in the Job description.
>
> ------------------------------
>
> End of pynchon-l-digest V2 #3550
> ********************************
>
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