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Fw: Fw: pynchon-l-digest V2 #3565 PALE FIRE
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----- Original Message -----
From: "Jansy Berndt de Souza Mello" <jansy@aetern.us>
To: "Vladimir Nabokov Forum" <NABOKV-L@LISTSERV.UCSB.EDU>
Sent: Wednesday, September 24, 2003 9:50 PM
Subject: Re: Fw: pynchon-l-digest V2 #3565 PALE FIRE
> Hello, Don
> I had those three illustrations from Escher in my computer that I
> thought could interest you or the list. There is a specific one with
black
> and white knights, but I´d have to find my book to scan it.
> Escher also has Metamorphosis where animals cross a mirror and become
flat
> or acquire three dimensions.
> VN´s description of the puddle in Bend Sinister brought to my mind
> Escher´s engraving of a puddle, when I first read it.
> Jansy
>
>
> > "In the lemniscate, or figure 8, there are two circles which
> converge
> > > to
> > > >a central point, which circles may be taken to symbolize the immortal
> > > >spirit, the evolving ego. One of the circles signifies its life in
the
> > > >physical world from birth to death. [...]
> > >
> >
> > I know this statue. Seems to embody the spirit of VN too (even has a
> > general V shape to it).
> >
> > I wonder how much of m\xd0?bius is in S's lemniscate? Follow the outer
edge
> of
> > one arc and you transition to the inner edge of the other. And to what
> > extent does this pattern relate to the (iambic) motor motif, given the
use
>
> > of m\xd0?bius-lemniscate shaped belts in engines that would have been in
use
> at
> > the time? Is the lemniscate a belt drive for the iambic motor?
> >
> > Jasper Fidget
> >
> >
> > The lemniscate then might also represent the union of the two worlds of
> PF,
> > one of them a "real" world (or an *exterior* world, given the m\xd0?bius
> > pattern) where V. Botkin takes evening rambles with John Shade; and the
> > other a "false" world (*interior*) filled with kings and shadows and
fairy
> > tales. The intersection would be Kinbote, who bridges those two worlds,
> and
> > stands with one foot in both but lives in neither (thus also a *reason*
> for
> > Kinbote, the subject of some debate here).
> >
> > This structure may also serve as a model for Shade and his poem and his
> > preoccupation with life-after-death, or, as Michael indicates, with
author
> > and reader and the creative interpretive act; in both cases the
> > identification and creative use of a pattern that facilitates the
> derivation
> > of another world or condition, or at least represents the *striving*
> toward
> > that other world or condition. (I'm beginning to see how Heidegger
might
> > fit here.)
> >
> > (See Johnson's _World's in Regression_ for an extensive discussion of
the
> > "two worlds" theme in much of VN's fiction.)
> >
> > Jasper Kludget
> >
> >
> > > The lemniscate then might also represent the union of the two worlds
of
> > PF,
> > > one of them a "real" world (or an *exterior* world, given the m\xd0?bius
> > > pattern) where V. Botkin takes evening rambles with John Shade; and
the
> > > other a "false" world (*interior*) filled with kings and shadows and
> fairy
> > > tales. The intersection would be Kinbote, who bridges those two
worlds,
> > and
> > > stands with one foot in both but lives in neither (thus also a
*reason*
> > for
> > > Kinbote, the subject of some debate here).
> > >
> > > This structure may also serve as a model for Shade and his poem and
his
> > > preoccupation with life-after-death, or, as Michael indicates, with
> author
> > > and reader and the creative interpretive act; in both cases the
> > > identification and creative use of a pattern that facilitates the
> > derivation
> > > of another world or condition, or at least represents the *striving*
> > toward
> > > that other world or condition. (I'm beginning to see how Heidegger
> might
> > > fit here.)
> >
> > ------------------------------
> >
> > Date: Wed, 24 Sep 2003 13:56:24 -0400 (EDT)
> > From: Michael Joseph <mjoseph@rci.rutgers.edu>
> > Subject: RE: NPPR: Commentary Line 137 Lemniscate
> >
> > Okay. I think the sculpture by Engman and inspired by Iyengar a really
> > beautiful creative construction of the lemniscate-as-mobius=strip Jasper
> > brought up, as a kind of solution of continuity between divided
realities,
> > such as life and afterlife, Kinbote and Shade, author and reader, and
> > perhaps history and imagination. Kind of a reader's key. But what I
> > wondered about specifically was, does this sculpture actually intend to
> > point at loving embraces, as is suggested by its placement within a
garden
> > sanctified for performing weddings? And I ask because the envy Shade
> > expresses at seeing the figure in the sand he describes as a lemniscate
> > makes one wonder if there is some erotic connection being made or
erased.
> >
> > Michael
> > On Wed, 24 Sep 2003, Ghetta Life wrote:
> >
> > >
> > > The sculptor's name is Robert Engman, and the inspiration is the yogi
> B.K.S.
> > > Iyengar. I just thought id resmbled a three-dimensional lemniscate,
> > > somewhat like a mobius strip,as Jasper sez.
> > >
> > > >From: Michael Joseph <mjoseph@rci.rutgers.edu>
> > > >
> > > >Nice photograph, Ghetta. I see the garden is being offered as a site
> for
> > > >weddings. Do you think that relates to the subject of Iyengar's
> sculpture?
> > > >
> > > >Michael
> > > >
> > > >On Wed, 24 Sep 2003, Ghetta Life wrote:
> > > >
> > > > >
> > > > > Check out this sculpture inspired by the Indian yogi B.K.S.
Iyengar:
> > > > >
> > > > > http://www.business-services.upenn.edu/arboretum/afterbks1.html
> > >
> > > _________________________________________________________________
> > > Add photos to your messages with MSN 8. Get 2 months FREE*.
> > > http://join.msn.com/?page=features/featuredemail
> > >
> > >
> >
> > ------------------------------
> >
> > Date: Wed, 24 Sep 2003 14:11:38 -0400 (EDT)
> > From: Michael Joseph <mjoseph@rci.rutgers.edu>
> > Subject: RE: NPPR: Commentary Line 137 Lemniscate
> >
> > JF, Excellent connection between lemn. and iambic motor. Why not also
the
> > lemniscate figure represents the rhymed couplet, whose second,
imitative,
> > sound completes by echoing the first, originary sound (and thus welds
> > unrelated concepts into something more complex). In fact in his
commentary
> > on lemniscate (which suggests the second foil and thus makes Shade's use
> > of the term something it would not otherwise have been, the first foil),
> > Kinbote does fix upon the sound of the word. (I think this kind of
> > iinterpretive mirrorplay as consensual validation, as knitting up
> > resources, as holding things together, is part of the matrix. Want to
stay
> > on message.)
> >
> > Michael
> >
> >
> >
> >
> >
> >
> > On Wed, 24 Sep 2003, Jasper Fidget wrote:
> >
> > > >
> > > > I wonder how much of m\xd0?bius is in S's lemniscate? Follow the outer
> edge
> > > > of
> > > > one arc and you transition to the inner edge of the other. And to
> what
> > > > extent does this pattern relate to the (iambic) motor motif, given
the
> use
> > > > of m\xd0?bius-lemniscate shaped belts in engines that would have been
in
> use
> > > > at
> > > > the time? Is the lemniscate a belt drive for the iambic motor?
> > > >
> > > > Jasper Fidget
> > > >
> > >
> > > The lemniscate then might also represent the union of the two worlds
of
> PF,
> > > one of them a "real" world (or an *exterior* world, given the m\xd0?bius
> > > pattern) where V. Botkin takes evening rambles with John Shade; and
the
> > > other a "false" world (*interior*) filled with kings and shadows and
> fairy
> > > tales. The intersection would be Kinbote, who bridges those two
worlds,
> and
> > > stands with one foot in both but lives in neither (thus also a
*reason*
> for
> > > Kinbote, the subject of some debate here).
> > >
> > > This structure may also serve as a model for Shade and his poem and
his
> > > preoccupation with life-after-death, or, as Michael indicates, with
> author
> > > and reader and the creative interpretive act; in both cases the
> > > identification and creative use of a pattern that facilitates the
> derivation
> > > of another world or condition, or at least represents the *striving*
> toward
> > > that other world or condition. (I'm beginning to see how Heidegger
> might
> > > fit here.)
> > >
> > > (See Johnson's _World's in Regression_ for an extensive discussion of
> the
> > > "two worlds" theme in much of VN's fiction.)
> > >
> > > Jasper Kludget
> > >
> > >
> > >
> >
> > ------------------------------
> >
> > Date: Wed, 24 Sep 2003 14:14:40 -0400 (EDT)
> > From: Michael Joseph <mjoseph@rci.rutgers.edu>
> > Subject: Re: NPPR: Commentary Line 137 Lemniscate
> >
> > Interesting, it would really be a miracle.
> >
> > Michael
> >
> > On Wed, 24 Sep 2003, cfalbert wrote:
> >
> > > What if the two "boundaries" of the lemniscate represent Shad and
> Kinbote
> > > with the "connective medium" represented by Gradus?
> > >
> > > love,
> > > cfa
> > >
> > >
> > >
> > > > The lemniscate then might also represent the union of the two worlds
> of
> > > PF,
> > > > one of them a "real" world (or an *exterior* world, given the
m\xd0?bius
> > > > pattern) where V. Botkin takes evening rambles with John Shade; and
> the
> > > > other a "false" world (*interior*) filled with kings and shadows and
> fairy
> > > > tales. The intersection would be Kinbote, who bridges those two
> worlds,
> > > and
> > > > stands with one foot in both but lives in neither (thus also a
> *reason*
> > > for
> > > > Kinbote, the subject of some debate here).
> > > >
> > > > This structure may also serve as a model for Shade and his poem and
> his
> > > > preoccupation with life-after-death, or, as Michael indicates, with
> author
> > > > and reader and the creative interpretive act; in both cases the
> > > > identification and creative use of a pattern that facilitates the
> > > derivation
> > > > of another world or condition, or at least represents the *striving*
> > > toward
> > > > that other world or condition. (I'm beginning to see how Heidegger
> might
> > > > fit here.)
> > >
> > >
> > >
> > >
> >
> > ------------------------------
> >
> > >
> >
> > Date: Wed, 24 Sep 2003 15:18:23 -0700
> > From: "sZ" <keithsz@concentric.net>
> > Subject: Re: NPPR: Commentary Line 137 Lemniscate
> >
> > Accomplishing a figure-eight in wet sand on a bicycle is a rigorous test
> of
> > balance and steering control while changing directions. Stands in stark
> > contrast to Shade's awkwardness.
> >
> > Bicycle tracks on wet sand
> >
> > pheasant tracks pointing back
> >
> > Sherlock Holmes: reversing shoes
> >
> > Sherlock Holmes: switching animal shoes in a story which also
investigates
> > the pattern of bicycle tires
> > (The Adventure at the Priory School)
> >
> > the Shade shoe mystery stamp/impress on damp turf
> >
> > quartic = 'of the fourth degree' -> Jack Degree
> >
> > Lemniscate of Bournoulli (involves Ex and Wye squared)
> > Lemniscate of Gerone
> > http://jwilson.coe.uga.edu/Texts.Folder/Lem/Lemniscates.html
> >
> > The boy was picked up at a quarter past/Eight in New Wye
> >
> > You scrutinized your wrist: "It's eight fifteen.
> > [And here time forked.]
> >
> > The curving arrows of Aeolian wars.
> > You said that later a quartet of bores,
> > Two writers and two critics, would debate
> > The Cause of Poetry on Channel 8.
> >
> > ------------------------------
> >
> > Date: Wed, 24 Sep 2003 19:28:36 -0400 (EDT)
> > From: Michael Joseph <mjoseph@rci.rutgers.edu>
> > Subject: Re: NPPR: Commentary Line 137 Lemniscate
> >
> > Thanks, Keith. The multiplication of images just goes to show.
> >
> > On Wed, 24 Sep 2003, sZ wrote:
> >
> > > Accomplishing a figure-eight in wet sand on a bicycle is a rigorous
test
> of
> > > balance and steering control while changing directions. Stands in
stark
> > > contrast to Shade's awkwardness.
> > >
> > Yes, assuming this figure has been printed in the sand by one bicyclist.
> > Perhaps, as another printing image, and as a figure, an enduring sign,
> > inscribed in a soft, mutable element, the lemniscate (whose 'showiness'
> > (grin) as a sign seems designed to call attention to itself) would
impress
> > the poet with a sense of the miraculous.
> >
> >
> > Michael
> >
> >
> >
> > > Bicycle tracks on wet sand
> > >
> > > pheasant tracks pointing back
> > >
> > > Sherlock Holmes: reversing shoes
> > >
> > > Sherlock Holmes: switching animal shoes in a story which also
> investigates
> > > the pattern of bicycle tires
> > > (The Adventure at the Priory School)
> > >
> > > the Shade shoe mystery stamp/impress on damp turf
> > >
> > > quartic = 'of the fourth degree' -> Jack Degree
> > >
> > > Lemniscate of Bournoulli (involves Ex and Wye squared)
> > > Lemniscate of Gerone
> > > http://jwilson.coe.uga.edu/Texts.Folder/Lem/Lemniscates.html
> > >
> > > The boy was picked up at a quarter past/Eight in New Wye
> > >
> > > You scrutinized your wrist: "It's eight fifteen.
> > > [And here time forked.]
> > >
> > > The curving arrows of Aeolian wars.
> > > You said that later a quartet of bores,
> > > Two writers and two critics, would debate
> > > The Cause of Poetry on Channel 8.
> > >
> > >
> > >
> >
> > ------------------------------
> > Date: Wed, 24 Sep 2003 19:09:24 -0700
> > From: "sZ" <keithsz@concentric.net>
> > Subject: Re: NPPR: Commentary Line 137 Lemniscate
> >
> > >>> Accomplishing a figure-eight in wet sand on a bicycle is a rigorous
> test
> > of
> > > balance and steering control while changing directions. Stands in
stark
> > > contrast to Shade's awkwardness.
> > >
> > Yes, assuming this figure has been printed in the sand by one
> bicyclist.<<<
> >
> > Since the bicycle tires are 'nonchalantly deft,' it is likely the
> reference
> > is to a skilled cyclist, but the contrast between Shade's lame
> cloutishness
> > and lemniscate deftness is clear regardless.
> >
> > Also note the hourglass (and sand again) is also lemniscate in shape,
esp.
> > a la the Lemniscate of Gerone.
> >
> > Plus, see the lemniscate/infinity sign atop The Magician (Magus) in the
> > Tarot:
> > http://www.aeclectic.net/tarot/riderwaite/ridmage.jpg
> >
> > Elemental Rulership: Gold
> > Planetary Rulership: Mercury
> > Hebrew Letter: Beth
> > Hebrew Translation: House
> > Numerological Value: 1
> >
> > Significance of Rulerships
> > Gold is symbolic of the alchemist, the original magician. It also
> represents
> > material success through perseverance, adaptability, and determination.
It
> > is the symbol of achievement.
> >
> > Planetary Rulership is given to Mercury, messenger of the Gods. Mercury
> uses
> > the energy of the golden sun to spread the will and wisdom of the gods
to
> > the universe as a whole. Therefore, the planetary relationship of
Mercury
> is
> > symbolic of the glyph's essence, communication.
> >
> > The Hebrew Letter is Beth, which translates to liouse. There is a touch
of
> > the alchemical here once again, for Beth is symbolic of the
transformation
> > of what was once considered "magic" into today's "science."
> >
> > Beth also represents the opposites, Life and Death; another syrnbol of
> > metamorphosis and transformation.
> >
> > The Numerological value is 1. One is the manifestation of what was
> > previously formless. It is symbolic of new beginnings, decisions, and
> > independence. It represents the conscious mind focusing on the ideas and
> > intuitions found in The Fool and making them real.
> >
> > The Magus is a card of duality, representing both the transformation and
> > regeneration of Life to Death, and Death to Life. It also represents the
> > fine line dividing white magic from black magic. This is a power card,
and
> > the power can be used in either a self-serving manner, or one in service
> to
> > the All. In order for The Magus to achieve his aims, there must be
> constant
> > awareness and self-examination. This is the card of one who is able to
> > discriminate between various realities and fantasies; between various
> points
> > of view, and yet retain his sense of humor at life in general.
> > _______________________________________________________
> >
> > Then the poem moves on to a clockwork toy, the age 11, and a single
> wheeled
> > barrow.
> > A cranial sunburst ensues, and Shadeboy becomes unstuck in time.
> >
> > ------------------------------
> >
> > Date: Wed, 24 Sep 2003 22:41:02 -0400
> > From: "charles albert" <calbert@hslboxmaster.com>
> > Subject: Re: NPPR: Commentary Line 137 Lemniscate
> >
> > > Then the poem moves on to a clockwork toy, the age 11, and a single
> > wheeled
> > > barrow.
> > > A cranial sunburst ensues, and Shadeboy becomes unstuck in time.
> > >
> > In the manner of one of Nab's favorites, Mikhail Lermontov, Shade
> foretells
> > details relating to his "death" ....
> >
> >
> > love,
> > cfa
> >
> > ------------------------------
> >
> > Date: Wed, 24 Sep 2003 22:52:58 -0400 (EDT)
> > From: Michael Joseph <mjoseph@rci.rutgers.edu>
> > Subject: RE: NPPR Line 143 a clockwork toy
> >
> > Kinbote responds to the line "When I'd just turned eleven, as I
> > lay/Prone on the floor and watched a clockwork toy" with a recollection
of
> > visiting Shade, that veers between being comical and creepy. Even though
> > the toy is the most trivial detail of this section of the poem, Kinbote
> > pounces upon it to the exclusion of more significant, substantive, text,
> > in a manner reminiscent of a pompous schoolchild: "By a stroke of luck I
> > have seen it!" Yet, the rest of this longish paragraph (by contrast,
note
> > the 2 short paragraphs in the preceding lemniscate commentary: 2
> > paragraphs for 2 lobes of the lemniscate?), which tells the story of
> > Kinbote and Shade sort of fumbling around in Shade's basement, has an
> > undertone of a journey into the underworld.
> >
> > Is this a kind of (lemniscative) complement to the transcendental
> > fainting fit it circumvents?
> >
> > Note that Kinbote finds shade "gloomily waiting"--although, why
> > should the dinner party induce gloom? Shade then brings Kinbote to the
> > basement in search of a collection of pamphlets written by Shade's
> > grandfather, an "eccentric clergyman." (Kinbote says Shade "willingly
> > took" him, the shoehorned adverb betraying, possibly, Kinbote's
suspicion
> > (duh) that his intervention in Shade's evening was inappropriate, and,
> > possibly, echoing "gloomily" ("him gloomily" / "He willingly"). Clearly,
> > descending into the dusty basement is the gloomy task, particularly in
> > contrast with the promise of a dinner party with the writing department
> > "and their wives."
> > Spying the clockwork toy, Kinbote instantly forgets the reason or
> > pretext for his visit. Shade describes the object off-handedly "as a
kind
> > of memento mori," and unshelves it from between 2 other echt gothic
> > memento mori--"a candlestick and a handless alarm clock"--symbols off
> > moribundity and the dissipation of time.
> >
> > (See http://sallie.rutgers.edu/~triggs/WARD/Vertigo/07a.htm.)
> >
> > Kinbote's commentary supplies another chthonic image in his
shocking
> > mention of Shade's "dead daughter," the superfluous "dead" urging us to
> > see that this basement is a place of the dead, and that Kinbote may
> > unconsciously have a sense of it.
> >
> > Describing the toy as having "no breadth to speak of," Nabokov
> > supplies another death image; by figuring the toy's face as "two more or
> > less fused profiles" he uses a lemniscate image folded in upon itself.
> > The toy focuses the attention of Shade and Kinbote here, with the fused
> > doubleness of its face symbolizing the convergence upon an aesthetic or
> > cultural object of various sets of opposition, such as Kinbote's
> > materialism and Shade's transcendence.
> >
> > Kinbote's observation that Shade "brush[es] the dust off his
sleeves"
> > as he describes the toy as a memento mori also lends itself to a reading
> > that Nabokov is symbolically placing this scene below-stairs among the
> > dead; it even hints that Shade (and Kinbote) are themselves already dead
> > or transforming into something not quite lifelike: the dust Shade
brushes
> > off his sleeves may come from his own arms, his own corpse, the toy a
sign
> > of death his morbid transformation has unwittingly sped by; and, notice
> > what is happening to Kinbote's memory, how his awareness seems to be
> > unraveling as well.
> >
> > "He said, brushing the dust off his sleeves, that he kept it as a
> > kind of memento mori--he had had a strange fainting fit one day in his
> > child-hood while playing with that toy." Kinbote seems to have lost
track
> > of his purpose here; he has turned the central point of the lines he
> > started out to expound upon into a cursory note, a flabby tangent,
almost.
> > (In terms of its errieness, I think of the misty, Ovidan metamorphosis
> > toward the end of the Anna Livia Plurabelle section of "Finnegan's Wake"
> > of the 2 washer-women into a tree and a rock, and something of Didi and
> > Gogo's chatter in Becket's "Waiting for Godot.") (Semantics is tricky
> > business. (See for example
> >
>
http://members.tripod.com/adm/popup/roadmap.shtml?member_name=heldt&path=godot.html&client_ip=205.188.208.75&ts=1064455000&ad_type=POPUP&search_string=D
> idi+Godot&id=f6ffa5bc0b2fe3fdc33030f285cc6ce8)
> >
> > The sojourn below comes to an abrupt caesura: Kinbote writes "We
were
> > interrupted by Sybil's voice calling from above." Okay, I anticipate
your
> > objections here. The symbolism of Sybil's name is as obvious and
therefore
> > as treacherous as the symbolism of Shade. But just suspend disbelief for
a
> > moment and consider the appositeness of its obvious/treacherous
symbolism
> > in this context.
> >
> > "Symbol's voice calling from above" (PF 137)
> > "Sybil conjured up the spirits of the dead" (White Goddess 254)
> >
> > Graves also notes, "The visit of Aeneas, mistletoe-bough in hand,
to
> > the Underworld to cross-examine his father Anchises must be read in this
> > sense. Aeneas sacrificed a bull and let the blood gush into a tough, and
> > the ghost of Anchises (who had married the Love-goddess Venus Erycina,
and
> > been killed by lightning and was, in fact, a sacred king of the usual
> > Herculean type), drank the blood and obligingly prophesied about the
> > glories of Rome. Of course, the ghost did not really lap the blood, but
a
> > lapping sound was heard in teh dark; what happened was that the Sibyl,
who
> > conducted Aeneas below, drank the blood and it produced in her the
desired
> > prophetic ecstasy. That Sibyls acted so is known from the case of the
> > Priestess of Mother Earth at Aegira ('Black Poplar,' a tree sacred to
> > heroes) in Achaea. The peeping and muttering of ghosts on such occasions
> > is understandable: two or three Biblical texts refer to the queer
bat-like
> > voices in which demons, or familiars, speak through the mouths of
prophets
> > or prophetesses. Bull's blood was most potent magic and was used,
diluted
> > with enormous quantities of water, to fertilize fruit-trees in Crete and
> > Greece. Taken neat it was regarded as a poison deadly to anyone but a
> > Sibyl or a priest of Mother Earth; Jason's father and mother died from a
> > draught of it. So did ass-eared Kig Midas of Gordium." (WG 105)
> >
> > Shade and Kinbote seem to have been summoned from the underworld by
> > Sibyl's call--and, perhaps, if we telescope this temporal moment with
the
> > temporal moment upon which it is fused, Shade as a boy is released from
> > his poetic, death-like trance as well.
> >
> > In summary, just as it triggers the strange ecstasy of the younger
> > Shade, the clockwork toy magics Shade and Kinbote so that they achieve
> > a (Yeatsian) kind of death-in-life condition, from which they are
> > magically lifted by Shade's wife, the Sibyline Sibyl.
> >
> > Shade and Kinbote's sojourn constitutes an escape from time: the
> > candle, handless clock, broken clockwork toy, are all broken symbols of
> > time, or symbols of broken or stopped time. Thus, at the end of his
> > aimless and apparently marginal anecdote--perhaps the "outside" track of
> > the lemniscate--Kinbote declares, an odd hoo-ha of triumph, "*Now* the
> > rusty clockwork shall work again, for I have the key." (Stolen, as
> > Shade turned his head? And what would have been the Sibyline call, but
> > "Shade?")
> >
> > The key: Having re-entered an Aristotelian 'now,' clock-time can
> > resume. In its timelessness, the commentary no longer occupies a moment
> > contiguous to the moment it comments upon, but a moment that "fuses" the
> > two moments together. (We've discussed this temporal plasticity, Dave
> > Moris will recall, in the context of Nabokov's sense of time.) So,
Shade's
> > transcendent experience as a child is reactualized in some sense within
> > the timeless moment burned into the commentary. Of course, "the rusty
> > clockwork toy" (note the iambic meter/motor) symbolizes Shade's poem as
> > well as Kinbote's commentary as well as "Pale Fire," and for the reader
> > the same transcendent moment is reactualized phenomenologically within
the
> > creative hermeneutic that simultaneously valorizes the text and the
> > reader.
> >
> > Someone else should feel free to mention Vaucasson's bird in "MD"
> > here, and perhaps Bongo-Shaftsbury, the mechanical doll of "V" (p. 78)
and
> > point out the similarities to Nabokov's atemporal clockwork toy.
> >
> >
> > Michael
> >
> > ------------------------------
> >
> > End of pynchon-l-digest V2 #3565
> > ********************************
> >
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>
>
