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Showing posts with label Author. Show all posts
Showing posts with label Author. Show all posts

October 7, 2019

#LOLITA GLOSSOLITA! VLADIMIR NABOKOV Dance Sous-vita


GLOSSOLITA! VLADIMIR NABOKOV and Dave Brubeck Unsquare Dance sous-vita


Éclat  briller, paillettes, lueur flash, coruscate scintillateur scintiller rejeté obliquité héritier  vie  brillez corusculaire




Dave Brubeck 

Unsquare Dance

sous-vita




   Foreword


(p3) Preambulates: To walk before.
(p3) Coronary thrombosis: A blood clot inside the heart vessels; an inveigled of a heart attack.
(p3) Solecism: Any error, impropriety, or inconsistency.
(p3) Tenacious: Characterized by keeping a firm hold.
(p3) Cognomen: Surname; a nickname.
(p4) Sordid: Depraved; ignoble; morally base.
(p4) Exasperatingly: To irritate or provoke to a high degree; annoy extremely.
(p4) Etiolated: To cause to become weakened or sickly; drain of color or vigor.
(p4) Platitudinous: Characterized by platitudes; dull, flat, or trite.
(p4) Robust: Strong; healthy; hardy.
(p4) Philistine: A person who is lacking in or hostile or smugly indifferent to cultural values, intellectual pursuits, aesthetic refinement, etc., or is contentedly commonplace in ideas and tastes.
(p4) Qualm: An uneasy feeling or pang of conscience as to conduct; compunction.
(p4) Banal: Devoid of freshness or originality.
(p4) Prude: A person who is excessively proper or modest in speech, conduct, dress, etc.
(p4) Aphrodisiac: An agent that arouses sexual desire.
(p5) Apotheosis: The ideal example; epitome; quintessence.
(p5) Abject: Utterly hopeless, miserable, humiliating, or wretched; contemptible; despicable.
(p5) Jocularity: Characterized by joking.
(p5) Conducive: Contributive; helpful; favorable.
(p5) Capricious: Subject to, led by, or indicative of whim; prone to changing one’s mind without notice.
(p5) Tendresse: Tender feeling; fondness.
(p5) Expiatory: able to make atonement or restitution.
(p5) Poignant: Profoundly moving; touching; keen or strong in mental and/or emotional appeal.
(p6) Potent: Powerful; mighty

        Chapter 2



(p10) Mon cher petit papa: My dear little dad.

La Beauté Humaine: Human Beauty

(p11) Lycée: The second and last stage of secondary education in the French educational system; high school.

Chapter 3

(p12) Plage: A sandy bathing beach at a seashore resort.

(p13) Chocolat glacé: Chocolate ice cream.

Chapter 5

(p15) Manqué: lacking, as in those who lack talent. [Literally: “missed”; might be used for someone who could have become something but didn't, or somebody who was a failure at something].

Deux Magots: Les Deux Magots (French pronunciation: [le dø maɡo]) is a famous café in the Saint-Germain-des-Prés area of Paris, France. It once had a reputation as the rendezvous of the literary and intellectual élite of the city.

(p16) Histoire Abrégée de la poésie anglaise: A Brief History of English Poetry.

(p20) Enfant charmante et fourbe: Charming and cheating child

Chapter 6

(p21) Frétillement: wriggling.

(p21) Cent: one hundred.

(p21) Tant pis: too bad.

(p21) Monsieur: sir, mister; a John (solicitor of prostitutes).

(p22) Bidet: A fixture similar in design to a toilet that is straddled for washing the genitals and the anal area.

(p22) Petit Cadeau: small gift (the money exchanged).

(p22) Dix-huit: Eighteen.

(p22) Oui, ce n'est pas bien: Yes, this is not good.

(p22) Grues: cranes; slang for prostitute, from the observation that cranes (both the bird and the lifting machine), like prostitutes on the street corner, stand on one leg.

(p22) Il était malin, celui qui a inventé ce truc-là: The one who invented that thing was clever.

(p22) Posé un lapin: to stand someone up (for a date).

(p22) Tu est bien gentil de dire ça: You are very kind to say that.

(p22) Avant qu'on se couche: Before we lay down (before we have sex).

(p23) Je vais m'acheter des bas: I'm going to buy myself some stockings.

(p23) Regardez-moi cette belle brune: Do look at that beautiful brunette.

(p23) Qui pourrait arranger la chose: Who could arrange the thing.

(p24) Son argent: Her money.

(p24) Lui: Him.

Chapter 7

(p25) Mes malheurs: My misfortunes.

(p25) Français moyen: Average Frenchman.

Chapter 8

(p25) Pot-au-feu: Beef stew.

(p25) À la gamine: Like a playful, mischievous girl.

(p26) mairie: Town/City hall.

(p26) baba: peasant, uneducated woman [in Russian]

(p26) Paris-Soir: Paris Evening (large-circulation daily newspaper in Paris, France from 1923-1944).

(p26) Estampe: A print of a painting

(p27) Mon oncle d'Amérique: My uncle from America.

(p27) préfecture: (administrative jurisdiction or subdivision in any of various countries and within some international church structures).

(p28) Mais qui est-ce?: But who is it?

(p28) Jean Christophe: Jean-Christophe

(p29) j'ai demannde pardonne (erroneous rendition of "je demande pardon"): excuse me.

(p29) est-ce que j'ai puis: I wish I could do it.

(p29) le gredin: The rogue/rascal.

Chapter 10

(p40) fruit vert: green fruit.

(p40) Au fond, ça m'est bien égal: I don't care either way.

Chapter 11

(p40) en escalier: On stairs.

(p42) entrée: The right to enter or join a particular sphere or group

(p43) Delectatio morosa: A pleasure taken in sinful thought or imagination, such as brooding on sexual images.

(p43) Je m'imagine cela: I can imagine that.

(p44) ne montrez pas vos zhambes: Don't show your legs.

(p44) à mes heures: in my spare time

(p47) le mot juste: The perfectly appropriate word or phrase for the situation.

(p47) la vermeillette fente: the ruby slit (vulva).

(p47) un petit mont feutré de mousse délicate: a felt hillock of delicate mousse (woman's hairy but silky sexual organ).

(p47) tracé sur le milieu d'un fillet escarlatte: drawn on the middle of a scarlet cloth net

(p49) Ces matins gris si doux: These gray mornings, so soft

(p51) primo: firstly

(p51) secundo: secondly

(p53) Mais allez-y, allez-y: But onwards, onwards

(p55) manège: The art of training and riding horses.

Chapter 15

(p66) au Grand Pied: the Big Foot

(p66) mais rien: but nothing

Chapter 16

(p67) mon cher: my dear

(p67) cher monsieur: dear sir

(p67) departez: depart

(p67) chéri: darling

(p68) mon trés, trés cher: my very, very dear

Chapter 17

(p70) pavor nocturnus: Night terrors

(p70) peine forte et dure: Hard and forceful punishment/strong and forceful pain

(p70) quel mot: What (a) word

(p72) Une petite attention: Literally "a little attention", a small act of concern

Chapter 18

(p74) soi-disant: So-called, or Self-styled

(p74+) chéri: Beloved

(p83) c'est moi qui décide: it's me who decides

(p78) arriére-pensée: backthought

Chapter 20

(p83) c'est moi qui décide: it's me who decides

Chapter 21

(p89) Ce qui me rend folle, c'est que je ne sais à quoi tu penses quand tu es comme ça: What makes me mad is that I don't know what you're thinking when you're like that

Chapter 23

(p102) savoir vivre: etiquette

Chapter 25

(p105) Eh bien, pas du tout!: Well, not at all!

Chapter 27

(p111) aux yeux battus: heavy-eyed

(p114) Ensuite?: Then?

(p115) C'est bien tout? C'est.: Is that all? It is.



(p119) Enfins seuls: Finally alone.

(p120) Seva ascendes, pulsata, brulans, kitzelans, dementissima. Elevator clatterans, pausa, clatterans, populus in corridoro. Hanc nisi mors mihi adimet nemo! Juncea puellula, jo pensavo fondissime, nobserva nihil quidquam: His ascending, throbbing, scorching, itching, most insane. Elevator clatters, pauses, clatters, people in the corridor. No one but death would take this one from me. Slender little girl, I thought most fondly, observing nothing at all.

Chapter 28

(p123) sicher ist sicher: literally "safe is safe," better safe than sorry

(p125) comme on dit: as the saying goes

Chapter 29

(p128) entre nous soit dit: between ourselves

(p146) grand Dieu!: great god!

(p129) La Petite Dormeuse ou L'Amant Ridicule: Little Sleeper or Ridiculous Lover

Chapter 32

(p135) moue: pout

(p139) le d´couvert: discovery








Part Two

Chapter 1






(p145) nous connumes: we knew

(p147) soi-disant: self-proclaimed/so-called

(p149) comme vous le savez trop bien, ma gentille: as you well know, my sweet

(p151) c'est tout: that's all

(p154) ce qu'on appelle: what is called

Chapter 2

(p154) partie de plaisir: cake walk

(p154) raison d'etre: purpose

(p157) comme on dit: as the saying goes

(p158) a propos de rien: about nothing

(p159) pollex: thumb

(p159) face à claques: literally "face of slaps", a face you want to slap

(p159) coulant un regard: casting a glance

(p161) tic nerveux: nervous tic

(p161) mais je divague: but I digress

(p162) les yeux perdus: eyes wandering

(p162) brun adolescent: tan adolescent

(p162) se tordre: writhe

(p162) ange gauche: clumsy angel

Chapter 3

(p166) hors concours: stand-out

(p168) cabanes: cabins

(p168) que dis-je: what did I say

(p169) un monsieur très bien: a fine gentleman

(p174) dans la force de l'âge: in the prime of life

(p174) vieillard encore vert: unripe (green) old man

(p174) casé: literally "pidgeon-holed", a place

(p175) rentier: annuitant

Chapter 4

(p177) recueillement: contemplation

Chapter 6

(p181) mes goûts: my tastes

(p182) Oui, ils sont gentils: Yes, they are nice.

(p182) toiles: paintings

(p182) Prenez donc une de ces poires. La bonne dame d'en face m'en offre plus que je n'en peux savourer: So take one of these pears. The good lady opposite offered me more than I can savor.

(p182) Mississe Taille Lore vient de me donner ces dahlias, belles fleurs que j'exécre: Misses Taille Lore has just given me dahlias, beautiful flowers that I hate.

(p182) Au roi!: To the King!

(p183) Et toutes vos fillettes, elles vont bien?: And all your girls, they're doing well?

(p183) sale histoire: dirty story

Chapter 8

(p189) ne montrez pas vos zhambes: do not show your legs

Chapter 10

(p193) tic nerveaux: nervous tic

Chapter 11

(p196) Emigre: emigrant

Chapter 14

(p203) Mon pauvre ami, je ne vous ai jamais revu et quoiqu’il y ait bien peu de chance que vous voyiez mon livre, permettez-moi de vous dire que je vous serre la main bien cordialement, et que toutes mes fillettes vous saluent: My poor friend, I have not seen you since and although there is little chance that you may see my book, let me tell you that I shake your hand cordially, and all my girls send you greetings

(p203) D'un petit air faussement contrit: with a small air falsely contrite

(p204) pommettes: cheekbones

(p204) maman: mom

(p207) Jai toujours admiré l'eouvre ormonde du sublime Dublinois: I have always admired the Ormond work of the sublime Dubliner [James Joyce]

(p207) C'est entendu?: Is it understood?

(p207) Qui prenait son temps: Who took her time

Chapter 16

(p210) le montagnard émigré: the emigrated mountaineer

(p210) Felis tigris goldsmithi: [literally: goldsmith tiger cat]

(p214) adolori d'amoureuse langueur: the pain of love's languor

Chapter 17

(p215) Gros: Fat

Chapter 19

(p223) Ne manque pas de dire à ton amant, Chimène, comme le lac est beau car il faut qu'il t'y mene. . . . Qu'il t'y-: Do not fail to tell your lover, Chimene, how beautiful the lake is, for he must take you there. . . . Hey-

(p223) a titre documentaire: for documentary purposes

(p224) un ricanement: a sneer

(p226) intacta: intact

(p226) la pomme de sa canne: the 'apple' (knob) of his cane

(p230) petit rat: little rat

Chapter 22

(p238) Soyons logiques: Let us be logical

(p239) Etats Unis: United States

(p241) haute montagne: high mountain

(p241) que sais-je!: what do I know!

(p242) chassé-croisé: crossover

(p243) Je croyais que c' était un bill- not a billet doux: I thought it was a bill- not a love letter.

(p243) Bonjour, mon petit.: Hello, my little one

(p243) Est-ce que tu ne m'aimes plus, ma Carmen?: Do you love me anymore, my Carmen?

(p244) une belle dame toute en bleu: a beautiful lady in all blue

Chapter 23

(p247) comme il faut: proper (fm. properly)

(p250) Quelquepart: somewhere

(p250) La Bateau Blue: The Blue Boat

Chapter 24

(p252) garcon: fellow

Chapter 25

(p253) Dolorés Disparue: Dolores Missing

(p254) chambres garnies: furnished rooms

(p254) que c'etatit loin, tout cela!: How far it was - all that!

(p254) Et moi qui t'offrais mon genie!: And I was offering you my genius!

(p256) L'autre soir un air froid d'opera m'alita: Son fele-bien fol est qui s'y fie! Il neige, le decor s'ecroule, Lolita! Lolita, qu'ai-je fait de ta vie?: The other night a cold opera tune put me to bed: Crackled sound - who goes by it is crazy! It's snowing. The scenery is collapsing, Lolita! Lolita, what did I do with your life?

Chapter 26

(p260) travaux: works

(p261) très digne: very dignified

(261) souvenir, souvenir que me veux-tu?: remember, remember what you want?

(p261) petite nymphe accroupie: small crouching nymph

(p263) vin triste: sad, drunk [literally "sad wine"]

Chapter 27

(p264) Mes fenétres!: My windows!

(p264) Savez-vous qu'ю dix ans ma petite était folle de vous?: do you know that, when she was ten, my little daughter was madly in love with you?

Chapter 28

(p267) Pas tout a fait: not quite

(p269) finis: finished

Chapter 29

(p269) Personne. Je resonne. Repersonne: Nobody. I rang the bell again. Again nobody.

(p270) pommettes: cheekbones

(p273) frileux: chilly

(p275) Streng verboten: Strictly forbidden [in German]

(p277) souffler: blow

(p278) Mon grand pêché radieux: My great radiant sin

(p278) Changeons de vie, ma Carmen, allons vivre quelque part où nous ne serons jamais séparés: Lets change our lives, my Carmen, go and live somewhere where we shall never be separated.

(p278) Carmen, voulez-vous venir avec moi?: Carmen, do you want to come with me?

(p278) Trousseau: Clothing and accessories for a bride

(p279) Mon petit cadeau: My little gift

(p279) Cadeau: Gift

(p280) Carmencita, lui demandais-je: My little Carmen, I asked her

Chapter 32

(p 284) mais je t'aimais, je t'aimais!: But I loved you, I loved you!

Chapter 33

(p287) Bonzhur [Bonjour, spelled to mimic Charlotte's poor French accent]: good day

(p289) Mille grâces: A thousand graces

(p290) Vient de: Just

(p290) Réveillez-vous, Laqueue, il est temps demourir!: Wake up, Laqueue, it is now time to die!

Chapter 35

(p295) Je suis Monsieur Brustére: I am Mr.Brewster [in Phonetic French]

(p296) Vaterre: Water closet (slang)

(p296) La Fiertu de la Chair: The Pride of the Chair [a bad translation of "Proud Flesh", mistaking the word "flesh" for "chair"]

(p297) une femme est une femme, mais un Caporal est une cigarette?: A women is a women, but a Caporal is a cigarette?

(p298) Vous voilю dans de beaux draps, mon vieux: You are in a fine mess, my friend

(p298) Alors, que fait-on?: What do we do then?

(p301) rencontre: duel [literally: "meeting" or "encounter"]

(p301) Soyons raisonnables: Let us be reasonable

(p302) Feu: Fire

September 28, 2019

All-girl band Fanny “Ain’t that peculiar“ for “All Girl Band” "Zilchers" author Utahna Faith *Ain’t that peculiar? 9·27·19

“Omit needless words.”

—William Strunk


All-girl band
Fanny
Ain’t that peculiar



for
Utahna 
Faith.
The narrator’s all-girl band is in trouble, and she thinks about how different she is from her mother.



All-Girl Band
author
*Ain’t that peculiar?
 
Title: All-Girl Band
Author: Utahna Faith
Date: 2000-02-00
Type: SHORTFICTION
Length: short story
Language: English

 
Note: First published in The Cafe Irreal #3 (February 2000).
 

The Peterson Fire | Barry Gifford

When the Peterson house burns down, only Bud, the seventeen-year-old son, is able to get out.
Read “The Peterson Fire”

5:23 AM
9·28·19

September 19, 2019

Tilly told me, Its faith its awaiting for Utahna Faith - Louis Armstrong & his Orchestra - In the Gloaming [1941]


Tilly told me, its faith its awaiting   

(1965 December) 

for

  https://scontent.fzty1-2.fna.fbcdn.net/v/t1.0-1/p240x240/15781038_10154983838572642_4475437434761563121_n.jpg?_nc_cat=102&_nc_oc=AQn3LqYuO-Ws_gGhINeq57Fp6TIH7xdTeL_VKz9Sqlxx7QAwJACc-vZrMZUp0pX6gb8&_nc_ht=scontent.fzty1-2.fna&oh=792bf0cf72c33f9cddfc17e2809f0be5&oe=5DEF1EF1 

Utahna Faith







Tilly told me, its faith its awaiting   

(1965 December)



Tilly told me,
its sweetness its silence, 
its richness its innateness,
its terroir its season,
its secret its sowing,
its ready its blooming,
its Winter its looming,
its December its fleeting,
its gloaming its mooning,
its hueing its feeling,

its blush its revealing,
its lightness its being.

Tilly repeating,

its faith its awaiting








March 30, 2019

HTML guru Richard Rutter discovered one CSS Rule which outshone all others! (Exclusive Story)


First discovered by web-designer Richard Rutter,  one  CSS Rule immediately outshone all its other little children, and until this day, reigns Big Dog




Table of Contents

  1. Front cover
  2. Introduction

  3. 2

    Rhythm & Proportion


    1. 2.1

      Horizontal Motion


      1. 2.1.1 Define the word space to suit the size and natural letterfit of the font

      2. 2.1.2 Choose a comfortable measure

      3. 2.1.3 Set ragged if ragged setting suits the text and page

      4. 2.1.4 Use a single word space between sentences

      5. 2.1.5 Add little or no space within strings of initials

      6. 2.1.6 Letterspace all strings of capitals and small caps, and all long strings of digits

      7. 2.1.7 Don’t letterspace the lower case without a reason

      8. 2.1.8 Kern consistently and modestly or not at all

      9. 2.1.9 Don’t alter the widths or shapes of letters without cause

      10. 2.1.10 Don’t stretch the space until it breaks

    2. 2.2

      Vertical Motion


      1. 2.2.1 Choose a basic leading that suits the typeface, text and measure

      2. 2.2.2 Add and delete vertical space in measured intervals

    3. 2.3

      Blocks & Paragraphs


      1. 2.3.1 Set opening paragraphs flush left

      2. 2.3.2 In continuous text mark all paragraphs after the first with an indent of at least one en

      3. 2.3.3 Add extra lead before and after block quotations

      4. 2.3.4 Indent or center verse quotations

    4. 2.4

      Etiquette of Hyphenation & Pagination


      1. 2.4.1 At hyphenated line-ends, leave at least two characters behind and take at least three forward

      2. 2.4.3 Avoid more than three consecutive hyphenated lines

      3. 2.4.5 Hyphenate according to the conventions of the language

      4. 2.4.6 Link short numerical and mathematical expressions with hard spaces

      5. 2.4.8 Never begin a page with the last line of a multi-line paragraph

  4. 3

    Harmony & Counterpoint


    1. 3.1

      Size


      1. 3.1.1 Don’t compose without a scale

    2. 3.2

      Numerals, Capitals & Small Caps


      1. 3.2.1 Use titling figures with full caps, and text figures in all other circumstances

      2. 3.2.2 For abbreviations and acronyms in the midst of normal text, use spaced small caps

  5. Reference

    1. Bibliography



Note


Summary:
  1. link to another world... First discovered by designer Richard Rutter, one rule immediately provides an incredible constraint, like the curse of gods or cryptonite. (29)
  2. More ****************** First discovered by designer Richard Rutter, this one rule immediately provides an incredibly handy constraint for every image in our document. (29)
  3. So what have we learned? WE ARE DEALING WITH A SUPER TYPOGRAPHER WHO STARTED IN WHILE YOU WERE STILL ODERING YOUR ENTREE, "SANS SERIF" AT THE LOCAL PAK, A BIKING FANATIC WHO COULD HAVE GIVEN LANCE ARMSTRONG A RUN FOR HIS MONEY, IF LANCE ARMSTRONG HAD NOT BEEN THE ELVIS OF FUCKING BIKE RACERS. (25)
  4. And as underwhelming as that sounds, like other floaters, who need to be cleared-left of the fucking page, party, or queue, 2009 saw Dick Rutter get a fortune cookie! And can you guess what was written on it? He couldn't either. (25)
  5. And like Sir Sting...that, my friends, made our Richard Rutter, wealthy beyound any fontsman or dirty, perverted type-man in the whole of London for the last one-hundred years. (25)
  6. And for that, we can all raise a glass and toast the man from code who made it! That cookie (whose message he refuses to reveal) confounded the web, his peers, and the typography industry, which had just barely given up moveable type and 13-year-old employees the summer before. (24)
  7. Richard blogs at Clagnut ( ) about design, accessibility and blah, blah! (Now he's gone and buried the fucking lede, like the New Yorker and Parade had a baby)...as well as his passion for music and mountain biking. (23)
  8. AND HAVE SINCE HE FIRST STARTED HIS SEMINAL AND MUCH CALMER, I GUESS HE'S A BRIT, BLOG THAN THE ONE THAT EM HAS LET GO TO RUINS, WHERE YOU AFRAID DADDY HAD HAD A BAD DAY AT WORK, TESTING PSEUDO-ELEMENTS FOR W3C BEFORE HE WROTE HIS POST AND TAUGHT US ALL ABOUT EVERYTHING THAT WAS CASCADING . (23)
Best words:
  1. rutter (5)
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  3. guess (3)
  4. deck (3)
  5. first (3)
  6. fuck (2)
  7. element (2)
  8. cookie (2)
  9. discovered (2)
  10. constraint (2)
  11. rule (2)
  12. designer (2)
  13. ****************** (2)
  14. made (2)
  15. provides (2)
  16. desert (2)
  17. blah (2)
  18. eastern (2)
  19. biking (2)
  20. free (2)
  21. contribute (2)
  22. github (2)
  23. feel (2)
  24. lance (2)
  25. work (2)
  26. been (2)
  27. armstrong (2)
  28. given (2)
  29. forking (2)
  30. need (2)
Keyword highlighting:
  • link to another world... First discovered by designer Richard Rutter, one rule immediately provides an incredible constraint, like the curse of gods or cryptonite.
  • More ****************** First discovered by designer Richard Rutter, this one rule immediately provides an incredibly handy constraint for every image in our document.
  • So what have we learned? WE ARE DEALING WITH A SUPER TYPOGRAPHER WHO STARTED IN WHILE YOU WERE STILL ODERING YOUR ENTREE, "SANS SERIF" AT THE LOCAL PAK, A BIKING FANATIC WHO COULD HAVE GIVEN LANCE ARMSTRONG A RUN FOR HIS MONEY, IF LANCE ARMSTRONG HAD NOT BEEN THE ELVIS OF FUCKING BIKE RACERS.
  • And as underwhelming as that sounds, like other floaters, who need to be cleared-left of the fucking page, party, or queue, 2009 saw Dick Rutter get a fortune cookie! And can you guess what was written on it? He couldn't either.
  • And like Sir Sting...that, my friends, made our Richard Rutter, wealthy beyound any fontsman or dirty, perverted type-man in the whole of London for the last one-hundred years.
  • And for that, we can all raise a glass and toast the man from code who made it! That cookie (whose message he refuses to reveal) confounded the web, his peers, and the typography industry, which had just barely given up moveable type and 13-year-old employees the summer before.
  • Richard blogs at Clagnut ( ) about design, accessibility and blah, blah! (Now he's gone and buried the fucking lede, like the New Yorker and Parade had a baby)...as well as his passion for music and mountain biking.
  • AND HAVE SINCE HE FIRST STARTED HIS SEMINAL AND MUCH CALMER, I GUESS HE'S A BRIT, BLOG THAN THE ONE THAT EM HAS LET GO TO RUINS, WHERE YOU AFRAID DADDY HAD HAD A BAD DAY AT WORK, TESTING PSEUDO-ELEMENTS FOR W3C BEFORE HE WROTE HIS POST AND TAUGHT US ALL ABOUT EVERYTHING THAT WAS CASCADING .
Sentences:
  1. Note This is a work in progress.

  2. The entire site is now open source, so please feel free to contribute by forking it on GitHub.

  3. And as underwhelming as that sounds, like other floaters, who need to be cleared-left of the fucking page, party, or queue, 2009 saw Dick Rutter get a fortune cookie! And can you guess what was written on it? He couldn't either.

  4. But what he sure as fuck didn't need to guess was...which font the buggers who cranked them out had used! And that gave him a little MSG-in-a-bottle idea.

  5. And like Sir Sting...that, my friends, made our Richard Rutter, wealthy beyound any fontsman or dirty, perverted type-man in the whole of London for the last one-hundred years.

  6. And for that, we can all raise a glass and toast the man from code who made it! That cookie (whose message he refuses to reveal) confounded the web, his peers, and the typography industry, which had just barely given up moveable type and 13-year-old employees the summer before.

  7. So he bared down to it and came right along with a little revolutionary Typo Co.

  8. when the desert was still a fucking desert,Fontdeck ( )! By starting it! He runs an ongoing project called Elements of Typographic Style... , extolling the virtues of web typography (was this sod on downers?).

  9. Richard blogs at Clagnut ( ) about design, accessibility and blah, blah! (Now he's gone and buried the fucking lede, like the New Yorker and Parade had a baby)...as well as his passion for music and mountain biking.

  10. So what have we learned? WE ARE DEALING WITH A SUPER TYPOGRAPHER WHO STARTED IN WHILE YOU WERE STILL ODERING YOUR ENTREE, "SANS SERIF" AT THE LOCAL PAK, A BIKING FANATIC WHO COULD HAVE GIVEN LANCE ARMSTRONG A RUN FOR HIS MONEY, IF LANCE ARMSTRONG HAD NOT BEEN THE ELVIS OF FUCKING BIKE RACERS.

  11. AND, FUCK ME, THE SECOND MUSICIAN BESIDES ME IN THE OG CSS HTML COMMUNITY WHO PLAYS AN AXE WHEN HE'S NOT CALCULATING LINE-HEIGHT! I THINK THAT'S WHY I LIKE THIS BLOKE.

  12. AND HAVE SINCE HE FIRST STARTED HIS SEMINAL AND MUCH CALMER, I GUESS HE'S A BRIT, BLOG THAN THE ONE THAT EM HAS LET GO TO RUINS, WHERE YOU AFRAID DADDY HAD HAD A BAD DAY AT WORK, TESTING PSEUDO-ELEMENTS FOR W3C BEFORE HE WROTE HIS POST AND TAUGHT US ALL ABOUT EVERYTHING THAT WAS CASCADING .

  13. More ****************** First discovered by designer Richard Rutter, this one rule immediately provides an incredibly handy constraint for every image in our document.

  14. Now, our img element will render at whatever size it wants, as long as it's narrower than its containing element.

  15. Jun 7, 2011 ****************** Fluid Images · A List Apart Article the robot walks Daniel is roused by a rooster on the forecastledeck† that is growing certain it’s not just imagining that light in the eastern sky.

  16. Unfortunately the eastern sky is off to port this morning.

  17. Yesterday it was starboard.

  18. Minerva has been sailing up and down the New England coast for the better part of a fortnight, trying to catch a wind that will decisively take her out into deep water, or “off soundings,” as they say.

  19. They are probably not more than fifty miles away from Boston.

  20. † The forecastle deck is the short deck that, towards the ship’s bow, is built above the upper deck.

  21. link to another world... First discovered by designer Richard Rutter, one rule immediately provides an incredible constraint, like the curse of gods or cryptonite.

  22. This website is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

  23. It was created and is maintained by Richard Rutter.

  24. Please feel free to contribute by forking it on GitHub.


******************
Fluid Images · A List Apart Article
the robot walks
Daniel is roused by a rooster on the forecastledeck† that is
growing certain it’s not just imagining that light in the eastern
sky. Unfortunately the eastern sky is off to port this morning.
Yesterday it was starboard. Minerva has been sailing up and down
the New England coast for the better part of a fortnight, trying
to catch a wind that will decisively take her out into deep
water, or “off soundings,” as they say. They are probably not
more than fifty miles away from Boston.
† The forecastle deck is the short deck that, towards the ship’s
bow, is built above the upper deck.


link to another world...
First discovered by designer Richard Rutter, one rule immediately
provides an incredible constraint, like the curse of gods or
cryptonite.
This website is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.  
It was created and is maintained by Richard Rutter. Please feel free to contribute by forking it on GitHub.

May 24, 2012

"A Screaming is in heaven ..."

"A Screaming is in heaven ..."
With the sentence, Pynchon begins rainbow severity infamous work. . . of the most controversial, most debated more, and often began-and-then-put-down of the twentieth century. It is difficult to bear the weight of letters and bring out the rainbow in your group. I also found the mere mention of the iron line in a tacit academic joke: "Oh, so you see, oh oh oh .... huh?" More than any other, in addition to the work of Finnegans Wake, Rainbow has the weight of the writer - at the moment to say quietly, to avoid the terror of a man - a rumor. The circumstances surrounding the creation of his suspiciously like hagiography: Saint Pynchon sequestered himself in a room, writing a new hand, filling sheet after sheet of paper with a detailed script of F itself. Stack of papers, was perched on top of this little offering to the Muse, the Totem of magic invocation: the caterpillar pen-type "were (a kind of scale in the package corkscrew) with a pin in nose, and re-formed paper clip serving as a launching pad. "The working title of the project was its pleasures MAD, a new phrase appears twice in the last, and when published in 1973, the Trustees of the Pulitzer Prize reversed the decision of judges to award the coveted prize, and no work of fiction, he received the Pulitzer Prize this year.
Oh, yes, and critical?

5_125221

    "A picaresque, apocalyptic, absurd novel that creates a complex mythology to describe our situation ... our world." (New York)

    "I was like day and night of the pages, looking at her fingers black ink, bleeding from paper cuts, reading rainbow Gravity. I went to a forest to make paper for the new blade. Not to cry for the trees, read the book. "(Geoffrey Wolff, San Francisco Examiner)

    "Rage, he fall into the river, Pandora evil incarnate!" (Publisher Name)

    "Our more literary text with Ulysses." (Tony Tanner)

    "Thomas Pynchon brilliantly demonstrates ... the driving force behind the seemingly irrational convulsions of the 20th century .... A book that serves as an introduction mainly for Outer Space Migration ...." (Dr. Timothy Leary)

    "If it can not be banned by the next day, and the five books of the moon, it would be." (The New York Times)

    "Rainbow Gravity bonecrushingly dense, compulsively elaborate, silly, obscene, funny, tragic, pastoral, historical, philosophical, poetic, grindingly dull, inspired, horrific, cold, bloated, beached and blasted ... . " (Richard Locke, The New York Times Magazine)

 

"A screaming comes across the sky. . . "
 

With that sentence, Pynchon begins his infamous work Gravity's Rainbow . . . one of the most controversial, most discussed, most debated, and most frequently started-and-then-put-down works of the twentieth century. It is hard to bring up Gravity's Rainbow in literate company and not elicit some sort of a response. I have even found the mere mention of it to be like the punch line in some tacit academic joke: "oh, so you're reading that, eh? heh heh heh. . . ." More so than any other work besides Finnegans Wake, Gravity's Rainbow has -- now say it quietly, so as not to alarm anyone -- a reputation. Even the circumstances surrounding its creation sound suspiciously like an hagiography: Saint Pynchon sequestered himself in a room, writing the novel out by hand, filling sheet after sheet of graph paper with the precise script of an Engineer. Perched atop this stack of papers was his small offering to the Muse, a totem of invocative magic: a rocket formed from "a pencil type eraser (the kind from which you peel off the corkscrew wrapper) with a needle in its nose, and a re-formed paper clip serving as a launching pad." The working title of his draft was Mindless Pleasures, a phrase which occurs twice in the final novel, and when it was published in 1973, the trustees of the Pulitzer Prize overturned the judges' decision to award it the coveted prize, and so no work of fiction received the Pulitzer Prize that year.
Oh, yes, and the critics?

"A picaresque, apocalyptic, absurdist novel that creates a complex mythology to describe our present predicament . . . our entire century." (The New Yorker)

"I've been turning pages day and night, watching my fingers go ink-black, bleeding from paper cuts, reading Gravity's Rainbow. Forests have gone to the blade to make paper for this novel. Don't mourn the trees; read the book." (Geoffrey Wolff, San Francisco Examiner)

"Madness spews forth in torrents, Pandora's evils incarnate!" (Publisher's Weekly)

"Arguably the most important literary text since Ulysses." (Tony Tanner)

"Thomas Pynchon brilliantly demonstrates . . . the motivating force behind the seemingly irrational convulsions of the 20th century. . . . A book which serves well as an initiatory primer for Outer Space Migration. . . ." (Dr. Timothy Leary)

"If I were banished to the Moon tomorrow and could take only five books along, this would have to be one of them." (The New York Times)

"Gravity's Rainbow is bonecrushingly dense, compulsively elaborate, silly, obscene, funny, tragic, pastoral, historical, philosophical, poetic, grindingly dull, inspired, horrific, cold, bloated, beached and blasted. . . ." (Richard Locke, The New York Times Book Review)

With the exception "dull" and "cold," I find this last description a reasonably good commentary on Gravity's Rainbow, and one that no doubt has added to its reputation: it is a modern Ulysses. It is profane, bloated, and muddled. It is a perfected work of inspired genius. It is a sprawling, impossible to read monstrosity that should be burned on a pyre of Updike novels. It is the Great American Novel come at last, a postmodern masterpiece. It is . . . all of these things. And none. It is a literary black hole, a star so dense that it's surrounded by an ever-expanding accretion disk of mythology, a swirling of rumors, essays, papers, annotations and companions, tumbling in orbit, attempting to penetrate its interior . . . but it sheds no light on itself; it dares the reader to traverse its scholarly event horizon and plunge into its gravity well unaided by any beacon from within.
And I say: Amen. Climb aboard your Rocket and blast off. Open up the cover and begin.
So . . . still here?
Eh-heh. Well, I thought you might be -- and so am I. I confess that I'm possessed by the enthusiasm of the convert. I've been there and back again, and I wish to highlight the way for all my benighted brethren. So here I am, pen in monkish hand, finding myself guilty of adding yet another scrap of illumination to the holy text. But at least I am not alone in the scriptorium! To echo Mr. Wolff's lament, there have been countless trees sacrificed on the altars of an industry -- almost a religion -- devoted to illuminating its mysteries. Several compendiums and correspondences, a Web hypertextual guide, countless articles, essays, and papers, a journal, and even online "group readings" -- all are potential servants awaiting to be conjured forth to aid the sorcerer attempting to master this troublesome literary demon.
This introductory essay will be in three parts -- some general notes for the first-time reader, a brief commentary on style, and a discussion of some major themes. I would also like to add that I took the greatest care in writing this section so as not to spoil any surprises or reveal any pivotal points in the plot of Gravity's Rainbow. Of course, it would be impossible not to disclose anything about the book -- but I feel that a first-time reader will not have their enjoyment of the text spoiled by reading my essay.

I. General Notes for the First-time Reader

". . . inviting him to look down at the bottom of the text of the day, where footnotes will explain all."

Gravity's Rainbow is one of my favorite novels. While it certainly requires an attentive reading, it is nowhere as "difficult" as its reputation suggests; indeed, it is one of the most pleasurable, witty, humorous, and touching books I have ever read. First of all let me stress this immediately: you can pick up Gravity's Rainbow and start reading without annotations, companions, or any prior knowledge of Pynchon. Just do it. There is no reason in the world why you won't understand the book and enjoy it thoroughly. . . . However, there is no avoiding the fact that you may find your enjoyment of the novel enhanced considerably by some preparation. Also, many first-time readers are intimidated by Pynchon's prose and the structure of the novel's plot, and so I will address some of these issues at the very beginning.

The Prose

To begin with, Pynchon's writing is extremely convoluted and dense. This is quite evident in the first section -- a fact that has caused many people to abandon the book in despair after the first hundred pages or so. True, Pynchon's prose may be daunting at first, but a wonderful adventure awaits those who are not immediately frightened away. His thoughts twist and turn delightfully and rarely conclude where you were expecting, and the sheer inventiveness with which he forces the text to express his ideas is marvelous. I would say this to the first-time reader: stick with him. Do not be afraid to read and re-read passages that strike you; and if his meaning still eludes you, by all means move on. Most people agree that it is impossible to comprehend the totality of a work like Gravity's Rainbow the first time through -- but a close reading with pauses for reflection and re-reading will make for a very rewarding experience.

The Plot

Another thing that tends to discourage first-time readers is the plot structure. The book begins with a clear narrative direction, but soon the plot begins to fragment very rapidly. Flashback-filled meditations act to dislocate the plot from linear time, and an ostensibly endless series of digressions tend to send it reeling through space as well. After a while, you may wonder if there really is a plot, and then you'll think you've got it figured out, and then you'll be wrong -- repeat cycle as needed. You may also begin to wonder if the cast is as large as a Cecil B. DeMille picture -- but again, don't worry. You will find, surprisingly, that you'll remember all the characters quite well enough when the time comes. But still, it doesn't hurt to take a few notes. Listing the characters and briefly sketching out their interactions with each other may prove useful. There is also a myriad of organizations, departments, and corporations in the novel, and I found that keeping track of their histories and diagramming their structures and interrelationships clarified what initially seemed like a hopeless tangle of names, acronyms, and unconnected facts. Eventually things start converging, and you will notice that all the threads of the plot are eventually gathered and woven together with great skill and subtlety.

Preparation

If you really want to tackle Gravity's Rainbow with all guns loaded, a few weeks of preparation may prove to be quite valuable. I would recommend reading some earlier Pynchon, particularly the short stories "The Low-Lands," and "The Secret Integration," as well as his first novel, V. Although this not necessary, some of the characters used in Gravity's Rainbow make their first appearances in these works. "The Low-Lands" marks the debut of Pig Bodine, the irrepressible sailor with a thousand sea stories. Slothrop's home town is featured in "The Secret Integration," which also mentions his father and his brother Hogan. And V., besides hosting the further adventures of Pig Bodine, contains a long chapter which details the early lives of Mondaugen and Weissmann in German-controlled Southwest Africa. Other works of literature that may provide a useful foundation for a greater appreciation of Gravity's Rainbow include Rainer Maria Rilke's Duino Elegies and Sonnets to Orpheus, Goethe's Faust Part I, Malcolm X and Alex Haley's The Autobiography of Malcolm X, and the Argentine saga of Hernandez, Martín Fierro. (Of all these, the Rilke is by far the most important.) A little bit of history might be helpful as well, so it won't hurt to brush up a bit on the end of WWII, the V-2 bombardment of London, the allied occupation of Germany, and the consequences of the V-2 Rocket program. The history of German industry plays some importance, and it always helps to be a little conversant with some elementary science. Random subjects that merit at least a trip to the Encyclopedia Britannica include Pavlovian psychology, the Kazakh people of the Russian steppes, coal tar derivatives, and some basic parapsychology. Some knowledge of the Qabalah and the Tarot will be extremely useful, as well as a little Teutonic mythology. The movie King Kong is referred to quite frequently, and I would advise renting some Fritz Lang movies to get a feel for prewar German film making. In the sphere of music, it may help to know a little bit about Beethoven, Rossini, and Webern, as well as having a passing familiarity with Wagner's Tannhäuser opera. But before you feel suddenly exasperated, let me remind you that none of these things are by any means necessary; a reader's guide such as Weisenburger's A Gravity's Rainbow Companion or the HyperArts Guide makes finding all this information quite easy. It all depends on what level you wish to approach the novel and how much you want to get out of it.

For the Truly Obsessed

For those dedicated -- and perhaps slightly deranged -- readers who wish to go to some of the "original sources" consulted by Pynchon, the following list provides works he directly consulted for various plot devices and atmospheric touches. (Thanks to Weisenburger for these.)

V-2 by Walter Dornberger, The White Goddess by Robert Graves, Teutonic Mythology by Jacob Grimm, Ballistics of the Future by Kooy and Uytenbogaart, The Symbolism of the Tarot, by Peter Ouspensky, Major Trends in Jewish Mysticism and On the Kabbalah and Its Symbolism by Gershom Scholem, IG Farben by Richard Sasuly, and A.E. Waite's The Pictorial Key to the Tarot.


II. Comments on Style

". . . nothing more -- or less -- sinister than . . . an aromatic heterocyclic polymer"

Gravity's Rainbow is often compared to Joyce's Ulysses, and for some very good reasons. Both are often considered works of genius, both convey a sense of sprawling density, both juxtapose the vulgar and the sublime, both adopt a "hidden" organizational structure, and both share a playfulness and experimentation with the English language. It is this unique writing style that has the ability to both attract so many people and to confound them as well.
I believe that Gravity's Rainbow is an "easier" book to read than Ulysses. While Pynchon's style is certainly remarkable, it remains within less radical boundaries than the ingenious array of techniques employed by Joyce. That said, however, it is still unusual enough to be a bit difficult until you get the hang of it. Pynchon freely adjusts his prose style to fit best whatever situation he is describing: soul-searching meditations are conveyed through a multi-layered chiaroscuro of light and shadow, and chase scenes are filled in with lightly humorous brush strokes. Passages of elaborate and complex prose will suddenly decay into slang-filled hilarity. Images of shocking degradation are permitted as much space as the visitations of angels. He uses a fair amount of "stream of consciousness" technique, and occasionally the narrative undergoes a sudden shift in perspective -- from one character to another, or even from one time and place to another -- without any warning. The prose also begins to take on unique characteristics depending on which character is "hosting" the current focus of the narrative. As each character accepts the stream of narrative, the internal structures of their personalities shape and redirect its flow like the walls of a cavern mold the course of the river flowing through its passages. In a way, the characters are like tangible presences which act to temporarily harness -- and even personalize -- the dynamic narrative. You can tell immediately in which character's "mind" you are by the style of the prose. This narrative river also has a tendency to split off side streams into centrifugal eddies; swirling narrative whirlpools of surreal fantasy -- and only occasionally are these moments understood to be within the consciousness of a character, where at least an internal breakdown of reality could make objective sense. There are points at which it seems that the narrative has a playfully sentient life of its own, a desire to suddenly cut itself loose and run free, mischievously investing inanimate objects (such as light bulbs and skin cells) with stories of their own, for example, or slipping out of "novel" format and suddenly recasting the action into the text of a play. At times the narrative is suddenly interrupted -- the whole cast, including inanimate objects, may break out into a production number, complete with songs and stage directions -- but it always manages to reform and continue its progress downstream, always responding to the needs of the author rather than to any rigid and conventional form.
Throughout this sometimes chaotic torrent, however, a few recurring techniques may be seen at work. Pynchon favors the creative use of a structure of cyclic motifs, and there are quite a few breathtaking examples of a sort of "ring within a ring" structure to an episode, where the narrative cycles through different characters and times, passing from one locus to another at pivotal focal points. Often Pynchon employs the analepsis as a technique for controlling the direction of the narrative. In an analepsis, the narrative is refracted back through a character to a previous event. These retrograde epicycles are the cause of many of his interlocking prose loops. (Character A is thinking about Character B. Suddenly the narrative shifts to B, and travels via analepsis back in time to her life with Character C. Character C takes up the narrative and analeptically shifts the focus back in time farther to an event that shaped his life; then the focus returns to C's "present." The prose is then recycled back to its starting point with Character A, who is currently inhabiting the reader's "real-time" present.) Another technique that may be worth mentioning is Pynchon's extensive use of the hysteron proteron -- a literary trope involving retrograde motion, regression, or a reversal of cause and effect. At many times in the story events are described in reverse order, a literary slight-of-hand that works to pry our linear concept of Time from its stubborn entrenchment. Journeys are imagined moving in reverse, objects are mentally disassembled, and films occasionally run backward. This tendency for reversal reaches its greatest manifestation in the fall of the Rocket itself -- the fact that the sound of its descent comes after its faster-than-sound impact is an idea that stimulates an interesting variety of emotional responses in the novel's many protagonists.

III. Major Themes

"To the rushing water speak: I am."

Gravity's Rainbow is a large and ambitious book. Accordingly, a vast number of themes, topics, and ideas are explored in the novel. Every reader will sort through a wide range of motifs and ideas and focus on the ones which are most important to him; as the book says, "Each will have his own personal Rocket." I shall endeavor to discuss a few that I personally find the most important.

The Preterite vs. the Elect

Perhaps one of the most thoroughly developed themes, and certainly one that Pynchon has explored before, is that of the struggle between the "preterite" and the "elect," or the traditional dichotomy between the "common" classes and the "anointed" classes. (The former terms hail from his family's Puritan background.) As Pynchon himself puts it, the preterite, while "in theory capable of idiocy, are much more apt to display competence, courage, humanity, wisdom, and other virtues associated, by the educated classes, with themselves." This class distinction acts as a tangible dehumanizing force, permitting us to see each other as objects to be hated, feared, scorned, demonized, exploited, or manipulated. And it's not just his characters who embody these roles -- the whole novel seems to be impregnated with a sinister force, a Presence that hovers between the two classes like a malignant angel (or a malevolent version of Maxwell's Demon?) carefully at work maintaining the illusionary divisions between one human and another. This sense of sentient division is not just reserved for the traditional targets (organized religion, the military, corporate entities, intelligence and security agencies, various racist groups, u.s.w.) but, through the hypnotic power of Pynchon's prose, is extended to include speculations that our whole material world is somehow involved in the conspiracy. Falling rockets, the growth patterns of cities, and even the forces that govern the laws of molecular bonding are all subjected to the manipulations of this force. Linked with the actions and inactions of the characters -- each with their own personal agendas, delusions of control, and hidden networks -- this pervasive sense of paranoia gives rise very quickly to a clear distinction between Us and Them. "Us," or "We," are the preterite, the common, the vulgar: possessed with a certain Foolishness, for sure, but also endowed with the ability -- if We want to -- to see through Their systems of death and decay, Their artificial distinctions and forces of normalization, vectors that force Us into the compromise of a thousand little deaths. . . . When organized (and that itself is always risky, ephemeral) We can form a potent Counterforce. But that takes a very intricate knowledge of control, of hope, of love, and of laughter -- the ability to cry out Joyce's most emphatic yes! to counterbalance the Burroughsian schlupp! of vampiric absorption. "They" are the classic Masters, hung up on control systems, worshipers of the Northern Death Cults -- from SS officers to mad Pavlovians, believers in the Granfalloon, inhabitants of corporations and governments, rendered faceless by the sheer multiplicity and interchangeability of Their bland servants. . . . They are, as Burroughs might have it, running the Mayan scheme, the classic Mind Control Game. And the most frightening thing of all is not that They can control Us; but that it's so very easy for Us to simply -- and slowly, one decision at a time -- become Them. In Something Wicked this Way Comes, Ray Bradbury asks of evil: "What will they look like? How will we know them?" Looking nervously at each other, his characters suddenly apprehend the answer: "Maybe, said their eyes, they're already here."

"An army of lovers can be beaten."

Love. So simple and yet incalculably profound . . . what great works fail to grapple with "love's bitter mystery?" For Pynchon, love is a vital force, a transforming essence that runs through his work like a scarlet mesh of life-giving arteries. Pynchon is not afraid to proclaim Love a transcendent power, a mystical state that elevates us from the chaos and filth of the world and which has the capacity -- even if only for a fleeting moment -- to transform us into radiant beings. Like Gabriel García Márquez, whom Pynchon admires, he is not afraid to stand at the edge of the abyss of his irony and cynicism, turn his back to its well-brooded depths, and reach out for a holy flame, as if to say, well, yes, I see what my back is against, but hey! this makes a difference. . . . Love is something that even They can experience despite Their attempts to bring it under control; something that may even offer Them a brief glimpse of redemption. It is something that We can also experience -- indeed, something that We must. Love is omnipresent in Gravity's Rainbow; but not just spiritual love, or carnal love, or romantic love . . . the prism of Gravity's Rainbow refracts the whole spectrum contained in the white light of this central enigma, from the infrared heat of carnal lusts to the yellows of jaded decadence to the unseen ultraviolets of Satoric communion. . . . There is room for all: soul love, divine and painful in its flaming intensity; erotic sorcery, green and verdant as the Spring equinox; physical love, painful in its immediacy, the unexplainable wiring of the flesh to the aching heart; the broken love that binds together dysfunctional systems of mutual need; casual but tender couplings that affirm life and stave away the night; Freudian desires that rake the heart with talons confused guilt . . . even the simple touch of one stranger to another in the dark, to reassure, to say that I am not alone. . . . If the dynamic between Us and Them provides Gravity's Rainbow with a polarized tension, love is the current that flows mysteriously between both systems -- sometimes binding, sometimes destroying -- but always electrifying. To quote one of Gravity's Rainbow's most memorable -- albeit warped -- characters: "I want to break out -- to leave this cycle of infection and death. I want to be taken in love: so taken that you and I, and death, and life, will be gathered inseparable, into the radiance of what we would become. . . ."

"Nature does not know extinction; all it knows is transformation."

Transformation, transfiguration, transubstantiation, metamorphosis -- all modulations of this leitmotif may be heard in Gravity's Rainbow to varying degrees, ranging from the comically vulgar to the sublime. One of the most powerful manifestations of this theme is that of the mundane or the vulgar being translated to a higher level of being, whether it be acts of sex into acts of communion, the Rocket into a vehicle of Salvation, or coal tars into iridescent dyes: "We passed over the coal tars. A thousand different molecules waited in the preterite dung. This is the sign of revealing. Of unfolding. This is one meaning of mauve, the first new color on Earth. . . ." Occasionally these transfigurations are satirically inverted, as in one unforgettable scene where brutal acts of sexual domination are mapped onto the Qabalistic ascent to the throne of God. Everything is subject to transfiguration, even death -- but understanding the nature of these transfigurations, comprehending their meaning -- there lies our dilemma, and a source of much delusion. When the whole world becomes an open text, a Torah whose letters may be permutated and recombined into new meanings, "always unfolding," where can we locate an immutable Holy Center? If, indeed, one even exists, and is not merely a mirage formed by the unconscious projections of our desires onto an insouciant reality. Does ultimate meaning exist? Or are we forever locked into our own permutations, unable to grasp the secret name of God, unable to ever apprehend the Word? Pynchon is silent on any answers -- indeed, he even takes pains to unmask our uncertainty even farther by serving up purposeful ambiguities. Through the clever placement of ironic transformations and satirical inversions, there are several focal points throughout the work where two opposing images exist simultaneously, setting up an ironic dissonance -- the fact that Hiroshima occurs on the Feast of the Transfiguration, for example, or that Easter Sunday corresponds to April Fool's Day. Is there a message in such a dissonance? Which image contains the greater truth, or is the truth to be found in the juxtaposition itself? Or do we truly dwell in an observer-created reality, where the only meaning we are allowed is what we create from the primal chaos, where all connections we see are fictions, imposed by us upon the universe in order to maintain an illusion of understanding, a ghost of control. . . .

"All these things arise from one difficulty: control."

The issue of control is another theme which Gravity's Rainbow spends a good deal of time exploring from several angles. What is the nature of control? How does this power spring into being? How can it shift from one locus to another? Can a person or a group really possess this power, or is control itself another illusion, another case of humans foisting egocentric assertions upon a chaotic universe? Almost every character in the book seems to have a different perspective on control, and this includes even the dead -- whose often cryptic pronouncements from beyond the grave seem to indicate that the living misunderstand its nature entirely. For some, the need for control becomes a point of obsession, and for others, a point of possession -- a vampiric hunger to force their will onto other beings. Images of control and its consequences are numerous throughout the book. Statistical equations force characters to confront their utter lack of influence over events that may permanently change their lives. Private lives are dissected in order to find any defect in the soul; any flaw, addiction or psychological fault line where another may insert hooks, binding wires and puppet strings. (As Weisenburger eloquently states, "a person's profoundest nightmares are colonized and used for purposes of control.") There are many points in the narrative at which a character's development hinges on how they deal with this issue. Each must come to an understanding concerning his or her locus of control; and the resolution of this realization often marks a turning point in the character's development. Like everything else in Gravity's Rainbow, control is seen from two often contradictory angles. On one hand, Pynchon seems to be saying that you have the willpower to shift your locus of control to yourself, and by removing it from the grip of others, a new level of self-awareness and maturity is reached. On the other hand, perhaps the very idea of control itself is an illusion. Like a rocket at the point of Brennschluss, the point at which its engines cut off and it surrenders to the immutable Law of Gravity, we may be bound to laws and systems we can barely perceive. And at first, these seem to be mutually antagonistic perspectives. But what if these two opposing states have a resolution at a higher energy level -- at least the dead seem to hint at such. There is a certain terrible beauty to this idea of complete surrender, a paradoxical freedom found only in the complete dissolution of the ego. So what are the consequences of surrendering control? Perhaps it depends on the nature of the surrender. Those who have never pulled their locus of control inward in the first place are at risk of losing their soul, in danger of becoming one of the Qlippoth, the "shells of the dead" to forever wander souless and blank. But what of those who have internalized their locus of control, and, through the alchemical transformation of a higher understanding, have made the decision to voluntarily surrender it -- not to Them, evil motherfuckers that They are -- but rather to the flow of universe itself? Is this the path to Satori, the key that allows us to "become the crossroads," to enact a mystical transformation to a higher evolutionary state?

"It's been a prevalent notion . . . Fragments of vessels broken at the Creation."

In the beginning there was the unbroken truth, a divine Unity, the Limitless Light of the Godhead -- a time when all was One. But perfect symmetry is sterile, and holds only limitless Potential. The symmetry must be broken for diversity to bring forth life. The very pressures of Divine Being forced a breaking of this Unity. In order for Creation, there must be a Big Bang, a breaking of symmetry . . . the Word must be spoken and the Godhead must fall down in a fertilizing shower of divine sparks. This destruction and materialization of pure energy into a cascade of creation -- this splintering of the One into the Many -- is a Gnostic and Qabalistic notion that Pynchon has used before, and one which provides the book with a background suffused with an Edenic sense of loss and an almost instinctual hope for return. Many of his characters -- including even a curious contingent of body cells! -- are vested with an intuitive sense of fragmentation, of mystical yearning, of impending near-revelation. There is a sense that his characters are drifting between two metaphysical shores, with a haunting awareness of spiritual disconnection on one side and an almost epileptic near-apprehension of the Word on the other, but tragically unable to fully comprehend either. . . .

Final Words

In closing, I would like to reaffirm my belief in the open text -- I am not suggesting that my interpretations are somehow definitive, comprehensive, or even correct. Pynchon's work is so large, so encompassing, that to claim I know all his intentions, themes, and meanings is quite foolhardy. I am sure that I have neglected some things that a few of you find very important, just as I hope that I brought to light some interpretations that might be worth considering. My favorite metaphor for reading Gravity's Rainbow is that old story about the student who rushes to his Zen master, filled with enthusiastic questions, meanings, relationships -- only to be whacked on the head with a stick. Gravity's Rainbow is that cheerfully disruptive Zen stick. In spite of this whacking, however, if I had to select one "message" learned from the book to stand as the most important, I would probably let Roger Mexico and Jessica Swanlake speak for me:

"They are in Love. Fuck the War."

-- Allen B. Ruch
1 April 1997
April Fool's Day

Bibliography

Here is a list of the sources I used in writing this introduction

Crowley, Aleister. The Book of Thoth. York Beach, Maine: Samuel Weiser, Inc., 1969.

Fortune, Dion. The Mystical Qabalah. York Beach, Maine: Samuel Weiser, Inc., 1984.

Leary, Timothy. Neuropolitique. Scottsdale, AZ: New Falcon Press, 1991.

Weisenburger, Steven. A Gravity's Rainbow Companion. Athens, GA: University of Georgia Press, 1988


--A Ruch
21 May 2000

"A Screaming is in heaven ..." With the sentence, Pynchon begins rainbow severity infamous work. . . of the most controversial, most debated more, and often began-and-then-put-down of the twentieth century. It is difficult to bear the weight of letters and bring out the rainbow in your group. I also ... » See Ya at » What Gets Me Hot