Difference between revisions of "ATD 644-677"
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| + | Also known as a ''föhn,'' a dry wind blowing up the lee side of the Alps. | ||
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Revision as of 09:26, 2 January 2007
- Please keep these annotations SPOILER-FREE by not revealing information from later pages in the novel.
Contents
- 1 Page XX
- 2 Page 644
- 3 Page 645
- 4 Page 646
- 5 Page 647
- 6 Page 648
- 7 Page 649
- 8 Page 650
- 9 Page 651
- 10 Page 652
- 11 Page 653
- 12 Page 654
- 13 Page 655
- 14 Page 656
- 15 Page 657
- 16 Page 658
- 17 Page 659
- 18 Page 660
- 19 Page 661
- 20 Page 662
- 21 Page 663
- 22 Page 664
- 23 Page 665
- 24 Page 666
- 25 Page 667
- 26 Page 668
- 27 Page 669
- 28 Page 670
- 29 Page 671
- 30 Page 672
- 31 Page 673
- 32 Page 674
- 33 Page 675
- 34 Page 676
- 35 Page 677
- 36 Annotation Index
Page XX
Sample entry
Please format like this.
Page 644
Page 645
Page 646
Page 647
For really it was the sidekick who presented the problem. Restless type. Fair hair, hat back on his head so the big brim sort of haloed his face, shiny eyes and low-set, pointed ears like an elf's...
Who is this? Some sort of strange tommyknocker, mine-sprite, or brownie? Or an oblique reference to a named character whose identity I can't discern? remy 10:52, 28 December 2006 (PST)
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Page 649
Rosie's Cantina
As found in Marty Robbins's 1959 hit song "El Paso" (a song frequently covered by the Grateful Dead). When the exiled narrator attempts to return to the cantina, he sees to his right "five mounted cowboys/Off to my left ride a dozen or more."
Page 650
Page 651
Page 652
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Page 655
[S]ometimes a Tatzelwurm is only a Tatzelwurm.
Echoing the comment attributed to Freud, the cigar-loving alienist who would have been on the faculty of the University of Vienna at this time.
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favogn
Also known as a föhn, a dry wind blowing up the lee side of the Alps.
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Page 660
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Page 666
Reader, she bit him.
Reef has failed, both literally and figuratively, to screw the pooch.
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Page 668
Page 669
Page 670
Page 671
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Page 675
As light began to steep in...
Like on page 566, this dream-passage seems to contain a top-down examination of Kit's progress; of his motives and awareness of complicity in the Traverse vengeance-quest against the Vibes. Similar to Kit's earlier dream(s?), it's a thematic reduction and feels like a significant 'clue':
As light began to steep in around the edges of the window blinds, Kit fell asleep again and dreamed of a bullet en route to the heart of an enemy, traveling for many years and many miles, hitting something now and then and ricocheting off at a different angle but continuing its journey as if conscious of where it must go, and he understood that this zigzagging around through four-dimensional space-time might be expressed as a vector in five dimensions. Whatever the number of n dimensions it inhabited, an observer would need one extra, n + 1, to see it and connect the end points to make a single result.
In addition to the broad narrative summary, there appears to be a metatextual implication here. Regarding the reader in Pynchon's overall 'Against The Day' scheme: the novel n must be observed from an n +1 perspective (that is: dimensionally distinct) to connect end-points and weave a single result, to engage and correlate strands and twines into a coherent narrative whole. Without an overarching consciousness there's apparent anarchy: with said consciousness there's meaning and vector.
remy 10:52, 28 December 2006 (PST)
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Page 677
Annotation Index
| Part One: The Light Over the Ranges |
|
|---|---|
| Part Two: Iceland Spar |
119-148, 149-170, 171-198, 199-218, 219-242, 243-272, 273-295, 296-317, 318-335, 336-357, 358-373, 374-396, 397-428 |
| Part Three: Bilocations |
429-459, 460-488, 489-524, 525-556, 557-587, 588-614, 615-643, 644-677, 678-694 |
| Part Four: Against the Day |
695-723, 724-747, 748-767, 768-791, 792-820, 821-848, 849-863, 864-891, 892-918, 919-945, 946-975, 976-999, 1000-1017, 1018-1039, 1040-1062 |
| Part Five: Rue du Départ |
