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Fw: pynchon-l-digest V2 #3534 Pale Fire
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----- Original Message -----
From: "pynchon-l-digest" <owner-pynchon-l-digest@waste.org>
To: <pynchon-l-digest@waste.org>
Sent: Friday, September 05, 2003 12:00 AM
Subject: pynchon-l-digest V2 #3534
>
> pynchon-l-digest Friday, September 5 2003 Volume 02 : Number
3534
>
>
>
> VLVL(4)(jj) Pat Sajak meets the Riddler
> Re: NPPF Comm 2: Dr. Notebook
> Re: NPPF Comm 2: Dr. Notebook
> Re: NPPF Comm 2: Dr. Notebook
> Re: NPPF Comm 2: Dr. Notebook
> Re: NPPF Comm 2: Dr. Notebook
> NPPF: Nabokov On Foliaged Optics and Zembla
> [NPPF] Nabokov and Hitchcock
> Re: NPPF Comm 2: Dr. Notebook
> Re: NPPF Comm 2: Dr. Notebook
> [NPPF] Nabokov and Family Resemblances
> Re: NPPF Comm 2: Dr. Notebook
> Re: [NPPF] Nabokov and Family Resemblances
> RE: NPPF Comm 2: Dr. Notebook
> [NPPF] The Incest Taboo
> Re: VLVL(4)(jj) Pat Sajak meets the Riddler
> Re: VLVL2 (4) Off-stage
> [NPPF] Nabokov On The Poem, 'Pale Fire'
> Re: VLVL2 shits and giggles
> RE: [NPPF] Nabokov On The Poem, 'Pale Fire'
> Re: [NPPF] Nabokov On The Poem, 'Pale Fire'
> RE: [NPPF] Nabokov On The Poem, 'Pale Fire'
> NP The surprisingly inaccurate gender genie!
> Re: NPPF Comm 2: Dr. Notebook
> Re: NP The surprisingly inaccurate gender genie!
> RE: Commentary to lines 47-48
> RE: NP The surprisingly inaccurate gender genie!
> Re: NPPF Aunt Maud
> Re: NPPF Aunt Maud
> Re: NPPF That'd be up the butt, Bob [was Comm 2: My bedroom, part 2
(tendril)]
> Re: NPPF Comm 2: Dr. Notebook
> Re: NP The surprisingly inaccurate gender genie!
> Re: NPPF Aunt Maud
>
> ----------------------------------------------------------------------
>
> Date: Thu, 4 Sep 2003 08:45:09 -0700
> From: "Vincent A. Maeder" <vmaeder@cycn-phx.com>
> Subject: VLVL(4)(jj) Pat Sajak meets the Riddler
>
> "Um, oh. It's Pat Sajak in The Frank Gorshin Story." (VL, Ch.
> 4, p. 48)
>
> Mr. Pynchon's imagination at work here again slamming two icons
> of the big and little screen together to create some third creepy
> hybrid. Frank Gorshin, born 1934, still going strong, known as the best
> impressionist in Hollywood and as the Riddler in that Batman TV
> series... "Ohhh, THAT Frank Gorshin..." Yes, that Frank Gorhsin. He's
> still around and kicking as recently appearing (2002) in a one-man stage
> show based on the life of George Burns, entitled "Say Goodnight,
> Gracie." And he will soon appear in "Bloodhead" (rel. date 2003) and
> "Pizza with Bullets" (rel. date 2004). Really.
> http://us.imdb.com/name/nm0331319/filmoyear
>
> For his part, Pat Sajak is infamous as the dude in Wheel of
> Fortune, starting his own due-to-die/short-lived talk show (remember
> when he was the swoon? An alternate universe, foax). His credits:
>
> 1. "Pat Sajak Show, The" (1989) TV Series .... Host (1989-1990)
> 2. "Days of Our Lives" (1965) TV Series .... Kevin Hathaway (1983)
> .... aka "Cruise of Deception: Days of Our Lives" (1990) (USA: new title
> (summer title))
> .... aka "DOOL" (1965) (USA: informal short title)
> .... aka "Days" (1965) (USA: abbreviated title)
> 3. Airplane II: The Sequel (1982) .... Buffalo Anchorman
> .... aka Flying High II (1982)
> 4. "Wheel of Fortune" (1975) TV Series .... Host (1981-)
> 5. "Sunday Show, The" (1976) TV Series .... Co-host
> 6. "NewsCenter, The" (1974) TV Series .... L.A. Anchor
> .... aka "NewsCenter 4" (1974) (USA: informal alternative title)
>
> But he also has an industry in playing himself:
>
> 1. "King of Queens, The" (1998) playing "Himself" in episode: "Inner
> Tube" (episode # 3.17) 26 February 2001
> 2. "Larry King Live" (1985) playing "Himself, Guest Host" 26 December
> 2000
> 3. "Just Shoot Me!" (1997) playing "Himself" in episode: "A&E Biography:
> Nina Van Horn" (episode # 4.23) 9 May 2000
> 4. "Larry Sanders Show, The" (1992) playing "Himself" in episode: "As My
> Career Lay Dying" (episode # 6.3) 29 March 1998
> 5. "Larry Sanders Show, The" (1992) playing "Himself" in episode: "End
> of the Season" (episode # 3.17) 12 October 1994
> 6. "Rugrats" (1991) playing "Himself" in episode: "Under Chuckie's
> Kid/Chuckie Is Rich" (episode # 3.16) 9 January 1994
> 7. "Commish, The" (1991) playing "Dr. Brian Brandon" in episode: "The
> Two Faces of Ed" (episode # 2.6) 7 November 1992
> 8. "Santa Barbara" (1984) playing "Himself" 1988
> 9. "227" (1985) playing "Himself" in episode: "The Wheel of Misfortune"
> (episode # 2.1) 4 October 1986
> 10. "A-Team, The" (1983) playing "Himself" in episode: "Wheel of
> Fortune" (episode # 4.13) 14 January 1986
> 11. "Gimme a Break!" (1981) playing "Himself" in episode: "The Big
> Apple: Part 1" (episode # 3.17) 16 February 1984
> 12. "Super Password" (1984) playing "Celebrity Guest" (episode # 1.1)
> 13. "Match Game/Hollywood Squares Hour, The" (1983) playing "Guest
> Panelist"
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 09:08:52 -0700 (PDT)
> From: Malignd <malignd@yahoo.com>
> Subject: Re: NPPF Comm 2: Dr. Notebook
>
> <<But ultimately what is the value of a Botkin
> existing at all, whether another as a layer beneath
> Kinbote's madness or as a genius creator of a
> fictional construct which includes authorship of a
> poem, other than, as Kaplan posits, for Nabokov to
> poke his own identity into the text. >>
>
> <<Isn't that what Pale Fire is about? Authors poking
> their identities into the texts?>>
>
> There is among some commentators the notion that David
> is echoing, i.e., that Botkin might prove one wrinkle
> too many on VN's part.
>
> When one first discovers Botkin buried in the mix
> there is an expectation that a--"the"--telling clue,
> or skeleton key has been discovered.
>
> Alas.
>
>
>
>
> __________________________________
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>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 09:11:35 -0700 (PDT)
> From: David Morris <fqmorris@yahoo.com>
> Subject: Re: NPPF Comm 2: Dr. Notebook
>
> - --- Terrance <lycidas2@earthlink.net> wrote:
> >
> > But ultimately what is the value of a Botkin existing at all, whether
> another as a layer beneath Kinbote's madness or as a genius creator of a
> fictional construct which includes authorship of a poem, other than, as
Kaplan
> posits, for Nabokov to poke his own identity into the text.
> >
> > Isn't that what Pale Fire is about? Authors poking their identities into
the
> texts?
>
> All this "about" stuff from you! :)
>
> If the text aint any good, who cares about the author? If the author
wan'ts to
> sick in his identity, it should go further than the act. It should add
> something.
>
> DM
>
>
> __________________________________
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> Yahoo! SiteBuilder - Free, easy-to-use web site design software
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>
> ------------------------------
>
> Date: Thu, 04 Sep 2003 12:33:46 -0400
> From: Terrance <lycidas2@earthlink.net>
> Subject: Re: NPPF Comm 2: Dr. Notebook
>
> >
> > There is among some commentators the notion that David
> > is echoing, i.e., that Botkin might prove one wrinkle
> > too many on VN's part.
>
> Kinda of a silly thing to say. I mean, it's not as if we're playing a
> game of chess here. There is no rule against castling a Queen. And after
> having done so, and after putting a one's King in one's pocket,
> substituting a salt shaker for the missing king.
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 09:40:51 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: Re: NPPF Comm 2: Dr. Notebook
>
> >>> If the author wan'ts to
> sick in his identity, it should go further than the act. It should add
> something. <<<
>
> It adds a wink and a smile.
>
> Hitchcock's cameos are delightful.
>
> ------------------------------
>
> Date: Thu, 04 Sep 2003 12:55:20 -0400
> From: Terrance <lycidas2@earthlink.net>
> Subject: Re: NPPF Comm 2: Dr. Notebook
>
> >
> > When one first discovers Botkin buried in the mix
> > there is an expectation that a--"the"--telling clue,
> > or skeleton key has been discovered.
>
> Shade talks about composition. Nabokov talks about composition in his
> Lectures.
> Skip those for now, but reading at pages 80-81, Line 42: I could make
> out we get both.
>
> Notice that Kinbote uses the phrase "Family Resemblance" in the middle
> of page 81
>
>
> Aphorism 65-69 from
> Wittgenstein's Philosophical Investigations
> with commentary on the right by
> Lois Shawver
>
> http://users.rcn.com/rathbone/lw65-69c.htm
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 09:52:03 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: NPPF: Nabokov On Foliaged Optics and Zembla
>
> Alfred Appel, Jr:
> In Pale Fire, Kinbote complains that "The coming
> of summer represented a problem in optics. " The Eye is
> well-titled, since you plumb these problems throughout your
> fiction; the apprehension of "reality" is a miracle of vision,
> and consciousness is virtually an optical instrument in your
> work. Have you studied the science of optics at all, and would
> you say something about your own visual sense, and bow you feel
> it has served your fiction?
>
> VN: I am afraid you are quoting this out of context. Kinbote
> was simply annoyed by the spreading foliage of summer
> interfering with his Tom-peeping. Otherwise you are right in
> suggesting that I have good eyes. Doubting Tom should have worn
> spectacles. It is true, however, that even with the best of
> visions one must touch things to be quite sure of
> "reality."
>
> ****************************************************
>
> Alfred Appel, Jr:
> Speaking of donnees; At the end o/Pale Fire,
> Kinbote says of Shade and bis poem, "I even suggested to him
> a good title-- the title of the book in me whose pages he was
> to cut: Solus Rex; instead of which I saw Pale Fire,
> which meant to me nothing."' In 1940 Sovremennye Zapiski
> published a long section from your "unfinished" novel.
> Solus Rex, under that title. Does Pale Fire represent
> the "cutting" of its pages? What is the relationship between
> it, the other untranslat! ed fragment from Solus Rex
> ("Ultima Thule,'" published in Novyy Journal, New
> York, 1942) and Pale Fire?
>
> VN: My Solus Rex might have disappointed Kinbote less
> than Shade's poem. The two countries, that of the Lone King and
> the Zembla land, belong to the same biological zone. Their
> subarctic bogs have much the same butterflies and berries. A
> sad and distant kingdom seems to have haunted my poetry and
> fiction since the twenties. It is not associated with my
> personal past. Unlike Northern Russia, both Zembla and Ultima
> Thule are mountainous, and their languages are of a phony
> Scandinavian type. If a cruel prankster kidnapped Kinbote and
> placed him, blindfolded, in the Ultima Thule countryside,
> Kinbote would not know-- at least not immediately-- by the sap
> smells and bird calls that he was not back in Zembla, but he
> would be tolerably sure that he was not on the banks of the
> Neva.
> http://lib.ru/NABOKOW/Inter06.txt
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 09:58:02 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: [NPPF] Nabokov and Hitchcock
>
> http://www.imagesjournal.com/issue03/features/hitchnab1.htm
>
> ------------------------------
>
> Date: Thu, 04 Sep 2003 13:01:22 -0400
> From: Terrance <lycidas2@earthlink.net>
> Subject: Re: NPPF Comm 2: Dr. Notebook
>
> s~Z wrote:
> >
> > >>> If the author wan'ts to
> > sick in his identity, it should go further than the act. It should add
> > something. <<<
> >
> > It adds a wink and a smile.
> >
> > Hitchcock's cameos are delightful.
>
> But I think it's kinda ironic that Nabokov, at least in his critical
> writings and the like, privileges the objective author, that is, the
> author who is no where present in the text, has disappeared or is merely
> standing in the shade of the apple tree paring his fingernails, shedding
> his scarf skin like an innocent serpent, but he is so obviously creeping
> on every page.
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 10:02:04 -0700 (PDT)
> From: David Morris <fqmorris@yahoo.com>
> Subject: Re: NPPF Comm 2: Dr. Notebook
>
> - --- s~Z <keithsz@concentric.net> wrote:
> > >>> If the author wan'ts to sick in his identity, it should go further
than
> the act. It should add something. <<<
> >
> > It adds a wink and a smile.
> >
> > Hitchcock's cameos are delightful.
>
> Of course they are, but the movie stood on its own.
>
> DM
>
>
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
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>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 10:07:10 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: [NPPF] Nabokov and Family Resemblances
>
> http://www.santafe.edu/sfi/publications/Working-Papers/01-10-057.pdf
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 10:14:24 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: Re: NPPF Comm 2: Dr. Notebook
>
> >>>But I think it's kinda ironic that Nabokov, at least in his critical
> writings and the like, privileges the objective author, that is, the
> author who is no where present in the text, has disappeared or is merely
> standing in the shade of the apple tree paring his fingernails, shedding
> his scarf skin like an innocent serpent, but he is so obviously creeping
> on every page.<<<
>
> Nabokov's nonfiction indeed adds to the force of his overall penchant for
> winking and smiling.
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 10:30:06 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: Re: [NPPF] Nabokov and Family Resemblances
>
> "All happy families are more or less dissimilar; all unhappy ones are more
> or less alike," says a great Russian writer in the beginning of a famous
> novel (_Anna Arkadievitch Karenina_, transfigured into English by R. G.
> Stonelower, Mount Tabor Ltd., 1880)."
>
> --opening line of ADA
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 13:39:20 -0400
> From: "Jasper Fidget" <jasper@hatguild.org>
> Subject: RE: NPPF Comm 2: Dr. Notebook
>
> > -----Original Message-----
> > From: owner-pynchon-l@waste.org [mailto:owner-pynchon-l@waste.org] On
> > Behalf Of s~Z
> > Sent: Thursday, September 04, 2003 12:41 PM
> > To: pynchon-l@waste.org
> > Subject: Re: NPPF Comm 2: Dr. Notebook
> >
> > >>> If the author wan'ts to
> > sick in his identity, it should go further than the act. It should add
> > something. <<<
> >
> > It adds a wink and a smile.
> >
> > Hitchcock's cameos are delightful.
>
>
> If that's VN's cameo, then who's the "bald sun-tanned professor" on p.
282?
> Or are the cameos also mirrored?
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 10:40:46 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: [NPPF] The Incest Taboo
>
> >>> There is no rule against castling a Queen. <<<
>
> SYLLABICATION: cas╥tle
> PRONUNCIATION: ksl
>
> INTRANSITIVE VERB: Games To move the king in chess from its own square two
> empty squares to one side and then, in the same move, bring the rook from
> that side to the square immediately past the new position of the king.
> TRANSITIVE VERB: 1. To place in or as if in a castle. 2. Games To move
(the
> king in chess) by castling.
> ETYMOLOGY: Middle English castel, from Old English and from Norman French,
> both from Latin castellum, diminutive of castrum. See kes- in Appendix I.
>
> ENTRY: kes-
> DEFINITION: To cut. Oldest form *es-, becoming *kes- in centum languages.
> Variant *kas-. 1. Suffixed form *kas-tro-. a. castrate, from Latin
castrre,
> to castrate; b. alcazar, castellan, castellated, castle, from Latin
castrum,
> fortified place, camp (perhaps "separated place"). 2. Suffixed form
> *kas-to-. caste, chaste; castigate, incest, from Latin castus, chaste,
pure
> (< "cut off from or free of faults"). 3. Suffixed (stative) form *kas--.
> caret, from Latin carre, "to be cut off from," lack. 4. Extended geminated
> form *kasso-. cashier, quash1, cassation, from Latin cassus, empty, void.
> (Pokorny es- 586.)
>
> http://www.bartleby.com/61/
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 10:46:51 -0700 (PDT)
> From: Dave Monroe <monrovius@yahoo.com>
> Subject: Re: VLVL(4)(jj) Pat Sajak meets the Riddler
>
> Twilight of the Ice Nymphs (1997)
>
> http://www.zeitgeistfilms.com/current/icenymphs/twilight.html
>
> http://www.zeitgeistfilms.com/directors/guymaddin.html
>
> - --- "Vincent A. Maeder" <vmaeder@cycn-phx.com> wrote:
> > "Um, oh. It's Pat Sajak in The Frank Gorshin
> > Story." (VL, Ch. 4, p. 48)
> >
> > Frank Gorshin, born 1934, still going strong ...
>
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
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>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 14:16:56 -0400 (EDT)
> From: Michael Joseph <mjoseph@rci.rutgers.edu>
> Subject: Re: VLVL2 (4) Off-stage
>
> Like the Vineland map, it lends itself to different readings in accordance
> with the conceptual framing of the reader. It is probably also a useful
> index to (not to say map of) one's own idiosyncracies (and, given a
> communal reading, the idiosyncracies of a certain, self-selected sampling
> of the reading public). I hope what I wrote also goes to prove that
> Paul Nightingale's particular reading of (I'm paraphrasing) the contested
> representation of history has resonance, and to elicit your intellectual
> support for the proposition that _Vineland_ is also examinable in terms of
> the dynamic reciprocity between imagination and history.
>
> Michael
>
> On Wed, 3 Sep 2003, Tim Strzechowski wrote:
>
> > Which only goes to prove that we can examine _Vineland_ in light of
numerous
> > other themes and ideas:
> >
> > 1. Responsibility (political, social, familial, etc.)
> > 2. Family or Parent/Child Relationships
> > 3. The role of women / maternal figures
> > 4. How to interpret the Past
> > 5. Communication / Missed Communication / How to Communicate
> > 6. The role of Television on social consciousness
> > 7. Reality vs. Illusion
> > 8. The purposes / benefits of Violence
> > 9. Innocence vs. Experience
> > 10. How to read / interpret text
> > 11. Pop Culture as a means of communication / interpretation
> > 12. Drugs (as addictives) and their relation to TV, pop culture, sex,
> > power, etc.
> >
> > The list goes on and on . . .
> >
> >
> > Tim
> >
> >
> > >
> > > I am in agreement with two of your main points - that Prairie serves
as
> > > the reader or pre-reader of Vineland (a naive reader, which is perhaps
a
> > > topos Pynchon parodies in MD with Pitt and Pliny), and that the text
is
> > > ultimately philosophical and concerned with history (both its
> > > representation and I think its toleration), and I am profoundly
grateful
> > > to you for expressing them. I suspect one has to explore the question
of
> > > what role the imaginative plays in the construction of any form of
history
> > > here (and consider how Pynchon balances history/empirical against
human
> > > creativity, inasmuch as this meditation assumes the form of a novel
and so
> > > at some fairly high order of magnitude si concerned with how to write
a
> > > novel), and to say more clearly what one means by history.
> > >
> >
> >
> >
> >
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 11:23:56 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: [NPPF] Nabokov On The Poem, 'Pale Fire'
>
> "Nabokov had been turning over various seeds of Pale Fire as early as
1939,
> but the form it was finally to take did not crystallize until 1960. When
he
> submitted the poem, originally called "The Brink," to Esquire in 1961, he
> told editor Rust Hills that it was "racy and tricky, and unpleasant, and
> bizarre." (Esquire rejected the piece, as the magazine never published
> poetry.)"
> http://www.nypl.org/research/chss/epo/nabokov/fswitz.htm
>
> Main Entry: brink
> Pronunciation: 'bri[ng]k
> Function: noun
> Etymology: Middle English, of Scandinavian origin; akin to Old Norse
brekka
> slope; akin to Middle Dutch brink grassland
> Date: 13th century
> 1 : EDGE; especially : the edge at the top of a steep place
> 2 : a bank especially of a river
> 3 : the point of onset : VERGE <on the brink of war>
> 4 : the threshold of danger
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 14:57:22 -0400 (EDT)
> From: Michael Joseph <mjoseph@rci.rutgers.edu>
> Subject: Re: VLVL2 shits and giggles
>
> T,
>
> I think _Vineland_'s like the twelve tone serial music; you can say it's
> just the same 12 notes over and over, but the way the text rises into
> literature despite its rather astringent constraints, and makes the
> transcendence over its constraints a trope within its ontological play,
> is, I think, a more fruitful topic of discussion. Umm, you do actually
> like Pynchon, don't you, Terrance?
>
> M
>
>
> > nest hairdo and the thingy in his ear. kinda stuff Saturday Night Live
> > would do. That's mostly what's going on here, shits and giggles.
> >
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 15:18:26 -0400
> From: "Scott Badger" <lupine@ncia.net>
> Subject: RE: [NPPF] Nabokov On The Poem, 'Pale Fire'
>
> s~Z:
> > "Nabokov had been turning over various seeds of Pale Fire as
> > early as 1939,
> > but the form it was finally to take did not crystallize until
> > 1960. When he
> > submitted the poem, originally called "The Brink," to Esquire in 1961,
he
> > told editor Rust Hills that it was "racy and tricky, and unpleasant, and
> > bizarre." (Esquire rejected the piece, as the magazine never published
> > poetry.)"
> > http://www.nypl.org/research/chss/epo/nabokov/fswitz.htm
> >
> > Main Entry: brink
> > Pronunciation: 'bri[ng]k
> > Function: noun
> > Etymology: Middle English, of Scandinavian origin; akin to Old
> > Norse brekka
> > slope; akin to Middle Dutch brink grassland
>
> A (very) slippery slope....
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 12:16:24 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: Re: [NPPF] Nabokov On The Poem, 'Pale Fire'
>
> >>>A (very) slippery slope....<<<
>
> Now, now. It's a genteel work written by
> a grieving father grappling with issues of
> life and death in a romantic poem. Kinbote's
> the one who fucks up the whole thing.
> Racy, tricky, unpleasant, and bizarre?
> This is not the John Shadow we have come
> to know and love!
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 15:48:07 -0400
> From: "Scott Badger" <lupine@ncia.net>
> Subject: RE: [NPPF] Nabokov On The Poem, 'Pale Fire'
>
> s~Z:
> > "Nabokov had been turning over various seeds of Pale Fire as
> > early as 1939,
> > but the form it was finally to take did not crystallize until
> > 1960. When he
> > submitted the poem, originally called "The Brink," to Esquire in 1961,
he
> > told editor Rust Hills that it was "racy and tricky, and unpleasant, and
> > bizarre." (Esquire rejected the piece, as the magazine never published
> > poetry.)"
> > http://www.nypl.org/research/chss/epo/nabokov/fswitz.htm
> >
> > Main Entry: brink
> > Pronunciation: 'bri[ng]k
> > Function: noun
> > Etymology: Middle English, of Scandinavian origin; akin to Old
> > Norse brekka
> > slope; akin to Middle Dutch brink grassland
>
> A (very) slippery slope...
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 15:36:08 -0400
> From: "Jasper Fidget" <jasper@hatguild.org>
> Subject: NP The surprisingly inaccurate gender genie!
>
> Inspired by an article in The New York Times Magazine, the Gender Genie
uses
> an algorithm developed by Moshe Koppel, Bar-Ilan University in Israel, and
> Shlomo Argamon, Illinois Institute of Technology, to predict the gender of
> an author. Read more about the algorithm at nature.com.
>
> http://www.bookblog.net/gender/genie.html
>
> Ever wonder if your online dating pal was really a dude?
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 13:02:10 -0700 (PDT)
> From: Malignd <malignd@yahoo.com>
> Subject: Re: NPPF Comm 2: Dr. Notebook
>
> <<Kinda of a silly thing to say. I mean, it's not as
> if we're playing a game of chess here. There is no
> rule against castling a Queen. And after having done
> so, and after putting a one's King in one's pocket,
> substituting a salt shaker for the missing king.>>
>
> It isn't silly, necessarily. Nabokov has created a
> novel that is in part a puzzle; he invites his reader
> to respond to it as such; he is on record elsewhere
> that, in writing, he likes to create elegant puzzles.
> He is, as you probably know, a writer of chess
> puzzles.
>
> The comments I refer to question whether, in creating
> yet another level of "who's authoring whom," elegance
> is lost rather than gained.
>
>
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
> http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 13:13:20 -0700 (PDT)
> From: Dave Monroe <monrovius@yahoo.com>
> Subject: Re: NP The surprisingly inaccurate gender genie!
>
> Scroll down for your results...
>
> Original: I never thought I'd be writing to your
> magazine, but ...
>
> Keywords: i never thought i'd be writing to
> [possessive pronoun] magazine but
>
> Score: -3
> Words: 10
>
> The Gender Genie thinks the author of this passage is:
> Female!
>
> http://www.bookblog.net/gender/genie.php
>
> - --- Jasper Fidget <jasper@hatguild.org> wrote:
> >
> > Inspired by an article in The New York Times
> > Magazine, the Gender Genie uses an algorithm
> > developed by Moshe Koppel, Bar-Ilan University in
> > Israel, and Shlomo Argamon, Illinois Institute of
> > Technology, to predict the gender of
> > an author. Read more about the algorithm at
> > nature.com.
> >
> > http://www.bookblog.net/gender/genie.html
> >
> > Ever wonder if your online dating pal was really a
> > dude?
>
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
> http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 13:20:04 -0700
> From: "Glenn Scheper" <glenn_scheper@earthlink.net>
> Subject: RE: Commentary to lines 47-48
>
> > Glenn--
>
> > In my driveway I have access to a Mini Cooper (young, cute, very quick
in
> > the corners) and a older Nissan Altima (experienced, well-mannered,
solid
> > citizen with a surprising wanton streak). Which would you recommend to
> > somebody who is just beginning to experiment with this auto-fellatio
> thing?
>
> > Don
>
> Well, I met a man over the internet, who described having a sports car
> with leather seats, and an electric motor to drive the seats forward,
> and (I forgot the exact details) such a motor facilitated his flexion.
>
> Yours truly,
> Glenn Scheper
> http://home.earthlink.net/~glenn_scheper/
> glenn_scheper + at + earthlink.net
> Copyleft(!) Forward freely.
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 13:20:17 -0700
> From: "Vincent A. Maeder" <vmaeder@cycn-phx.com>
> Subject: RE: NP The surprisingly inaccurate gender genie!
>
> Well, it's one for one on my own writing, so either I'm androgynous or the
> genie ain't so accurate.
>
> V.
>
> P.S. or my writing is VERY inconsistent, which is always a possibility,
you
> know.
>
> > -----Original Message-----
> > From: Dave Monroe [mailto:monrovius@yahoo.com]
> >
> > Scroll down for your results...
> >
> > Original: I never thought I'd be writing to your
> > magazine, but ...
> >
> > Keywords: i never thought i'd be writing to
> > [possessive pronoun] magazine but
> >
> > Score: -3
> > Words: 10
> >
> > The Gender Genie thinks the author of this passage is:
> > Female!
> >
> > http://www.bookblog.net/gender/genie.php
> >
> > --- Jasper Fidget <jasper@hatguild.org> wrote:
> > >
> > > Inspired by an article in The New York Times
> > > Magazine, the Gender Genie uses an algorithm
> > > developed by Moshe Koppel, Bar-Ilan University in
> > > Israel, and Shlomo Argamon, Illinois Institute of
> > > Technology, to predict the gender of
> > > an author. Read more about the algorithm at
> > > nature.com.
> > >
> > > http://www.bookblog.net/gender/genie.html
> > >
> > > Ever wonder if your online dating pal was really a
> > > dude?
> >
> > __________________________________
> > Do you Yahoo!?
> > Yahoo! SiteBuilder - Free, easy-to-use web site design software
> > http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Fri, 05 Sep 2003 08:08:06 +1000
> From: jbor <jbor@bigpond.com>
> Subject: Re: NPPF Aunt Maud
>
> >> One wonders though -- Kinbote answering Keith here perhaps -- whether
there
> >> is something in this superimposition of Hazel onto Maud. Given the
lesbian
> >> and incest speculations, the mirroring effects in the goings-on in the
> >> Zemblan court and the Shade household, the lack of any mention in the
poem
> >> of Maud's presence as Hazel was growing up, and Hazel's latent
emotional
> >> disorders, is there cause to consider Maud as *Hazel's* seducer?
Perhaps the
> >> imagery in Shade's poem is a subconscious manifestation of the
*parental*
> >> shame and remorse he has tried to submerge since his daughter's
suicide?
>
> on 5/9/03 12:22 AM, David Morris wrote:
>
> > Hazel is sixteen when Maude dies, well into high school, so it is
curious that
> > she is invisible in any interaction with Hazel (or Sybil) in the poem.
> > Shade's
> > occupation of the house is continuous from childhood through his own
death.
> > Woldn't it seem likely that Maude would stay on there as well? BTW, I
> > speculated Maude's abuse of Hazel and Shade's guilt a long while back,
but the
> > evidence is so thin...
>
> I think the implication is that Maud lived in the house until her death in
> 1950, when she would have been 80 or 81. I agree that the evidence is
thin,
> but there is something in the buildup of imagery which Keith catalogued.
But
> credit to you for initially positing the secondary incest theory.
>
> I can see now Kinbote's misreading of line 90 in the poem -- "She lived to
> hear the next babe cry." Shade communicates the information that Maud
loved
> babies and infants. Kinbote has misinterpreted the idiomatic phrase he has
> used -- "She lived to ... " -- which renders the meaning that it was the
joy
> of her life, something she really relished. He has interpreted it
literally,
> prosaically, to mean that she only "lived to", or survived, to the time of
> Hazel's birth. Partly this can be attributed to Kinbote's unfamiliarity
with
> English colloquial idioms, but I think the more salient feature is the way
> Nabokov shows us again just how clumsy and off-base Kinbote is as a reader
> and critic, making an absolute mess of it here, as in his opening note, as
> in the majority of the relatively few notes where he does attempt to
address
> the content of Shade's poem. Kinbote's claim to be an academic "expert" in
> the field of American poetry seems a patent lie.
>
> best
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 16:29:20 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: Re: NPPF Aunt Maud
>
> >>> I agree that the evidence is thin, but there is something in the
buildup
> of imagery which Keith catalogued.<<<
>
> Now add to the buildup of imagery Nabokov's own words about the poem sans
> commentary. He characterizes the poem as "racy and tricky, and unpleasant,
> and bizarre."
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 20:45:16 -0400
> From: "Don Corathers" <gumbo@fuse.net>
> Subject: Re: NPPF That'd be up the butt, Bob [was Comm 2: My bedroom, part
2 (tendril)]
>
> > --- Don Corathers <gumbo@fuse.net> wrote:
> > > I think I 've figured this out, at some cost to my moral serenity:
with
> no
> > "secondary homosexual complications" Kinbote is assuring us he's not
> Fleur's
> > back-door man, either.
> >
> > I think you're making this into a "bush vet" thing, but that's OK 'cause
> who
> > really cares?
> >
> > DM
>
>
> That certainly wasn't my intent. I really believe that's the meaning of
the
> sentence. I was also serious in my post about the alternate definition of
> "infant" and the possible implications of the uncertainty of the date of
> Caroline Shade's death.
>
> I think such details are worth caring about in Pale Fire because, unlike
the
> extended dialogue about the meaning of "Bush vet," close examination of
them
> sometimes--often--yields rewards and connections. This one, if you choose
> to read it the way I do, reveals something about Kinbote's sexual
> psychology. It's a small thing but it deepens my understanding of his
> character. It is by teasing out the little Easter eggs and alternate
> readings in the text that the texture is revealed. Thought that was why we
> were reading the book.
>
> Don
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 21:17:25 -0400
> From: "Don Corathers" <gumbo@fuse.net>
> Subject: Re: NPPF Comm 2: Dr. Notebook
>
> > If that's VN's cameo, then who's the "bald sun-tanned professor" on p.
> 282?
> > Or are the cameos also mirrored?
> >
>
> Must be Dr. Hitchcock.
>
> But seriously, comrades, isn't it a little early to be so dismissive of
poor
> Botkin? He's barely had a chance to start skulking around the margins.
>
> Don
>
> ------------------------------
>
> Date: Fri, 5 Sep 2003 05:26:21 +0200
> From: "Otto" <ottosell@yahoo.de>
> Subject: Re: NP The surprisingly inaccurate gender genie!
>
> - ----- Original Message -----
> From: "Jasper Fidget" <jasper@hatguild.org>
> To: <pynchon-l@waste.org>
> Sent: Thursday, September 04, 2003 9:36 PM
> Subject: NP The surprisingly inaccurate gender genie!
>
>
> > Inspired by an article in The New York Times Magazine, the Gender Genie
> uses
> > an algorithm developed by Moshe Koppel, Bar-Ilan University in Israel,
and
> > Shlomo Argamon, Illinois Institute of Technology, to predict the gender
of
> > an author. Read more about the algorithm at nature.com.
> >
> > http://www.bookblog.net/gender/genie.html
> >
> > Ever wonder if your online dating pal was really a dude?
> >
>
> Submitting the text of my own opening page:
>
> "The Gender Genie thinks the author of this passage is: Female!"
>
> I knew that I was either in the wrong body or on the wrong planet.
>
> Otto
>
> ------------------------------
>
> Date: Fri, 5 Sep 2003 01:41:11 -0400 (EDT)
> From: Michael Joseph <mjoseph@rci.rutgers.edu>
> Subject: Re: NPPF Aunt Maud
>
> > >>> I agree that the evidence is thin, but there is something in the
buildup
> > of imagery which Keith catalogued.<<<
> >
> > Now add to the buildup of imagery Nabokov's own words about the poem
sans
> > commentary. He characterizes the poem as "racy and tricky, and
unpleasant,
> > and bizarre."
> >
> she's a witch!!
>
> michael
>
> ------------------------------
>
> End of pynchon-l-digest V2 #3534
> ********************************
>
> To unsubscribe, send a message to waste@waste.org
> with "unsubscribe pynchon-l-digest" in the message body.
From: "pynchon-l-digest" <owner-pynchon-l-digest@waste.org>
To: <pynchon-l-digest@waste.org>
Sent: Friday, September 05, 2003 12:00 AM
Subject: pynchon-l-digest V2 #3534
>
> pynchon-l-digest Friday, September 5 2003 Volume 02 : Number
3534
>
>
>
> VLVL(4)(jj) Pat Sajak meets the Riddler
> Re: NPPF Comm 2: Dr. Notebook
> Re: NPPF Comm 2: Dr. Notebook
> Re: NPPF Comm 2: Dr. Notebook
> Re: NPPF Comm 2: Dr. Notebook
> Re: NPPF Comm 2: Dr. Notebook
> NPPF: Nabokov On Foliaged Optics and Zembla
> [NPPF] Nabokov and Hitchcock
> Re: NPPF Comm 2: Dr. Notebook
> Re: NPPF Comm 2: Dr. Notebook
> [NPPF] Nabokov and Family Resemblances
> Re: NPPF Comm 2: Dr. Notebook
> Re: [NPPF] Nabokov and Family Resemblances
> RE: NPPF Comm 2: Dr. Notebook
> [NPPF] The Incest Taboo
> Re: VLVL(4)(jj) Pat Sajak meets the Riddler
> Re: VLVL2 (4) Off-stage
> [NPPF] Nabokov On The Poem, 'Pale Fire'
> Re: VLVL2 shits and giggles
> RE: [NPPF] Nabokov On The Poem, 'Pale Fire'
> Re: [NPPF] Nabokov On The Poem, 'Pale Fire'
> RE: [NPPF] Nabokov On The Poem, 'Pale Fire'
> NP The surprisingly inaccurate gender genie!
> Re: NPPF Comm 2: Dr. Notebook
> Re: NP The surprisingly inaccurate gender genie!
> RE: Commentary to lines 47-48
> RE: NP The surprisingly inaccurate gender genie!
> Re: NPPF Aunt Maud
> Re: NPPF Aunt Maud
> Re: NPPF That'd be up the butt, Bob [was Comm 2: My bedroom, part 2
(tendril)]
> Re: NPPF Comm 2: Dr. Notebook
> Re: NP The surprisingly inaccurate gender genie!
> Re: NPPF Aunt Maud
>
> ----------------------------------------------------------------------
>
> Date: Thu, 4 Sep 2003 08:45:09 -0700
> From: "Vincent A. Maeder" <vmaeder@cycn-phx.com>
> Subject: VLVL(4)(jj) Pat Sajak meets the Riddler
>
> "Um, oh. It's Pat Sajak in The Frank Gorshin Story." (VL, Ch.
> 4, p. 48)
>
> Mr. Pynchon's imagination at work here again slamming two icons
> of the big and little screen together to create some third creepy
> hybrid. Frank Gorshin, born 1934, still going strong, known as the best
> impressionist in Hollywood and as the Riddler in that Batman TV
> series... "Ohhh, THAT Frank Gorshin..." Yes, that Frank Gorhsin. He's
> still around and kicking as recently appearing (2002) in a one-man stage
> show based on the life of George Burns, entitled "Say Goodnight,
> Gracie." And he will soon appear in "Bloodhead" (rel. date 2003) and
> "Pizza with Bullets" (rel. date 2004). Really.
> http://us.imdb.com/name/nm0331319/filmoyear
>
> For his part, Pat Sajak is infamous as the dude in Wheel of
> Fortune, starting his own due-to-die/short-lived talk show (remember
> when he was the swoon? An alternate universe, foax). His credits:
>
> 1. "Pat Sajak Show, The" (1989) TV Series .... Host (1989-1990)
> 2. "Days of Our Lives" (1965) TV Series .... Kevin Hathaway (1983)
> .... aka "Cruise of Deception: Days of Our Lives" (1990) (USA: new title
> (summer title))
> .... aka "DOOL" (1965) (USA: informal short title)
> .... aka "Days" (1965) (USA: abbreviated title)
> 3. Airplane II: The Sequel (1982) .... Buffalo Anchorman
> .... aka Flying High II (1982)
> 4. "Wheel of Fortune" (1975) TV Series .... Host (1981-)
> 5. "Sunday Show, The" (1976) TV Series .... Co-host
> 6. "NewsCenter, The" (1974) TV Series .... L.A. Anchor
> .... aka "NewsCenter 4" (1974) (USA: informal alternative title)
>
> But he also has an industry in playing himself:
>
> 1. "King of Queens, The" (1998) playing "Himself" in episode: "Inner
> Tube" (episode # 3.17) 26 February 2001
> 2. "Larry King Live" (1985) playing "Himself, Guest Host" 26 December
> 2000
> 3. "Just Shoot Me!" (1997) playing "Himself" in episode: "A&E Biography:
> Nina Van Horn" (episode # 4.23) 9 May 2000
> 4. "Larry Sanders Show, The" (1992) playing "Himself" in episode: "As My
> Career Lay Dying" (episode # 6.3) 29 March 1998
> 5. "Larry Sanders Show, The" (1992) playing "Himself" in episode: "End
> of the Season" (episode # 3.17) 12 October 1994
> 6. "Rugrats" (1991) playing "Himself" in episode: "Under Chuckie's
> Kid/Chuckie Is Rich" (episode # 3.16) 9 January 1994
> 7. "Commish, The" (1991) playing "Dr. Brian Brandon" in episode: "The
> Two Faces of Ed" (episode # 2.6) 7 November 1992
> 8. "Santa Barbara" (1984) playing "Himself" 1988
> 9. "227" (1985) playing "Himself" in episode: "The Wheel of Misfortune"
> (episode # 2.1) 4 October 1986
> 10. "A-Team, The" (1983) playing "Himself" in episode: "Wheel of
> Fortune" (episode # 4.13) 14 January 1986
> 11. "Gimme a Break!" (1981) playing "Himself" in episode: "The Big
> Apple: Part 1" (episode # 3.17) 16 February 1984
> 12. "Super Password" (1984) playing "Celebrity Guest" (episode # 1.1)
> 13. "Match Game/Hollywood Squares Hour, The" (1983) playing "Guest
> Panelist"
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 09:08:52 -0700 (PDT)
> From: Malignd <malignd@yahoo.com>
> Subject: Re: NPPF Comm 2: Dr. Notebook
>
> <<But ultimately what is the value of a Botkin
> existing at all, whether another as a layer beneath
> Kinbote's madness or as a genius creator of a
> fictional construct which includes authorship of a
> poem, other than, as Kaplan posits, for Nabokov to
> poke his own identity into the text. >>
>
> <<Isn't that what Pale Fire is about? Authors poking
> their identities into the texts?>>
>
> There is among some commentators the notion that David
> is echoing, i.e., that Botkin might prove one wrinkle
> too many on VN's part.
>
> When one first discovers Botkin buried in the mix
> there is an expectation that a--"the"--telling clue,
> or skeleton key has been discovered.
>
> Alas.
>
>
>
>
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
> http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 09:11:35 -0700 (PDT)
> From: David Morris <fqmorris@yahoo.com>
> Subject: Re: NPPF Comm 2: Dr. Notebook
>
> - --- Terrance <lycidas2@earthlink.net> wrote:
> >
> > But ultimately what is the value of a Botkin existing at all, whether
> another as a layer beneath Kinbote's madness or as a genius creator of a
> fictional construct which includes authorship of a poem, other than, as
Kaplan
> posits, for Nabokov to poke his own identity into the text.
> >
> > Isn't that what Pale Fire is about? Authors poking their identities into
the
> texts?
>
> All this "about" stuff from you! :)
>
> If the text aint any good, who cares about the author? If the author
wan'ts to
> sick in his identity, it should go further than the act. It should add
> something.
>
> DM
>
>
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
> http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Thu, 04 Sep 2003 12:33:46 -0400
> From: Terrance <lycidas2@earthlink.net>
> Subject: Re: NPPF Comm 2: Dr. Notebook
>
> >
> > There is among some commentators the notion that David
> > is echoing, i.e., that Botkin might prove one wrinkle
> > too many on VN's part.
>
> Kinda of a silly thing to say. I mean, it's not as if we're playing a
> game of chess here. There is no rule against castling a Queen. And after
> having done so, and after putting a one's King in one's pocket,
> substituting a salt shaker for the missing king.
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 09:40:51 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: Re: NPPF Comm 2: Dr. Notebook
>
> >>> If the author wan'ts to
> sick in his identity, it should go further than the act. It should add
> something. <<<
>
> It adds a wink and a smile.
>
> Hitchcock's cameos are delightful.
>
> ------------------------------
>
> Date: Thu, 04 Sep 2003 12:55:20 -0400
> From: Terrance <lycidas2@earthlink.net>
> Subject: Re: NPPF Comm 2: Dr. Notebook
>
> >
> > When one first discovers Botkin buried in the mix
> > there is an expectation that a--"the"--telling clue,
> > or skeleton key has been discovered.
>
> Shade talks about composition. Nabokov talks about composition in his
> Lectures.
> Skip those for now, but reading at pages 80-81, Line 42: I could make
> out we get both.
>
> Notice that Kinbote uses the phrase "Family Resemblance" in the middle
> of page 81
>
>
> Aphorism 65-69 from
> Wittgenstein's Philosophical Investigations
> with commentary on the right by
> Lois Shawver
>
> http://users.rcn.com/rathbone/lw65-69c.htm
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 09:52:03 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: NPPF: Nabokov On Foliaged Optics and Zembla
>
> Alfred Appel, Jr:
> In Pale Fire, Kinbote complains that "The coming
> of summer represented a problem in optics. " The Eye is
> well-titled, since you plumb these problems throughout your
> fiction; the apprehension of "reality" is a miracle of vision,
> and consciousness is virtually an optical instrument in your
> work. Have you studied the science of optics at all, and would
> you say something about your own visual sense, and bow you feel
> it has served your fiction?
>
> VN: I am afraid you are quoting this out of context. Kinbote
> was simply annoyed by the spreading foliage of summer
> interfering with his Tom-peeping. Otherwise you are right in
> suggesting that I have good eyes. Doubting Tom should have worn
> spectacles. It is true, however, that even with the best of
> visions one must touch things to be quite sure of
> "reality."
>
> ****************************************************
>
> Alfred Appel, Jr:
> Speaking of donnees; At the end o/Pale Fire,
> Kinbote says of Shade and bis poem, "I even suggested to him
> a good title-- the title of the book in me whose pages he was
> to cut: Solus Rex; instead of which I saw Pale Fire,
> which meant to me nothing."' In 1940 Sovremennye Zapiski
> published a long section from your "unfinished" novel.
> Solus Rex, under that title. Does Pale Fire represent
> the "cutting" of its pages? What is the relationship between
> it, the other untranslat! ed fragment from Solus Rex
> ("Ultima Thule,'" published in Novyy Journal, New
> York, 1942) and Pale Fire?
>
> VN: My Solus Rex might have disappointed Kinbote less
> than Shade's poem. The two countries, that of the Lone King and
> the Zembla land, belong to the same biological zone. Their
> subarctic bogs have much the same butterflies and berries. A
> sad and distant kingdom seems to have haunted my poetry and
> fiction since the twenties. It is not associated with my
> personal past. Unlike Northern Russia, both Zembla and Ultima
> Thule are mountainous, and their languages are of a phony
> Scandinavian type. If a cruel prankster kidnapped Kinbote and
> placed him, blindfolded, in the Ultima Thule countryside,
> Kinbote would not know-- at least not immediately-- by the sap
> smells and bird calls that he was not back in Zembla, but he
> would be tolerably sure that he was not on the banks of the
> Neva.
> http://lib.ru/NABOKOW/Inter06.txt
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 09:58:02 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: [NPPF] Nabokov and Hitchcock
>
> http://www.imagesjournal.com/issue03/features/hitchnab1.htm
>
> ------------------------------
>
> Date: Thu, 04 Sep 2003 13:01:22 -0400
> From: Terrance <lycidas2@earthlink.net>
> Subject: Re: NPPF Comm 2: Dr. Notebook
>
> s~Z wrote:
> >
> > >>> If the author wan'ts to
> > sick in his identity, it should go further than the act. It should add
> > something. <<<
> >
> > It adds a wink and a smile.
> >
> > Hitchcock's cameos are delightful.
>
> But I think it's kinda ironic that Nabokov, at least in his critical
> writings and the like, privileges the objective author, that is, the
> author who is no where present in the text, has disappeared or is merely
> standing in the shade of the apple tree paring his fingernails, shedding
> his scarf skin like an innocent serpent, but he is so obviously creeping
> on every page.
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 10:02:04 -0700 (PDT)
> From: David Morris <fqmorris@yahoo.com>
> Subject: Re: NPPF Comm 2: Dr. Notebook
>
> - --- s~Z <keithsz@concentric.net> wrote:
> > >>> If the author wan'ts to sick in his identity, it should go further
than
> the act. It should add something. <<<
> >
> > It adds a wink and a smile.
> >
> > Hitchcock's cameos are delightful.
>
> Of course they are, but the movie stood on its own.
>
> DM
>
>
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
> http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 10:07:10 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: [NPPF] Nabokov and Family Resemblances
>
> http://www.santafe.edu/sfi/publications/Working-Papers/01-10-057.pdf
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 10:14:24 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: Re: NPPF Comm 2: Dr. Notebook
>
> >>>But I think it's kinda ironic that Nabokov, at least in his critical
> writings and the like, privileges the objective author, that is, the
> author who is no where present in the text, has disappeared or is merely
> standing in the shade of the apple tree paring his fingernails, shedding
> his scarf skin like an innocent serpent, but he is so obviously creeping
> on every page.<<<
>
> Nabokov's nonfiction indeed adds to the force of his overall penchant for
> winking and smiling.
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 10:30:06 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: Re: [NPPF] Nabokov and Family Resemblances
>
> "All happy families are more or less dissimilar; all unhappy ones are more
> or less alike," says a great Russian writer in the beginning of a famous
> novel (_Anna Arkadievitch Karenina_, transfigured into English by R. G.
> Stonelower, Mount Tabor Ltd., 1880)."
>
> --opening line of ADA
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 13:39:20 -0400
> From: "Jasper Fidget" <jasper@hatguild.org>
> Subject: RE: NPPF Comm 2: Dr. Notebook
>
> > -----Original Message-----
> > From: owner-pynchon-l@waste.org [mailto:owner-pynchon-l@waste.org] On
> > Behalf Of s~Z
> > Sent: Thursday, September 04, 2003 12:41 PM
> > To: pynchon-l@waste.org
> > Subject: Re: NPPF Comm 2: Dr. Notebook
> >
> > >>> If the author wan'ts to
> > sick in his identity, it should go further than the act. It should add
> > something. <<<
> >
> > It adds a wink and a smile.
> >
> > Hitchcock's cameos are delightful.
>
>
> If that's VN's cameo, then who's the "bald sun-tanned professor" on p.
282?
> Or are the cameos also mirrored?
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 10:40:46 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: [NPPF] The Incest Taboo
>
> >>> There is no rule against castling a Queen. <<<
>
> SYLLABICATION: cas╥tle
> PRONUNCIATION: ksl
>
> INTRANSITIVE VERB: Games To move the king in chess from its own square two
> empty squares to one side and then, in the same move, bring the rook from
> that side to the square immediately past the new position of the king.
> TRANSITIVE VERB: 1. To place in or as if in a castle. 2. Games To move
(the
> king in chess) by castling.
> ETYMOLOGY: Middle English castel, from Old English and from Norman French,
> both from Latin castellum, diminutive of castrum. See kes- in Appendix I.
>
> ENTRY: kes-
> DEFINITION: To cut. Oldest form *es-, becoming *kes- in centum languages.
> Variant *kas-. 1. Suffixed form *kas-tro-. a. castrate, from Latin
castrre,
> to castrate; b. alcazar, castellan, castellated, castle, from Latin
castrum,
> fortified place, camp (perhaps "separated place"). 2. Suffixed form
> *kas-to-. caste, chaste; castigate, incest, from Latin castus, chaste,
pure
> (< "cut off from or free of faults"). 3. Suffixed (stative) form *kas--.
> caret, from Latin carre, "to be cut off from," lack. 4. Extended geminated
> form *kasso-. cashier, quash1, cassation, from Latin cassus, empty, void.
> (Pokorny es- 586.)
>
> http://www.bartleby.com/61/
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 10:46:51 -0700 (PDT)
> From: Dave Monroe <monrovius@yahoo.com>
> Subject: Re: VLVL(4)(jj) Pat Sajak meets the Riddler
>
> Twilight of the Ice Nymphs (1997)
>
> http://www.zeitgeistfilms.com/current/icenymphs/twilight.html
>
> http://www.zeitgeistfilms.com/directors/guymaddin.html
>
> - --- "Vincent A. Maeder" <vmaeder@cycn-phx.com> wrote:
> > "Um, oh. It's Pat Sajak in The Frank Gorshin
> > Story." (VL, Ch. 4, p. 48)
> >
> > Frank Gorshin, born 1934, still going strong ...
>
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
> http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 14:16:56 -0400 (EDT)
> From: Michael Joseph <mjoseph@rci.rutgers.edu>
> Subject: Re: VLVL2 (4) Off-stage
>
> Like the Vineland map, it lends itself to different readings in accordance
> with the conceptual framing of the reader. It is probably also a useful
> index to (not to say map of) one's own idiosyncracies (and, given a
> communal reading, the idiosyncracies of a certain, self-selected sampling
> of the reading public). I hope what I wrote also goes to prove that
> Paul Nightingale's particular reading of (I'm paraphrasing) the contested
> representation of history has resonance, and to elicit your intellectual
> support for the proposition that _Vineland_ is also examinable in terms of
> the dynamic reciprocity between imagination and history.
>
> Michael
>
> On Wed, 3 Sep 2003, Tim Strzechowski wrote:
>
> > Which only goes to prove that we can examine _Vineland_ in light of
numerous
> > other themes and ideas:
> >
> > 1. Responsibility (political, social, familial, etc.)
> > 2. Family or Parent/Child Relationships
> > 3. The role of women / maternal figures
> > 4. How to interpret the Past
> > 5. Communication / Missed Communication / How to Communicate
> > 6. The role of Television on social consciousness
> > 7. Reality vs. Illusion
> > 8. The purposes / benefits of Violence
> > 9. Innocence vs. Experience
> > 10. How to read / interpret text
> > 11. Pop Culture as a means of communication / interpretation
> > 12. Drugs (as addictives) and their relation to TV, pop culture, sex,
> > power, etc.
> >
> > The list goes on and on . . .
> >
> >
> > Tim
> >
> >
> > >
> > > I am in agreement with two of your main points - that Prairie serves
as
> > > the reader or pre-reader of Vineland (a naive reader, which is perhaps
a
> > > topos Pynchon parodies in MD with Pitt and Pliny), and that the text
is
> > > ultimately philosophical and concerned with history (both its
> > > representation and I think its toleration), and I am profoundly
grateful
> > > to you for expressing them. I suspect one has to explore the question
of
> > > what role the imaginative plays in the construction of any form of
history
> > > here (and consider how Pynchon balances history/empirical against
human
> > > creativity, inasmuch as this meditation assumes the form of a novel
and so
> > > at some fairly high order of magnitude si concerned with how to write
a
> > > novel), and to say more clearly what one means by history.
> > >
> >
> >
> >
> >
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 11:23:56 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: [NPPF] Nabokov On The Poem, 'Pale Fire'
>
> "Nabokov had been turning over various seeds of Pale Fire as early as
1939,
> but the form it was finally to take did not crystallize until 1960. When
he
> submitted the poem, originally called "The Brink," to Esquire in 1961, he
> told editor Rust Hills that it was "racy and tricky, and unpleasant, and
> bizarre." (Esquire rejected the piece, as the magazine never published
> poetry.)"
> http://www.nypl.org/research/chss/epo/nabokov/fswitz.htm
>
> Main Entry: brink
> Pronunciation: 'bri[ng]k
> Function: noun
> Etymology: Middle English, of Scandinavian origin; akin to Old Norse
brekka
> slope; akin to Middle Dutch brink grassland
> Date: 13th century
> 1 : EDGE; especially : the edge at the top of a steep place
> 2 : a bank especially of a river
> 3 : the point of onset : VERGE <on the brink of war>
> 4 : the threshold of danger
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 14:57:22 -0400 (EDT)
> From: Michael Joseph <mjoseph@rci.rutgers.edu>
> Subject: Re: VLVL2 shits and giggles
>
> T,
>
> I think _Vineland_'s like the twelve tone serial music; you can say it's
> just the same 12 notes over and over, but the way the text rises into
> literature despite its rather astringent constraints, and makes the
> transcendence over its constraints a trope within its ontological play,
> is, I think, a more fruitful topic of discussion. Umm, you do actually
> like Pynchon, don't you, Terrance?
>
> M
>
>
> > nest hairdo and the thingy in his ear. kinda stuff Saturday Night Live
> > would do. That's mostly what's going on here, shits and giggles.
> >
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 15:18:26 -0400
> From: "Scott Badger" <lupine@ncia.net>
> Subject: RE: [NPPF] Nabokov On The Poem, 'Pale Fire'
>
> s~Z:
> > "Nabokov had been turning over various seeds of Pale Fire as
> > early as 1939,
> > but the form it was finally to take did not crystallize until
> > 1960. When he
> > submitted the poem, originally called "The Brink," to Esquire in 1961,
he
> > told editor Rust Hills that it was "racy and tricky, and unpleasant, and
> > bizarre." (Esquire rejected the piece, as the magazine never published
> > poetry.)"
> > http://www.nypl.org/research/chss/epo/nabokov/fswitz.htm
> >
> > Main Entry: brink
> > Pronunciation: 'bri[ng]k
> > Function: noun
> > Etymology: Middle English, of Scandinavian origin; akin to Old
> > Norse brekka
> > slope; akin to Middle Dutch brink grassland
>
> A (very) slippery slope....
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 12:16:24 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: Re: [NPPF] Nabokov On The Poem, 'Pale Fire'
>
> >>>A (very) slippery slope....<<<
>
> Now, now. It's a genteel work written by
> a grieving father grappling with issues of
> life and death in a romantic poem. Kinbote's
> the one who fucks up the whole thing.
> Racy, tricky, unpleasant, and bizarre?
> This is not the John Shadow we have come
> to know and love!
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 15:48:07 -0400
> From: "Scott Badger" <lupine@ncia.net>
> Subject: RE: [NPPF] Nabokov On The Poem, 'Pale Fire'
>
> s~Z:
> > "Nabokov had been turning over various seeds of Pale Fire as
> > early as 1939,
> > but the form it was finally to take did not crystallize until
> > 1960. When he
> > submitted the poem, originally called "The Brink," to Esquire in 1961,
he
> > told editor Rust Hills that it was "racy and tricky, and unpleasant, and
> > bizarre." (Esquire rejected the piece, as the magazine never published
> > poetry.)"
> > http://www.nypl.org/research/chss/epo/nabokov/fswitz.htm
> >
> > Main Entry: brink
> > Pronunciation: 'bri[ng]k
> > Function: noun
> > Etymology: Middle English, of Scandinavian origin; akin to Old
> > Norse brekka
> > slope; akin to Middle Dutch brink grassland
>
> A (very) slippery slope...
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 15:36:08 -0400
> From: "Jasper Fidget" <jasper@hatguild.org>
> Subject: NP The surprisingly inaccurate gender genie!
>
> Inspired by an article in The New York Times Magazine, the Gender Genie
uses
> an algorithm developed by Moshe Koppel, Bar-Ilan University in Israel, and
> Shlomo Argamon, Illinois Institute of Technology, to predict the gender of
> an author. Read more about the algorithm at nature.com.
>
> http://www.bookblog.net/gender/genie.html
>
> Ever wonder if your online dating pal was really a dude?
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 13:02:10 -0700 (PDT)
> From: Malignd <malignd@yahoo.com>
> Subject: Re: NPPF Comm 2: Dr. Notebook
>
> <<Kinda of a silly thing to say. I mean, it's not as
> if we're playing a game of chess here. There is no
> rule against castling a Queen. And after having done
> so, and after putting a one's King in one's pocket,
> substituting a salt shaker for the missing king.>>
>
> It isn't silly, necessarily. Nabokov has created a
> novel that is in part a puzzle; he invites his reader
> to respond to it as such; he is on record elsewhere
> that, in writing, he likes to create elegant puzzles.
> He is, as you probably know, a writer of chess
> puzzles.
>
> The comments I refer to question whether, in creating
> yet another level of "who's authoring whom," elegance
> is lost rather than gained.
>
>
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
> http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 13:13:20 -0700 (PDT)
> From: Dave Monroe <monrovius@yahoo.com>
> Subject: Re: NP The surprisingly inaccurate gender genie!
>
> Scroll down for your results...
>
> Original: I never thought I'd be writing to your
> magazine, but ...
>
> Keywords: i never thought i'd be writing to
> [possessive pronoun] magazine but
>
> Score: -3
> Words: 10
>
> The Gender Genie thinks the author of this passage is:
> Female!
>
> http://www.bookblog.net/gender/genie.php
>
> - --- Jasper Fidget <jasper@hatguild.org> wrote:
> >
> > Inspired by an article in The New York Times
> > Magazine, the Gender Genie uses an algorithm
> > developed by Moshe Koppel, Bar-Ilan University in
> > Israel, and Shlomo Argamon, Illinois Institute of
> > Technology, to predict the gender of
> > an author. Read more about the algorithm at
> > nature.com.
> >
> > http://www.bookblog.net/gender/genie.html
> >
> > Ever wonder if your online dating pal was really a
> > dude?
>
> __________________________________
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
> http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 13:20:04 -0700
> From: "Glenn Scheper" <glenn_scheper@earthlink.net>
> Subject: RE: Commentary to lines 47-48
>
> > Glenn--
>
> > In my driveway I have access to a Mini Cooper (young, cute, very quick
in
> > the corners) and a older Nissan Altima (experienced, well-mannered,
solid
> > citizen with a surprising wanton streak). Which would you recommend to
> > somebody who is just beginning to experiment with this auto-fellatio
> thing?
>
> > Don
>
> Well, I met a man over the internet, who described having a sports car
> with leather seats, and an electric motor to drive the seats forward,
> and (I forgot the exact details) such a motor facilitated his flexion.
>
> Yours truly,
> Glenn Scheper
> http://home.earthlink.net/~glenn_scheper/
> glenn_scheper + at + earthlink.net
> Copyleft(!) Forward freely.
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 13:20:17 -0700
> From: "Vincent A. Maeder" <vmaeder@cycn-phx.com>
> Subject: RE: NP The surprisingly inaccurate gender genie!
>
> Well, it's one for one on my own writing, so either I'm androgynous or the
> genie ain't so accurate.
>
> V.
>
> P.S. or my writing is VERY inconsistent, which is always a possibility,
you
> know.
>
> > -----Original Message-----
> > From: Dave Monroe [mailto:monrovius@yahoo.com]
> >
> > Scroll down for your results...
> >
> > Original: I never thought I'd be writing to your
> > magazine, but ...
> >
> > Keywords: i never thought i'd be writing to
> > [possessive pronoun] magazine but
> >
> > Score: -3
> > Words: 10
> >
> > The Gender Genie thinks the author of this passage is:
> > Female!
> >
> > http://www.bookblog.net/gender/genie.php
> >
> > --- Jasper Fidget <jasper@hatguild.org> wrote:
> > >
> > > Inspired by an article in The New York Times
> > > Magazine, the Gender Genie uses an algorithm
> > > developed by Moshe Koppel, Bar-Ilan University in
> > > Israel, and Shlomo Argamon, Illinois Institute of
> > > Technology, to predict the gender of
> > > an author. Read more about the algorithm at
> > > nature.com.
> > >
> > > http://www.bookblog.net/gender/genie.html
> > >
> > > Ever wonder if your online dating pal was really a
> > > dude?
> >
> > __________________________________
> > Do you Yahoo!?
> > Yahoo! SiteBuilder - Free, easy-to-use web site design software
> > http://sitebuilder.yahoo.com
>
> ------------------------------
>
> Date: Fri, 05 Sep 2003 08:08:06 +1000
> From: jbor <jbor@bigpond.com>
> Subject: Re: NPPF Aunt Maud
>
> >> One wonders though -- Kinbote answering Keith here perhaps -- whether
there
> >> is something in this superimposition of Hazel onto Maud. Given the
lesbian
> >> and incest speculations, the mirroring effects in the goings-on in the
> >> Zemblan court and the Shade household, the lack of any mention in the
poem
> >> of Maud's presence as Hazel was growing up, and Hazel's latent
emotional
> >> disorders, is there cause to consider Maud as *Hazel's* seducer?
Perhaps the
> >> imagery in Shade's poem is a subconscious manifestation of the
*parental*
> >> shame and remorse he has tried to submerge since his daughter's
suicide?
>
> on 5/9/03 12:22 AM, David Morris wrote:
>
> > Hazel is sixteen when Maude dies, well into high school, so it is
curious that
> > she is invisible in any interaction with Hazel (or Sybil) in the poem.
> > Shade's
> > occupation of the house is continuous from childhood through his own
death.
> > Woldn't it seem likely that Maude would stay on there as well? BTW, I
> > speculated Maude's abuse of Hazel and Shade's guilt a long while back,
but the
> > evidence is so thin...
>
> I think the implication is that Maud lived in the house until her death in
> 1950, when she would have been 80 or 81. I agree that the evidence is
thin,
> but there is something in the buildup of imagery which Keith catalogued.
But
> credit to you for initially positing the secondary incest theory.
>
> I can see now Kinbote's misreading of line 90 in the poem -- "She lived to
> hear the next babe cry." Shade communicates the information that Maud
loved
> babies and infants. Kinbote has misinterpreted the idiomatic phrase he has
> used -- "She lived to ... " -- which renders the meaning that it was the
joy
> of her life, something she really relished. He has interpreted it
literally,
> prosaically, to mean that she only "lived to", or survived, to the time of
> Hazel's birth. Partly this can be attributed to Kinbote's unfamiliarity
with
> English colloquial idioms, but I think the more salient feature is the way
> Nabokov shows us again just how clumsy and off-base Kinbote is as a reader
> and critic, making an absolute mess of it here, as in his opening note, as
> in the majority of the relatively few notes where he does attempt to
address
> the content of Shade's poem. Kinbote's claim to be an academic "expert" in
> the field of American poetry seems a patent lie.
>
> best
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 16:29:20 -0700
> From: "s~Z" <keithsz@concentric.net>
> Subject: Re: NPPF Aunt Maud
>
> >>> I agree that the evidence is thin, but there is something in the
buildup
> of imagery which Keith catalogued.<<<
>
> Now add to the buildup of imagery Nabokov's own words about the poem sans
> commentary. He characterizes the poem as "racy and tricky, and unpleasant,
> and bizarre."
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 20:45:16 -0400
> From: "Don Corathers" <gumbo@fuse.net>
> Subject: Re: NPPF That'd be up the butt, Bob [was Comm 2: My bedroom, part
2 (tendril)]
>
> > --- Don Corathers <gumbo@fuse.net> wrote:
> > > I think I 've figured this out, at some cost to my moral serenity:
with
> no
> > "secondary homosexual complications" Kinbote is assuring us he's not
> Fleur's
> > back-door man, either.
> >
> > I think you're making this into a "bush vet" thing, but that's OK 'cause
> who
> > really cares?
> >
> > DM
>
>
> That certainly wasn't my intent. I really believe that's the meaning of
the
> sentence. I was also serious in my post about the alternate definition of
> "infant" and the possible implications of the uncertainty of the date of
> Caroline Shade's death.
>
> I think such details are worth caring about in Pale Fire because, unlike
the
> extended dialogue about the meaning of "Bush vet," close examination of
them
> sometimes--often--yields rewards and connections. This one, if you choose
> to read it the way I do, reveals something about Kinbote's sexual
> psychology. It's a small thing but it deepens my understanding of his
> character. It is by teasing out the little Easter eggs and alternate
> readings in the text that the texture is revealed. Thought that was why we
> were reading the book.
>
> Don
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 21:17:25 -0400
> From: "Don Corathers" <gumbo@fuse.net>
> Subject: Re: NPPF Comm 2: Dr. Notebook
>
> > If that's VN's cameo, then who's the "bald sun-tanned professor" on p.
> 282?
> > Or are the cameos also mirrored?
> >
>
> Must be Dr. Hitchcock.
>
> But seriously, comrades, isn't it a little early to be so dismissive of
poor
> Botkin? He's barely had a chance to start skulking around the margins.
>
> Don
>
> ------------------------------
>
> Date: Fri, 5 Sep 2003 05:26:21 +0200
> From: "Otto" <ottosell@yahoo.de>
> Subject: Re: NP The surprisingly inaccurate gender genie!
>
> - ----- Original Message -----
> From: "Jasper Fidget" <jasper@hatguild.org>
> To: <pynchon-l@waste.org>
> Sent: Thursday, September 04, 2003 9:36 PM
> Subject: NP The surprisingly inaccurate gender genie!
>
>
> > Inspired by an article in The New York Times Magazine, the Gender Genie
> uses
> > an algorithm developed by Moshe Koppel, Bar-Ilan University in Israel,
and
> > Shlomo Argamon, Illinois Institute of Technology, to predict the gender
of
> > an author. Read more about the algorithm at nature.com.
> >
> > http://www.bookblog.net/gender/genie.html
> >
> > Ever wonder if your online dating pal was really a dude?
> >
>
> Submitting the text of my own opening page:
>
> "The Gender Genie thinks the author of this passage is: Female!"
>
> I knew that I was either in the wrong body or on the wrong planet.
>
> Otto
>
> ------------------------------
>
> Date: Fri, 5 Sep 2003 01:41:11 -0400 (EDT)
> From: Michael Joseph <mjoseph@rci.rutgers.edu>
> Subject: Re: NPPF Aunt Maud
>
> > >>> I agree that the evidence is thin, but there is something in the
buildup
> > of imagery which Keith catalogued.<<<
> >
> > Now add to the buildup of imagery Nabokov's own words about the poem
sans
> > commentary. He characterizes the poem as "racy and tricky, and
unpleasant,
> > and bizarre."
> >
> she's a witch!!
>
> michael
>
> ------------------------------
>
> End of pynchon-l-digest V2 #3534
> ********************************
>
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