By Steven C. Weisenburger
Including a few 20 percentage to the unique content material, it is a thoroughly up to date variation of Steven Weisenburger's necessary advisor to Thomas Pynchon's Gravity's Rainbow. Weisenburger takes the reader web page by way of web page, usually line by way of line, throughout the welter of ancient references, clinical facts, cultural fragments, anthropological study, jokes, and puns round which Pynchon wove his tale. Weisenburger totally annotates Pynchon's use of languages starting from Russian and Hebrew to such subdialects of English as Nineteen Forties road speak, drug lingo, and armed forces slang in addition to the extra imprecise terminology of black magic, Rosicrucianism, and Pavlovian psychology.
The Companion additionally unearths the underlying association of Gravity's Rainbow--how the book's myriad references shape styles of that means and constitution that experience eluded either admirers and critics of the novel.
The Companion is keyed to the pages of the vital American variants of Gravity's Rainbow: Viking/Penguin (1973), Bantam (1974), and the particular, repaginated Penguin paperback (2000) honoring the unconventional as certainly one of twenty "Great Books of the 20th Century."
Read or Download A Gravity's Rainbow Companion: Sources and Contexts for Pynchon's Novel (Revised 2nd Edition) PDF
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Extra info for A Gravity's Rainbow Companion: Sources and Contexts for Pynchon's Novel (Revised 2nd Edition)
The very scene of Queen Candace listening to a new version (“un nouvel son,” 7650) of an already ancient tale provides a mirror within the text for the key role played by the romances of Antiquity in twelfth-century aristocratic culture. They made available to an aristocratic audience with little command of Latin the stories of what it often considered its own genealogical past. This past was at once distant by chronology, yet connected by genealogy, and through it the clerical redactors created a discursive space in which to regard the political conﬂicts and erotic negotiations of their own time, as well as the unstable family lines resulting from both.
Both genres interact in the course of the twelfth and thirteenth centuries, as many romances continue to exploit the materials and traits of oral poetry not only to proﬁt from earlier or alternate modes of discourse but to play on the mixed character of their own transmission and reception as written narratives read out loud in castle hall or manor house chamber (and in later centuries in bourgeois settings as well). In Floire the opening epic call is quickly elaborated to address the courtly audience more speciﬁcally targeted by romance: knights and maidens, damsels and noble youths are invited to listen, as are all “those suffering from love” (2: “Cil qui d’amors se vont penant”).
A number of key techniques will have wide and varying applications: the segmentation of the narrative into episodes, the use of analogy to build intra- and intertextual patterns, the interlacing of narrative segments or lines. 4 In Erec and the Chevalier au lion (Yvain), the adventures of the knightly heroes follow a similar path brieﬂy summarized. An initial problem or lack launches the hero on a quest, which is realized in a series of episodes. The hero’s success is celebrated by marriage with his beloved, discovered and won as a result of his prowess.