By Steven C. Weisenburger
Including a few 20 percentage to the unique content material, this can be a thoroughly up-to-date variation of Steven Weisenburger's necessary consultant to Thomas Pynchon's Gravity's Rainbow. Weisenburger takes the reader web page via web page, frequently line by way of line, during the welter of ancient references, medical info, cultural fragments, anthropological examine, jokes, and puns round which Pynchon wove his tale. Weisenburger absolutely annotates Pynchon's use of languages starting from Russian and Hebrew to such subdialects of English as Forties highway speak, drug lingo, and army slang in addition to the extra vague terminology of black magic, Rosicrucianism, and Pavlovian psychology. The Companion additionally finds 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 versions of Gravity's Rainbow: Viking/Penguin (1973), Bantam (1974), and the precise, repaginated Penguin paperback (2000) honoring the unconventional as one in all twenty "Great Books of the 20 th Century."
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Extra info for A "Gravity's Rainbow" Companion: Sources and Contexts for Pynchon's Novel
The cosmic order mirrors the order of the polis: ‘the problem of Dik¯e is solved’. This approach to the Oresteia has been dominant for many years. It offers a vision of the Oresteia moving from tragic problems to a resolution in the harmony of achieved social order, from violence to mediation, from the darkness and despair of the corrupt house to the shining glories of the city of Athens (Meier). It sees the Oresteia making the transition from the false light of the beacons to the true light of the final torch-lit procession of the Athenians.
The Oresteia is in the full sense of the term a political drama; and awaits your – our – verdict. Chapter 2 The Oresteia 5 Introduction: plot and plotting The action of the Oresteia – in the sense of entrances, exits, deaths, adulteries and the like – is relatively simple to explain. What makes the trilogy so extraordinary is the intricate apparatus of explanation, comment and discussion with which its thrillingly dramatic central actions are surrounded. In the Agamemnon, Agamemnon returns home, victorious from Troy after a ten-year siege, and he is killed by his wife, Clytemnestra, who has been plotting with her lover, Aegisthus.
And yet the messenger also reports the scattering of the Greek fleet, which, it is made clear, is the result of their desecration of the altars of the city of Troy. Paris’ crime has led to his destruction. The Greek fleet’s crime has led to its destruction. Agamemnon’s killing of his daughter awaits requital. As Agamemnon returns to Clytemnestra’s trap, then, he has been depicted both as a victor punishing transgression and as a transgressor awaiting punishment. From the first ode’s representation of the sacrifice of Iphigeneia, Agamemnon is locked into a narrative of revenge and reversal: revenge which punishes wrongdoing, but which, in turn, establishes the revenger as a wrongdoer in need of punishment.