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 critical consultant to Thomas Pynchon's Gravity's Rainbow. Weisenburger takes the reader web page via web page, usually line by way of line, during the welter of ancient references, clinical facts, cultural fragments, anthropological examine, 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 army 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 which means and constitution that experience eluded either admirers and critics of the novel.
The Companion is keyed to the pages of the relevant American variations of Gravity's Rainbow: Viking/Penguin (1973), Bantam (1974), and the targeted, repaginated Penguin paperback (2000) honoring the radical as one among twenty "Great Books of the 20th Century."
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Additional resources for A Gravity's Rainbow Companion: Sources and Contexts for Pynchon's Novel (Revised 2nd Edition)
Spenser's Bower of Bliss is a reprise in much darker tones of the love gardens in Ariosto and Tasso. How ever, Paradise Lost far surpasses other epics in the comprehen sive array of such paradigms and the thematic significance of them all. To take one example: Satan's adventures reflect the THE USES OF LITERARY FORMS paradigms of one after another of the heroic genres (epic of strife, quest epic, romance, tragedy, history), and are meas ured against the actions of the most notable heroes in all these kinds, thereby promoting an exhaustive examination of the meaning of heroism.
They also provide an important key to its interpretation. No poet has exploited such forms more extensively and more deliber ately than Milton, as cultural signposts common to author and reader. This study is an attempt to follow those signposts. TWO Inspiration and Literary Art: The Prophet-Poets of Paradise Lost THE FACT that Milton in Paradise Lost gives constant attention to the choice of literary forms and the uses of literary art may seem incongruous with the fact that he also presents himself in that poem as a prophet-poet, an inspired bard.
This subject (like that of the Miltonic Bard) requires him to soar "with no middle flight," and at the same time to achieve a radical theological and literary accommodation to the audi ence. Raphael's prototypical hexaemeral epic meets this formida ble challenge with a design vastly superior to that of its liter ary progeny and precisely suited to Adam and Eve's situation. He eschews the lengthy catalogues and the encyclopedic lore characteristic of the genre, offering instead a sharply focused description of the wonders and processes of creation.
A Gravity's Rainbow Companion: Sources and Contexts for Pynchon's Novel (Revised 2nd Edition) by Steven C. Weisenburger