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 integral advisor to Thomas Pynchon's Gravity's Rainbow. Weisenburger takes the reader web page by way of web page, usually line through line, in the course of the welter of ancient references, medical information, cultural fragments, anthropological learn, 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 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 critical American variations of Gravity's Rainbow: Viking/Penguin (1973), Bantam (1974), and the distinct, repaginated Penguin paperback (2000) honoring the unconventional as one in every of twenty "Great Books of the 20 th Century."
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Additional resources for A "Gravity's Rainbow" Companion: Sources and Contexts for Pynchon's Novel
But Bloom casts off the chill, attributing it to ‘morning mouth’. He turns his attention to the houses around him and the pleasing breakfast to come. Sunlight returns and a golden-haired girl runs past. Back home, Bloom finds the morning mail on the floor of the hall—a letter to himself from Milly, his daughter, a letter and a card for his wife. Sadly he notes the handwriting on the letter to Molly: it is Boylan’s (Molly’s lover). He goes into the bedroom and gives his wife her mail. Molly glancing at the envelope, puts the letter under the pillow.
He prefers the simplicity and solemnity of the vernacular Anglican Prayer Book, quoting, ‘I am the Resurrection and the Life’, but Bloom is preoccupied with something less dignified, that breaking-down of the heart’s pumping system which constitutes death. He is concerned with the physical finality of death: the idea of a general resurrection on the last day—‘every fellow mousing around for his liver and his lights and the rest of his traps’—does not move him. Corny Kelleher, the undertaker, seeks commendation for the smoothness of the proceedings.
Molly smells something burning, and Bloom rushes off to rescue the kidney. He eats his breakfast in the kitchen and now reads Milly’s letter carefully. Milly is learning photography at Mullingar. She mentions the young student, Bannon, referred to by the young man bathing (p. 18/26). Milly was fifteen yesterday, 15 June. Bloom recalls her being born, the midwife, then his son Rudy who didn’t live and who would now have been eleven. Various memories of Milly’s girlhood recur, mingling with a slight apprehension about what her reference to the ‘young student’, Bannon, might mean in her now opening sex life.