SHAWORDS

At Bishop they learnd that Dixon had been buried in back of the Quaker — Thomas Pynchon

"At Bishop they learnd that Dixon had been buried in back of the Quaker Meeting-House in Staindrop. Doctor Isaac stayd with his Father, step for step. At the grave, which by Quaker custom was unmarkd, Mason beseechd what dismally little he knew of God, to help Dixon through. The grass was long and beaded with earlier rain. A Cat emergd from it and stard for a long time, appearing to know them. "Dad?" Doc had taken his arm. For an instant, unexpectedly, Mason saw the little Boy who, having worried about Storms at Sea, as Beasts in the Forest, came running each time to make sure his father had returnd safely, — whose gift of ministering to others Mason was never able to see, let alone accept, in his blind grieving, his queasiness of Soul before a life and a death, his refusal to touch the Baby, tho twas not possible to blame him.... The Boy he had gone to the other side of the Globe to avoid was looking at him now with nothing in his face but concern for his Father. "Oh, Son." He shook his Head. He didnt continue. "Its your Mate," Doctor Isaac assurd him, "Its what happens when your Mate dies."
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Thomas Pynchon
Thomas Pynchon
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Thomas Ruggles Pynchon Jr. is an American novelist. He is known for his dense, complex works of postmodern fiction, which are distinguished by their paranoid tone, absurd humor, and references to history, art, science, and popular culture. He is widely regarded as one of the greatest American novelists. Pynchon is notoriously reclusive. Few photographs of him have been published, and rumors about

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"You don’t understand,” getting mad. “You guys, you’re like Puritans are about the Bible. So hung up with words, words. You know where that play exists, not in that file cabinet, not in any paperback you’re looking for, but—” a hand emerged from the veil of shower-steam to indicate his suspended head—“in here. That’s what I’m for. To give the spirit flesh. The words, who cares? They’re rote noises to hold line bashes with, to get past the bone barrier around an actor’s memory, right? But the reality is in this head. Mine. I’m the projector at the planetarium, all the closed little universe visible in the circle of that stage is coming out of my mouth, eyes, sometimes other orifices also."
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Thomas Pynchon
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"Rachel was looking into the mirror at an angle of 45°, and so had a view of the face turned toward the room and the face on the other side, reflected in the mirror; here were time and reverse-time, co-existing, cancelling one another exactly out. Were there many such reference points, scattered throughout the world, perhaps only at nodes like this room which housed a transient population of the imperfect, the dissatisfied; did real time plus virtual or mirror-time equal zero and thus serve some half-understood moral purpose? Or was it only the mirror world that counted; only a promise of a kind that the inward bow of a nose-bridge or a promontory of extra cartilage at the chin meant a reversal of ill fortune such that the world of the altered would thenceforth run on mirror-time; work and love by mirror-light and be only, till death stopped the hearts ticking (metronomes music) quietly as light ceases to vibrate, an imps dance under the centurys own chandeliers...."
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Thomas Pynchon
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"Perhaps history this century, thought Eigenvalue, is rippled with gathers in its fabric such that if we are situated, as Stencil seemed to be, at the bottom of a fold, its impossible to determine warp, woof, or pattern anywhere else. By virtue, however, of existing in one gather it is assumed there are others, compartmented off into sinuous cycles each of which had come to assume greater importance than the weave itself and destroy any continuity. Thus it is that we are charmed by the funny-looking automobiles of the 30s, the curious fashions of the 20s, the particular moral habits of our grandparents. We produce and attend musical comedies about them and are conned into a false memory, a phony nostalgia about what they were. We are accordingly lost to any sense of continuous tradition. Perhaps if we lived on a crest, things would be different. We could at least see."
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Thomas Pynchon

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