Sleaders: I lost a short post during Keith's computer trouble. Rather than
simply re-send it, I'll try to integrate it into this one. It wasn't really
finished anyway.
I like this process of working out the slow-reading method as we work with
the actual text. I guess its the only way to do it right. If we limit our
discussion to the first six pages of chapter one (Or thereabouts - you'll
see the shift in direction no matter what page your copy has it on.) we can
still continue all the current threads. Maybe we should linger a little
longer as this method unfolds?
Anyway, I want to talk about our slow reading method in general while
commenting on all three of the specific things on the table; the first
sentence, over-ripeness and Orion. Basically, I think that the first two are
relatively unimportant compared to the third. I'll explain.
The first sentence of a novel has a certain function. Pirsig isn't going to
load the first sentence with anymore cryptic meaning than he has to. The
first sentence has a huge job and responsability as it is. Its got to be one
of the hardest lines to write and has to engage the reader. That's why is
raises so many questions, so the reader might be propelled by curiosity. It
has to intice the reader with a glimpse of the opening scene. It is the
first frame of the first shot in a full-length movie. Its got alot to do.
And so its meaning has to be relatively straight-forward and clear. Its just
another way to put these things in the proper context...
Lila didn't know he was there because it was before dawn and she was
sleeping. I don't think there's any reason to suggest that this raises the
issue of Solipsim. Its just not there. And the whole point of the slow
reading method is to see what's really there, is it not?
The case of over-ripe breasts is the same, as I tried to show in a previous
post. The gender issues raised by Diana might make for an interesting
discussion. There is a great deal to be learned from uncovering the hidden
attitudes and unexamined assumptions in a novel, but that method of analysis
serves a different kind of purpose and is very much at odds with the slow
reading method, the pupose of which is to discover the author's meaning and
intentions. And perhaps Diana would be relieved at the idea that, in the
largest context of all, in the MOQ's vision, at least as far as I see it,
the liberation and enfranchisement of women is right up there with John
Browne's truth. It an intellectual level thing that is part and parcel of
those inalienable human rights. Feminism is the radical notion that women
are people too. Pirsig is no ladies' man, but that's only because HE is ugly
and disgusting.
Over-ripe is just good autumnal language and it tells us something about
Lila that is pretty important later on, towards the end of the book, as she
begins to unravel. I won't go there because were talking about the first
part of the first chapter, but I think that his description lets us know
that Lila is coming to the end of her season. And this is not because ALL
women are mere bodies, but because this particular character is one without
much social and intellectual quality. She's got biological quality, but the
winter of her biological life is coming and she's heading wouth like the
geese. See?
You gotta SEE it in context. Literally. You've got to form a picture in your
imagination according to the author's descriptions. Be more visual and less
analytical, as if you were listening to poetry. You bunch of techno-cyber
math geeks. ; ) Put away your pocket protectors and fire up your
imagination. Let those images get past your brain and into your heart. The
good ones will penetrate all the way through to your soul by their own
poetic force, if you let them. Then the thinking and writing part of the
process can begin.
Take the chips off your sholder. Put your pet theories in a kennel. Clean
out the garage and organize your tools. Get comfortable and then listen to
Pirsig. Listen some more. Listen again. Then speak. But only speak of what
you heard. (Not what you thought about while you were supposed to be
listening. Ha!) It takes discipline to do it right. It takes some work, but
its worth it. In fact, thanks to Keith and others I've seen something for
the first time, or have an expanded appreciation of something I barely
noticed, or something like that. I'll try to explain, but its gonna be
difficult.
WHEN THE BOAT ROCKED
"Now the sadness came on in full and blended with the darkness of the cabin
and with the dim indigo light through the hatch above. Up there were stars,
framed by the hatch opening so that they seemed to move when the boat
rocked. Part of Orion momentarily disappeared, then appeared again. Soon all
the winter constellations would be back."
Between "the sadness" and "winter" Pirsig really sets a mood. And within
that emotional context we get an image of the pre-dawn sky that appears and
disappears as the boat rocks. I sense a slow rhythum in that steady rocking
motion and it makes Orion sort of blink in and out of sight. Add to that the
image of Orion itself and you've got a powerful and hypnotic moment. I mean,
mythological names are worth exploring because they contain many images and
motifs within them. And in this case it really works as the Orion myth seems
to fit so precisely with the themes of chapter one. The great hunter
represents a civilizing force, a tamer of sorts, but he's also the father of
50 sons by 50 different mothers. Further, he was loved and adored by Eos,
who is goddess of the dawn and a predatory lover. There is a tension in
their personalities, just as the captain feels both lust and sadness. And it
was the love of Eos that caused the others to be jealous and turn Orion into
a constellation. This same kind jealousy and conflict is seen soon enough as
the bar scene is recalled from the night before, with "that bitch, Debbie"
and all.
All I'm saying is that the Orion reference, seen in the context of the total
scene, seems like something worth discussing and meditating upon. Of all the
stars and constellations that he might have reported, Orion seems most
meaningful and deliberate. It fits. And if we are going to stop and linger
over little gems as we go along, I think Orion serves as a good example of
how to spot them. It could easily go un-noticed, especially if you know
nothing about the myth like me. Had I known, that passing reference would
have sent off all kinds of bells and whistles in my imagination. Myths are
like that.
DMB
MOQ.org - http://www.moq.org
This archive was generated by hypermail 2b30 : Thu Jan 17 2002 - 13:08:33 GMT