Comments on: Else { Default }

By: tom collins

tom collins — Sat, 29 Aug 2009 08:34:11 +0000

I forgot something important in this comment on comments! I judged the original post “mysterious” because of the beautiful piece of music which was left without explicit commentary. I’m fine with that, but it would be great to have a further snippet of connectivity to go along with the haunting beauty of this passage.

By: tom collins

tom collins — Sat, 29 Aug 2009 08:31:24 +0000

It feels like an eternity between the 30 rapid comments to a great, and for me still mysterious post, and what I would like to contribute now. Reading Matthew’s post and the thirty comments is part and parcel of the infinite summer experience,but it takes up still more of our precious time (I think here of Ezra Klein) and requires getting over the hurdle of: there’s nothing more to say. I’m on board with Joan, John, Dioramaorama, Good ld Neon, Infinitedetox, Bernie and technohumanistteach that Gately’s battle is not only a slip back or a reversion to a default setting but a case of heroism and extreme balletic finesse. (He pirouettes!) I am in particular agreement with technohumamistteach who points out that default settings can be inculcated, acquired, like new habits, and that much in this scene refers to the seriousness of Gately’s will to remain on that beam. I can’t help but compare Jean O’s post to the posture and thoughts of Erdedy during the scene: no criticism intended here: Erdedy is strikingly present and unforgettable. Matt Evans writes that it’s perhaps possible to be both heroic and backsliderish, and the only surprising thing for me is that he be so hesitant in calling that possible and ‘perhaps’ when it seems so massively self-evident. Alessandro Pardi places the battle of good and evil within the person, and this is constantly supported and confirmed in pretty much everything DFW has written. It seems a major default in his political philosophy. Not only inside, but outside too. Between the devil and the deep blue sea.
“Having no choice now not to fight and things simplify radically, divisions collapse. Gately’s just one part of something bigger he can’t control.” I can’t imagine anything more desirable than moments like this one. It’s violence is not necessary to the moment, although the violence of the emotion is well-suited to its description. I wouldn’t want anyone to describe such a moment as a regression, although it certainly ends up that way, when he starts stomping on the Nuck at the end of the exstasis. The scene is a kind of thumb-nail sketch of the whole book, setting up the possibility of getting high in sobriety, of getting a shot of competence and laughter and exit from the head in the middle of boring sobriety!

By: Matt Evans

Matt Evans — Wed, 26 Aug 2009 15:36:42 +0000

Just listened to the theme song, “Lonely Man.” One thought: The biblical Cain and the Incredible Hulk are both similar in that both are cast from society because of their danger to others. Granted, Cain killed to get gain, whereas Hulk smashes because he is simply built to smash; but both have at their core an irrational rage that takes over and makes their better selves follow its dark dictates.

As for Cain of Kung Fu, I don’t remember enough of the show to speak to his character, and whether he fits prenominate mold.

Thanks again for the catch.

By: Matt Evans

Matt Evans — Wed, 26 Aug 2009 15:32:24 +0000

Oh! The Hulk. Didn’t catch that at all. Thanks!

By: Matt Evans

Matt Evans — Wed, 26 Aug 2009 15:30:33 +0000

Seriously? That’s awesome. I’ve got both seasons of TP, but have only finished about 3/4s of Season One. Thanks for the tip.

By: thinkicanhearyou

thinkicanhearyou — Wed, 26 Aug 2009 13:26:55 +0000

Has anyone mentioned yet that there is a black, billowing triangle-ish shape that flits as a shadow across the red drapes when Agent Cooper enters the Black Lodge to go after Annie at the very end of Twin Peaks?

By: thinkicanhearyou

thinkicanhearyou — Wed, 26 Aug 2009 13:25:13 +0000

i found this confusing too…i didn’t see the metamorphosis as having to do with a “raging” spirit either–more one who knew his purpose and was determined to fulfill it. But I read this section maybe a week ago so maybe the memory is fuzzy.

By: Tizzle

Tizzle — Wed, 26 Aug 2009 05:06:15 +0000

Interesting points.

I don’t mind ambiguity, but I do not like graphic violence. I don’t choose to change it either; I could change my reactions by immunizing myself to it, but I won’t.

I don’t watch Tarantino movies for that reason.

I don’t judge authors for having complex characters. Might judge them for being too vague and leaving things confused or unspoken.

By: stephanie

stephanie — Wed, 26 Aug 2009 04:03:03 +0000

Agreed. So many situations in the book are contradictory or unknowable, un-wrap-your-mind-around-able… and I think that’s kind of the point. It’s realistic.

By: rexlothar

rexlothar — Wed, 26 Aug 2009 00:43:36 +0000

as the credits roll Bill Bixby ” the lonely man ” with backpack on arm wanders to another town
“letting the world think that he is dead until he can find a way to control the raging spirit that dwells within him?”