The Chums of Chance Meet the Wandering Sisterhood of the Sodality of Ætheronauts (Pynchon’s Against the Day)

CROSSING THE ROCKIES, they found aloft an invisible repetition of the material terrain beneath them. Three-dimensional flows of cold air followed the flow of rivers far below. Air currents ascended sunny sides of mountains at the same steep angles as colder air drained down the shady sides. Sometimes they would be caught in this cycling, and hung over the ridge-line repeating great vertical circles until Randolph ordered the engines engaged.

It proved a struggle after that, for the wind desired them to go south, and numberless standard cubic feet of engine propellant were wasted against the northerly imperative before Randolph, calculating that they had exceeded their energy allotment, gave up the ship’s immediate future to the wind, and they drifted thus over the Rio Bravo, and into the skies of Old Mexico. So they were borne onward, before winds of obscure sorrow, their clarity of will fitful as the nightly heat-lightning at their horizon.

It was just at that moment of spiritual perplexity that they would be rescued, with no advance annunciation, here, “South of the Border,” by the Sodality of Ætheronauts.

How could they have ever crossed trajectories? Afterward none of the boys could remember where it happened, during which toxic ascent, amid what clamor of bickering by now grown routine, they had blundered into this flying-formation of girls, dressed like religious novices in tones of dusk, sent whirling, scattering before the airship’s star-blotting mass, their metallic wings earnestly rhythmic, buffeting, some passing close enough for the boys to count the bolts on gear-housings, hear the rotary whining of nitro-naphthol auxiliary power-units, grow rigidly attentive to glimpses of bared athletic girl-flesh. Not that these wings, with their thousands of perfectly-machined elliptical “feathers,” even in this failing, grime-filtered light, could ever have been mistaken for angels’ wings. The serious girls, each harnessed in black kidskin and nickel-plating beneath the inescapable burdens of flight, each bearing on her brow a tiny electric lamp to view her control panel by, regrouped and wheeled away into the coming night. Were glances, even then, cast back at the lumbering, engine-driven skycraft? frowns, coquetries, indistinct foreknowledge that it was to be among themselves, these sombre young women, that the Chums were destined after all to seek wives, to marry and have children and become grandparents—precisely among this wandering sisterhood, who by the terms of their dark indenture must never descend to Earth, each nightfall nesting together on city rooftops like a flock of February chaffinch, having learned to find, in all that roofs keep out, a domesticity of escape and rejection, beneath storm, assaults of moonlight, some darker vertical predation, never entirely dreamed, from other worlds.

Their names were Heartsease and Primula, Glee, Blaze, and Viridian, each had found her way to this Ætherist sorority through the mysteries of inconvenience—a train arriving late, a love-letter mistimed, a hallucinating police witness, and so forth.

—Another passage from Thomas Pynchon’s novel Against the Day.

 

Windmill Drawing — Vladimir Nabokov

Capture

(From Vladimir Nabokov’s Lectures on Don Quixote).

I Hate Everybody (Calvin & Hobbes)

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The Conium Review, Vol. 2, No. 2 (Book Acquired, 8,19.2013)

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This came in the mail a few weeks ago; I read a few of the poems and flash fictions, but haven’t had made time for the stories or the novella. From the The Conium Review’s website:

This issue of The Conium Review contains seventeen poems, five pieces of flash fiction, four short stories, and one novella. The contributing poets and writers are Elena Botts, Valentina Cano, Paola Capó-García, Patrick Cole, Darren C. Demaree, Thomas Dodson, Edward A. Dougherty, Ginger Graziano, Alamgir Hashmi, Kyle Hemmings, Nicholas Kriefall, Connie A. Lopez-Hood, Carlo Matos, Gretchen McGill, Robert McGuill, Thomas Mundt, Catherine Owen, Natalie Peeterse, Richard King Perkins II, Octavio Quintanilla, Charles Rafferty, Scott Ragland, Jonathan H. Roberts, M. A. Schaffner, Jacob Schepers, Claude Clayton Smith, and Emily Strauss. The cover art is courtesy of Loren Kantor.

 

Bistro — Edward Hopper

RIP Seamus Heaney

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RIP Seamus Heaney, 1939-2013

“Funeral Rites”

I shouldered a kind of manhood
stepping in to lift the coffins
of dead relations.
They had been laid out

in tainted rooms,
their eyelids glistening,
their dough-white hands
shackled in rosary beads.

Their puffed knuckles
had unwrinkled, the nails
were darkened, the wrists
obediently sloped.

The dulse-brown shroud,
the quilted satin cribs:
I knelt courteously
admiting it all

as wax melted down
and veined the candles,
the flames hovering
to the women hovering
behind me.
And always, in a corner,
the coffin lid,
its nail-heads dressed

with little gleaming crosses.
Dear soapstone masks,
kissing their igloo brows
had to suffice

before the nails were sunk
and the black glacier
of each funeral
pushed away.

II

Now as news comes in
of each neighbourly murder
we pine for ceremony,
customary rhythms:

the temperate footsteps
of a cortège, winding past
each blinded home.
I would restore

the great chambers of Boyne,
prepare a sepulchre
under the cupmarked stones.
Out of side-streets and bye-roads

purring family cars
nose into line,
the whole country tunes
to the muffled drumming

of ten thousand engines.
Somnambulant women,
left behind, move
through emptied kitchens

imagining our slow triumph
towards the mounds.
Quiet as a serpent
in its grassy boulevard

the procession drags its tail
out of the Gap of the North
as its head already enters
the megalithic doorway.

III

When they have put the stone
back in its mouth
we will drive north again
past Strang and Carling fjords

the cud of memory
allayed for once, arbitration
of the feud placated,
imagining those under the hill

disposed like Gunnar
who lay beautiful
inside his burial mound,
though dead by violence

and unavenged.
men said that he was chanting
verses about honour
and that four lights burned

in corners of the chamber:
which opened then, as he turned
with a joyful face
to look at the moon.

Woman with a Child in a Boat — Berthe Morisot