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在Vineland中表现了“a textual desire for escape and then textualizes the reality of that escape in a progression and recursion that catches one up in a strangely discursive time”(1),时间和逃离之间的联系问题。


在万有引力之虹中,rocket即是现实又是文本。Lines of flight不是imaginary escapism也不是幼稚的游戏,是对从主流文化逃离之思考。


it constituted a historical intervention precisely in its displacement form and in history, its escapism becoming a kind of genuine escape in the limit it was able to produce as its own symptomaticity.(8)


counterposing a paradoxical pre-vision, a utopia, a project or programme, to the ordinary vision which apprehends the social world as a natural world.(7)


Chapter 1


self-sabotaging dynamic the "broken maschine" of Pynchon's text and analyze it through the lens of Deleuze and Guattari's desiring-production, a process of subjective and social self-definition that thrives on the transgression of its own limit (the body without organs)(13)

Chapter 2


the meaning of the novel lies in its formal incoherence (13)(...)The principal modality of this machine is a vertiginous repetition that engenders the entropic anomie of a late capitalist consumer culture. The possibility of "escape" from a totalized social world referred to throughout the chapter depends not on a represented temporality in which "freedom" would entail a linear movement in extension; on the contrary, it depends precisely on the immanence of a time that displaces its own represented form and makes "freedom" a discursive transformation in the symptomatatic sense described earlier.(13-14)

Chapter 3-5

implication, metaparody, texts as broken machines, repetition, preterition, and escape—and form out of them a theoretical matrix(14)



Chapter 6

Totality and the Repetition of Difference: Rereading the 1960s in Vineland


出现的问题是“a potential cancellation of the ontological difference”(208)| “distinction between theory and practice, language and being“(209)

Pynchon的方案是“posit a discursive time in which existence itself becomes a function of how it is read, at stake in the choices made to wrest it from unconsciousness and render it to sensible and intelligible”(209)“a reaction against language and theory”(209)

eternal return

Deleuze’s shift in this passage from a repition of constituted things or subjects to one that constitutes them in their non-self-identity entails an existential dimension that is intrinsically possible, open or anticipatory, and positive in the structure of internal differences it projects.(219)

作者在下文中应该是把“生成pure becoming or passage”从“行为practice”中淡化,而使用了悬置、不确定的状态,没有找到差异之前,来自历史自身压制下的自反性焦虑。

a suspension, a simulacral indeterminacy that, for all it looks like the “mirage” of history‘s repression, convokes the gravity of a history itself in danger of repression whenever this “difference” is not grasped.(219)


Chapter 7

A Vigilant Folly: Lines of Flight in Mason & Dixon

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