Gravity's Rainbow

In his electro-mysticism, the triode was as basic as the cross in Christianity. Think of the ego, the self that suffers a personal history bound to time, as the grid. The deeper and true Self is the flow between cathode and plate. The constant, pure flow. Signals—sense-data, feelings, memories relocating—are put onto the grid, and modulate the flow. We live lives that are waveforms constantly changing with time, now positive, now negative. Only at moments of great serenity is it possible to find the pure, the informationless state of signal zero.

But They would not be who or where They are without a touch of Dante to Their notions of reprisal. Simple talion may be fine for wartime, but politics between wars demands symmetry and a more elegant idea of justice, even to the point of masquerading, a bit deca-dently, as mercy. It is more complicated than mass execution, more difficult and less satisfying, but there are arrangements Tchitcherine can't see, wide as Europe, perhaps as the world, that can't be disturbed very much, between wars. . . .

Slothrop sat in the swaying car with thirty other cold and tattered souls, eyes all pupil, lips cratered with sores. They were singing, some of them. A lot of them kids. It is a Displaced Person's song, and Slothrop will hear it often around the Zone, in the encampments, out on the road, in a dozen variations:

If you see a train this evening,
Far away against the sky,
Lie down in your wooden blanket,
Sleep, and let the train go by.
Trains have called us, every midnight,
From a thousand miles away,
Trains that pass through empty cities,
Trains that have no place to stay.
No one drives the locomotive,
No one tends the staring light,
Trains have never needed riders,
Trains belong to bitter night.
Railway stations stand deserted,
Rights-of-way lie clear and cold:
What we left them, trains inherit,
Trains go on, and we grow old.
Let them cry like cheated lovers,
Let their cries find only wind.
rains are meant for night and ruin.
We are meant for song, and sin.

Plasticity has its grand tradition and main stream, which happens to flow by way of du Pont and their famous employee Carothers, known as The Great Synthesist. His classic study of large molecules spanned the decade of the twenties and brought us directly
to nylon, which not only is a delight to the fetishist and a convenience to the armed insurgent, but was also, at the time and well within the System, an announcement of Plasticity's central canon: that chemists were no longer to be at the mercy of Nature.