334/334/Part I - Revision history

Eb at 06:50, 25 January 2025

2025-01-25T06:50:59Z

Eb at 19:27, 18 January 2021

2021-01-18T19:27:08Z

Eb: /* ever so many generations hence ... What is then between us? */

2017-04-17T18:24:32Z

ever so many generations hence ... What is then between us?

Eb: /* open sessions of The Asylum */

2017-04-17T18:12:52Z

open sessions of The Asylum

Eb: use template

2017-02-13T01:48:21Z

use template

Eb: /* Summary */

2017-02-13T01:41:01Z

Summary

Eb at 21:12, 11 August 2016

2016-08-11T21:12:37Z

Eb: /* The meat was the hardest to believe */

2016-08-04T07:33:23Z

The meat was the hardest to believe

Eb at 17:33, 3 August 2016

2016-08-03T17:33:48Z

Eb at 04:05, 17 July 2016

2016-07-17T04:05:47Z

← Older revision		Revision as of 06:50, 25 January 2025
Line 1:		Line 1:
		+	{{#addbodyclass: tiled-toc}}
	The first part of the [[334 novella]] is subtitled '''Lies'''.		The first part of the [[334 novella]] is subtitled '''Lies'''.

@@ Line 41: / Line 41: @@
 === she didn't even drink Koffee ===
-The phrasing here indicates that most people don't regard [[Morbehanine]], the active ingredient in Koffee, as a "drug" in any serious sense— similar to how caffeine is thought of now.
+The phrasing here indicates that most people don't regard [[Morbehanine]], the active ingredient in Koffee, as a "drug" in any serious sense—similar to how caffeine is thought of now.
 === people are conditioned by authoritarian family structures ===
@@ Line 71: / Line 71: @@
 === a novel he'd been assigned ===
-It's unclear whether this refers to any existing novel; the elements described— a pregnant woman sitting on a man's lap, a sex scene on a wobbling sofa, and an heiress named Linda— don't ring any bells.
+It's unclear whether this refers to any existing novel; the elements described—a pregnant woman sitting on a man's lap, a sex scene on a wobbling sofa, and an heiress named Linda—don't ring any bells.
 === to mix up a glass of milk ===
@@ Line 100: / Line 100: @@
 === Shrimp's heart splattered like a bag of garbage ===
-In the ending of this scene, Whitman's empathy meets Disch's irony head-on: the Hanson family totally fails to respond to Whitman's message of human connection— or, for that matter, to find anything interesting in his poetry at all— and yet the strong response that Shrimp does have, an unbearable mix of love and envy toward Amparo for her brief moment in the spotlight, is her most vulnerable moment and one that almost anyone can identify with.
+In the ending of this scene, Whitman's empathy meets Disch's irony head-on: the Hanson family totally fails to respond to Whitman's message of human connection—or, for that matter, to find anything interesting in his poetry at all—and yet the strong response that Shrimp does have, an unbearable mix of love and envy toward Amparo for her brief moment in the spotlight, is her most vulnerable moment and one that almost anyone can identify with.
 {{334 nav}}

@@ Line 95: / Line 95: @@
 === ever so many generations hence ... What is then between us? ===
-These lines from [http://www.bartleby.com/142/86.html "Crossing Brooklyn Ferry,"], as well as others that aren't quoted here, could serve as a statement of intent for Disch's whole novel. Whitman imagines that New Yorkers of "A hundred years hence, or ever so many hundred years hence" will have similar experiences to him: they will enjoy [[334 Part VI (42)|sunsets]] and the daily activity of the city, they will be moved by anger and lust, they will be aware of themselves as individual bodies and as members of a crowd. As a portrait of mostly routine daily life in a city of the future, and of people driven by simple wants and weaknesses, ''334'' is a direct response to Whitman's call for empathy across time.
+These lines from [http://www.bartleby.com/142/86.html "Crossing Brooklyn Ferry,"] as well as others that aren't quoted here, could serve as a statement of intent for Disch's whole novel. Whitman imagines that New Yorkers of "A hundred years hence, or ever so many hundred years hence" will have similar experiences to him: they will enjoy [[334 Part VI (42)|sunsets]] and the daily activity of the city, they will be moved by anger and lust, they will be aware of themselves as individual bodies and as members of a crowd. As a portrait of mostly routine daily life in a city of the future, and of people driven by simple wants and weaknesses, ''334'' is a direct response to Whitman's call for empathy across time.
 Of course, in contrast to Whitman's earnest Romanticism, ''334'' is also bitterly satirical; in that regard, and in the collage style of this novella, it is closer in spirit to {{wp|John Dos Passos}}. Dos Passos greatly admired Whitman and referred to "Crossing Brooklyn Ferry" as an inspiration for his sprawling slice-of-life novels, but had a darker, more complicated view of his characters and of society, especially in his later years; born four years after Whitman's death and continuing to write until his own death in 1970, he was a human bridge between the traumatized but hopeful America of Whitman's day and the fragmented society Disch lived in. Though Disch never (as far as I know) openly referenced Dos Passos's work, it's likely that he had it in mind, especially since John Brunner's ''{{wp|Stand on Zanzibar}}'' (1968) had recently made a splash with a different, flashier science-fictional homage to the same tradition.

@@ Line 38: / Line 38: @@
 === open sessions of The Asylum ===
-It's unclear what The Asylum is. The name is a proper name rather than a generic description; rather than a mental hospital, it seems to be a social group or alternative community that practices a specific kind of group therapy, as shown in [[334 Part V (34)|scene 34]]. It may be a reference to {{wp|Synanon}}.
+It's unclear what The Asylum is. The name isn't a generic description, but a proper name; rather than a mental hospital, it seems to be a social group or alternative community that practices a specific kind of group therapy, as shown in [[334 Part V (34)|scene 34]]. It may be a reference to {{wp|Synanon}}.
 === she didn't even drink Koffee ===

@@ Line 1: / Line 1: @@
 The first part of the [[334 novella]] is subtitled '''Lies'''.
-== Summary ==
+{{SummaryCollapsed |
-<div class="mw-collapsible mw-collapsed">The three Hanson siblings are living in close quarters with their mother, and dealing with various problematic relationships. Mrs. Hanson meets an awkward social worker, Len Rude.</div>
+The three Hanson siblings are living in close quarters with their mother, and dealing with various problematic relationships. Mrs. Hanson meets an awkward social worker, Len Rude.
 == 1. The Teevee ==

@@ Line 19: / Line 19: @@
 === The meat was the hardest to believe ===
-Scarcity of meat and other agricultural products is a major feature of the novel's setting. ''334'' was not the first science fiction novel to suggest that people in a capitalistic, technologically advanced future might come to accept a relatively low quality of life; earlier examples of this sub-genre include ''[[wikipedia:Make Room! Make Room!|Make Room! Make Room!]]'' (now better known as ''Soylent Green'') and ''[[wikipedia:The Space Merchants|The Space Merchants]]''. As in those novels, these shortages are not explained as the result of any particular disaster or ecological change, so one can assume they are simply due to overpopulation.
+Scarcity of meat and other agricultural products is a major feature of the novel's setting. ''334'' was not the first science fiction novel to suggest that people in a capitalistic, technologically advanced future might come to accept a relatively low quality of life; earlier examples of this sub-genre include ''{{wp|Make Room! Make Room!}}'' (now better known as ''Soylent Green'') and ''{{wp|The Space Merchants}}''. As in those novels, these shortages are not explained as the result of any particular disaster or ecological change, so one can assume they are simply due to overpopulation.
 === the museum deserved to be bombed ===
@@ Line 37: / Line 37: @@
 === open sessions of The Asylum ===
-It's unclear what The Asylum is. The name is a proper name rather than a generic description; rather than a mental hospital, it seems to be a social group or alternative community that practices a specific kind of group therapy, as shown in [[334 Part V (34)|scene 34]]. It may be a reference to [[wikipedia:Synanon|Synanon]].
+It's unclear what The Asylum is. The name is a proper name rather than a generic description; rather than a mental hospital, it seems to be a social group or alternative community that practices a specific kind of group therapy, as shown in [[334 Part V (34)|scene 34]]. It may be a reference to {{wp|Synanon}}.
 === she didn't even drink Koffee ===
@@ Line 49: / Line 49: @@
 === Alkan or Gottschalk or Boagni ===
-[[wikipedia:Charles-Valentin Alkan|Charles-Valentin Alkan]] and [[wikipedia:Louis Moreau Gottschalk|Louis Moreau Gottschalk]] were mid-19th-century Romantic composers and pianists.
+{{wp|Charles-Valentin Alkan}} and {{wp|Louis Moreau Gottschalk}} were mid-19th-century Romantic composers and pianists.
 === taking messages ... "One-five, five-six" ===
@@ Line 55: / Line 55: @@
 === John Herbert MacDowell ===
-A composer and stage director who was part of the [[wikipedia:New York Poets Theatre|New York Poets Theatre]] in the 1960s.
+A composer and stage director who was part of the {{wp|New York Poets Theatre}} in the 1960s.
 == 6. Amparo ==
@@ Line 96: / Line 96: @@
 These lines from [http://www.bartleby.com/142/86.html "Crossing Brooklyn Ferry,"], as well as others that aren't quoted here, could serve as a statement of intent for Disch's whole novel. Whitman imagines that New Yorkers of "A hundred years hence, or ever so many hundred years hence" will have similar experiences to him: they will enjoy [[334 Part VI (42)|sunsets]] and the daily activity of the city, they will be moved by anger and lust, they will be aware of themselves as individual bodies and as members of a crowd. As a portrait of mostly routine daily life in a city of the future, and of people driven by simple wants and weaknesses, ''334'' is a direct response to Whitman's call for empathy across time.
-Of course, in contrast to Whitman's earnest Romanticism, ''334'' is also bitterly satirical; in that regard, and in the collage style of this novella, it is closer in spirit to [[wikipedia:John Dos Passos|John Dos Passos]]. Dos Passos greatly admired Whitman and referred to "Crossing Brooklyn Ferry" as an inspiration for his sprawling slice-of-life novels, but had a darker, more complicated view of his characters and of society, especially in his later years; born four years after Whitman's death and continuing to write until his own death in 1970, he was a human bridge between the traumatized but hopeful America of Whitman's day and the fragmented society Disch lived in. Though Disch never (as far as I know) openly referenced Dos Passos's work, it's likely that he had it in mind, especially since John Brunner's ''[[wikipedia:Stand on Zanzibar|Stand on Zanzibar]]'' (1968) had recently made a splash with a different, flashier science-fictional homage to the same tradition.
+Of course, in contrast to Whitman's earnest Romanticism, ''334'' is also bitterly satirical; in that regard, and in the collage style of this novella, it is closer in spirit to {{wp|John Dos Passos}}. Dos Passos greatly admired Whitman and referred to "Crossing Brooklyn Ferry" as an inspiration for his sprawling slice-of-life novels, but had a darker, more complicated view of his characters and of society, especially in his later years; born four years after Whitman's death and continuing to write until his own death in 1970, he was a human bridge between the traumatized but hopeful America of Whitman's day and the fragmented society Disch lived in. Though Disch never (as far as I know) openly referenced Dos Passos's work, it's likely that he had it in mind, especially since John Brunner's ''{{wp|Stand on Zanzibar}}'' (1968) had recently made a splash with a different, flashier science-fictional homage to the same tradition.
 === Shrimp's heart splattered like a bag of garbage ===
 In the ending of this scene, Whitman's empathy meets Disch's irony head-on: the Hanson family totally fails to respond to Whitman's message of human connection— or, for that matter, to find anything interesting in his poetry at all— and yet the strong response that Shrimp does have, an unbearable mix of love and envy toward Amparo for her brief moment in the spotlight, is her most vulnerable moment and one that almost anyone can identify with.
-[[Category:334]]
+{{334 nav}}

← Older revision		Revision as of 17:33, 3 August 2016
Line 100:		Line 100:
	=== Shrimp's heart splattered like a bag of garbage ===		=== Shrimp's heart splattered like a bag of garbage ===
	In the ending of this scene, Whitman's empathy meets Disch's irony head-on: the Hanson family totally fails to respond to Whitman's message of human connection— or, for that matter, to find anything interesting in his poetry at all— and yet the strong response that Shrimp does have, an unbearable mix of love and envy toward Amparo for her brief moment in the spotlight, is her most vulnerable moment and one that almost anyone can identify with.		In the ending of this scene, Whitman's empathy meets Disch's irony head-on: the Hanson family totally fails to respond to Whitman's message of human connection— or, for that matter, to find anything interesting in his poetry at all— and yet the strong response that Shrimp does have, an unbearable mix of love and envy toward Amparo for her brief moment in the spotlight, is her most vulnerable moment and one that almost anyone can identify with.
		+
		+	[[Category:334]]

@@ Line 8: / Line 8: @@
 === Boz was engaged to the girl at the other end of the corridor ===
-The girl is Milly Holt. It's [[334/334/Part III# 22. Leda Holt|later established]] that this takes place not long after "[[The Death of Socrates]]".
+The girl is Milly Holt. It's [[334 Part III (22)|later established]] that this takes place not long after "[[The Death of Socrates]]".
 === the soaps ===
@@ Line 37: / Line 37: @@
 === open sessions of The Asylum ===
-It's unclear what The Asylum is. The name is a proper name rather than a generic description; rather than a mental hospital, it seems to be a social group or alternative community that practices a specific kind of group therapy, as shown in [[334/334/Part V#34. Shrimp, at the Asylum|scene 34]]. It may be a reference to [[wikipedia:Synanon|Synanon]].
+It's unclear what The Asylum is. The name is a proper name rather than a generic description; rather than a mental hospital, it seems to be a social group or alternative community that practices a specific kind of group therapy, as shown in [[334 Part V (34)|scene 34]]. It may be a reference to [[wikipedia:Synanon|Synanon]].
 === she didn't even drink Koffee ===
@@ Line 82: / Line 82: @@
 === one of Brother Cary's periodic nonappearances ===
-Brother Cary is a leader of the church services Lottie attends in [[334/334/Part IV#26. Messages Are Received|scene 26]].
+Brother Cary is a leader of the church services Lottie attends in [[334 Part IV (26)|scene 26]].
 == 11. Crossing Brooklyn Ferry ==
@@ Line 94: / Line 94: @@
 === ever so many generations hence ... What is then between us? ===
-These lines from [http://www.bartleby.com/142/86.html "Crossing Brooklyn Ferry,"], as well as others that aren't quoted here, could serve as a statement of intent for Disch's whole novel. Whitman imagines that New Yorkers of "A hundred years hence, or ever so many hundred years hence" will have similar experiences to him: they will enjoy [[334/334/Part VI#42. Lottie, at Bellevue, continued|sunsets]] and the daily activity of the city, they will be moved by anger and lust, they will be aware of themselves as individual bodies and as members of a crowd. As a portrait of mostly routine daily life in a city of the future, and of people driven by simple wants and weaknesses, ''334'' is a direct response to Whitman's call for empathy across time.
+These lines from [http://www.bartleby.com/142/86.html "Crossing Brooklyn Ferry,"], as well as others that aren't quoted here, could serve as a statement of intent for Disch's whole novel. Whitman imagines that New Yorkers of "A hundred years hence, or ever so many hundred years hence" will have similar experiences to him: they will enjoy [[334 Part VI (42)|sunsets]] and the daily activity of the city, they will be moved by anger and lust, they will be aware of themselves as individual bodies and as members of a crowd. As a portrait of mostly routine daily life in a city of the future, and of people driven by simple wants and weaknesses, ''334'' is a direct response to Whitman's call for empathy across time.
 Of course, in contrast to Whitman's earnest Romanticism, ''334'' is also bitterly satirical; in that regard, and in the collage style of this novella, it is closer in spirit to [[wikipedia:John Dos Passos|John Dos Passos]]. Dos Passos greatly admired Whitman and referred to "Crossing Brooklyn Ferry" as an inspiration for his sprawling slice-of-life novels, but had a darker, more complicated view of his characters and of society, especially in his later years; born four years after Whitman's death and continuing to write until his own death in 1970, he was a human bridge between the traumatized but hopeful America of Whitman's day and the fragmented society Disch lived in. Though Disch never (as far as I know) openly referenced Dos Passos's work, it's likely that he had it in mind, especially since John Brunner's ''[[wikipedia:Stand on Zanzibar|Stand on Zanzibar]]'' (1968) had recently made a splash with a different, flashier science-fictional homage to the same tradition.