Seguindo o exemplo de livros anteriores, Against the Day volta a fetichizar a anarquia organizada da música e da dança como uma arma contra a Ordem conspiratória dos Eleitos, e um antídoto contra a inevitabilidade da entropia. Um fetiche de longa duração:
V. (1963)
« 'Crazy', said McClintic... But one thing that did occur to him was if a computer's brain could go flip and flop, why so could a musician's. As long as you were flop, everything was cool. But where did the trigger-pulse come from to make you flip? (...) What happened after the war? That war, the world flipped. But come '45, and they flopped. Here in the jazz bars of Harlem they flopped. Everything got cool. . .»
The Crying of Lot 49 (1967)
«Each couple on the floor danced whatever was in the fellow's head: tango, two-step, bossa nova, slop. But how long, Oedipa thought, could it go on before collisions became a serious hindrance? There would have to be collisions. The only alternative was some unthinkable order of music, many rhythms, all keys at once, a choreography in which each couple meshed easy, predestined. (...) She was danced for half an hour before, by mysterious consensus, everybody took a break, without having felt any touch but the touch of her partner . . . an anarchist miracle.»
Mason & Dixon (1997)
« "'Tis ever the sign of Revolutionary times, that Street-Airs become Hymns, and Roist'ring-Songs Anthems,-- just as Plato fear'd,-- hast heard the Negro Musick, the flatted Fifths, the vocal portamenti,-- 'tis there sings your Revolution. These late ten American years were but Slaughter of this sort and that. Now begins your true Inversion of the World."
"Don't know, Coz. Much of your Faith seems invested in the novel Musick,--"
"Where better?" »
Against the Day (2006)
«"... I’ve noticed the same thing when your band plays — the most amazing social coherence, as if you all shared the same brain."
"Sure," agreed ‘Dope’, "but you can’t call that organization."
"What do you call it?"
"Jazz."»
V. (1963)
« 'Crazy', said McClintic... But one thing that did occur to him was if a computer's brain could go flip and flop, why so could a musician's. As long as you were flop, everything was cool. But where did the trigger-pulse come from to make you flip? (...) What happened after the war? That war, the world flipped. But come '45, and they flopped. Here in the jazz bars of Harlem they flopped. Everything got cool. . .»
The Crying of Lot 49 (1967)
«Each couple on the floor danced whatever was in the fellow's head: tango, two-step, bossa nova, slop. But how long, Oedipa thought, could it go on before collisions became a serious hindrance? There would have to be collisions. The only alternative was some unthinkable order of music, many rhythms, all keys at once, a choreography in which each couple meshed easy, predestined. (...) She was danced for half an hour before, by mysterious consensus, everybody took a break, without having felt any touch but the touch of her partner . . . an anarchist miracle.»
Mason & Dixon (1997)
« "'Tis ever the sign of Revolutionary times, that Street-Airs become Hymns, and Roist'ring-Songs Anthems,-- just as Plato fear'd,-- hast heard the Negro Musick, the flatted Fifths, the vocal portamenti,-- 'tis there sings your Revolution. These late ten American years were but Slaughter of this sort and that. Now begins your true Inversion of the World."
"Don't know, Coz. Much of your Faith seems invested in the novel Musick,--"
"Where better?" »
Against the Day (2006)
«"... I’ve noticed the same thing when your band plays — the most amazing social coherence, as if you all shared the same brain."
"Sure," agreed ‘Dope’, "but you can’t call that organization."
"What do you call it?"
"Jazz."»
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