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What you find when you actually open up Pynchon's novels is an incredibly rich world of human detritus, of history.
当你真正看Pynchon的书,你能够发现一个难以置信的。
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So, Pynchon is using that religious vocabulary: not just the religious imagery of the Pieta, but the religious vocabulary of the capitalized Word.
这个宗教的词语：,不仅仅是圣像雕塑，还有这个大写的“Word“
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And she reflects, just above that, on the mattress that he must sleep in, and this is one of those great Pynchon sentences.
接着在他睡觉的床垫上，她思考着这是Pynchon著名的句子之一。
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Pynchon wants to imagine a very physical repository for the social, and especially for the human, affective dimensions of the social.
一种情感上的社会维度，这就是为什么Oedipa身边的男生。
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If Barth only gestures towards that world, the politics of that decade, Pynchon actually lets us see it.
如果说Barth只是，向那个时代的，政治世界，故作姿态的话，那么Pynchon是让我们认识了它。
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In Pynchon, often, these are somehow social details about people talking to other people, political things, places, and how houses are arranged.
在Pynchon的书中一般是社会生活的细节,比如说人们的交谈，政治问题，地点或是房屋的布置。
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I want you to think about what kind of protagonist Pynchon sends out into this world.
我想让你们想想，Pynchon向这个世界,塑造了怎样的一个主角？
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So, if Pynchon gives us the pattern of meaning, rather than meaning itself in this novel, he also gives us a vision of what it means to embody that pattern.
所以如果说Pynchon给了我们意义的模式在，而不是意义本身，那么他也给了我们体现那个模式意味着什么的景象。
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So, I think this is what Pynchon brings to the string of meditations on what language can do, and what the novel is for, that I began my lecture today with, just recapping for you.
我认为这就是Pynchon带来的对语言,能够做什么和这本书是为了什么的思考,我在今天的开始就说过，现在再提一下。
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It's that Pynchon describes them all, notes them all.
因为Pynchon描述了它们。
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Pynchon lets us see both.
而Pynchon则让我们看到了两者。
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