Paperware to Vaporware, The Nativity of Tyrone Slothrop

– 9 –

Now for a look at his Soul, ethnic and family background, and relation to his country, we must examine the position and aspects of the Moon. The Moon is in its own sign of Cancer in the Tenth House, the opposite house of the Moon, indicating a direct blood-link to his ancestors on both sides, to all ten generations of male Slothrops (each seeing the Hand of God ) and to family witch Amy Sprue on his mother’s side. Cancer itself is the predominant sign of the family, heritage, and ones own ethnic national background. Placed in its opposite Tenth House this combination can, and does in Slothrop’s case, imply exile, finding no abode in his home country, banned and dispersed in the ZONE in early Virgo 1945, the year of reaper Saturn’s transit through Cancer harvesting DP’s of all nationalities and plucking Albatross feathers along the way [360, 623].

The Cancer Moon shows a dominant attachment to the mother (definitely a “mama’s boy”) and easily coming under the influence of women, to the point of seeking the influence of woman. Women of all ages, from children to grandmothers, were his greatest protectors, yet he built no home for them, provided little else than physical (dis)comfort and a bureaucracy of departure [470-1]. Furthermore, there is a stellium in Cancer at the upper rim of the Bucket-figure with jovial Jupiter and pernicious Pluto in direct conjunction with motherly Moon. Although primarily being a double Virgo this unique Cancer stellium at the upper rim of the bucket-figure endows Slothrop physically with his clawlike appendages, a crabwalk and stomach troubles [677]. In esoteric astrology Cancer rules Africa and the Negroid race. Through his childhood fantasy contact to Maximilian, his men’s room initial encounter with Malcolm X, and his friendship to Enzian, Slothrop redeems his own personal fear regarding the racial question in general. The harmonious aspects between Cancer and Virgo evolve him beyond any innate latent prejudices commonly associated with Virgo [63, 362, 675].

All major aspects to this Cancer stellium are favorable – three trines and six sextiles – which normally would indicate moderate success following in the footsteps of the family business. However, the house position is upside down causing Pluto to stoop all the way to Hell and back – Pluto’s own domain! He was “contracted,” bargained away for his future education, sold as an infant by his very own father. This Heaven & Hell family cycle is completed and Slothrop discovers the secrets and mysteries of this paternal deal for his soul. Yet unable to get back home, a cross himself, fragmented, hopefully finding grace and salvation (the most promising attribute of Jupiter’s exaltation in Cancer), he leaves a living legacy on the Zone’s present-day population, and most likely a few offshoots too [742]!

The Zone is now reunited with the Homeland and is beginning to become the 21st Century’s major center of waste-paper recycling. Purely speculative, but exactly when (and if) Slothrop reincarnated (if actually deceased!) is still an undetermined factor. His soul could have been released at the “Fall of the Wall” in the Autumn of 1989 under the unusual 497 year triple-conjunction cycle of bonded Saturn in alignment with liberating Uranus and transcendental Neptune in Capricorn – in direct opposition to his native Cancer stellium of the Moon, Pluto and Jupiter (Neptune-Pluto being the astral plane, Uranus-Jupiter the release, and Saturn-Moon the timing).

Slothrop’s extensive amorous and erotic adventures, both real and imaginary, are a compound chapter in themselves. Venus is the female planet, the Goddess, of love and beauty, Mars is the male planet of sex and energy. At the moment of his birth these two stood in direct conflict between Leo and Scorpio, two fixed-signs of will, power and obsession. From his Cancer Moon we learned about the influence and sympathy of women in general in his life; their attraction to, affinity towards and protection of him. Women could feel, sense his unpretentious nature and provided him with food, clothing and shelter, rescue, escape, and refuge … love and sex as well. Definitely, as Slothrop believed, women do have the antennas men do not [188].

Venus is remarkably – and paradoxically – positioned in the flashy, flamboyant, dandy, and warmhearted sign of Leo in the Eleventh House, the house of friends, leisure, special groups, and “hopes and expectations.” Almost as if he were living in a fairy castle, he just puts on some fancy flashy foolish fetish clothes and women of all ages, sizes, shapes, and walks of life come running: WACs, nurses, secretaries, chorus girls, double agents, witches, film stars, teenage Lolitas, farmer’s daughters, whores, and aristocrats. What makes them do it for free [86], and just how many of these women are real or solely products of his fantasy [271-72]? According to the unusual position of Venus on this date, I would say ‘a little of both,’ and confirm that at least he never bragged about it – a shy guy too [22].

Slothrop’s Goddess of Love, a Luciferian Venus, in the glamorous and grandiose Olympian sign of Leo, is positioned at the midpoint between dreamy, seductive-receptive, transcendental, dopey Neptune, and restrictive, realistic, karmic-fatalistic, destiny shaping Saturn – an exceptional and seldom cyclic Stellium in itself. Coincidently enough, the last time this exact same constellation occurred was August 31, 1595, and on that very date the Moon was also in Cancer and Mercury retrograde in Virgo. This is either a grand coincidence, or Thomas Pynchon thoroughly examined the Saturn-Neptune/Venus cycle!?

The qualities of Venus – love & peace, The Muses & culture, sympathy & compassion, pleasure & enjoyment, beauty & charm, elegance & grace – are elevated to the higher octave of refined extrasensory perception by the transcendental influence of Neptune, and from the karmic influence of Saturn these same qualities are plunged to the clinical depths of puritan isolation [85-86]. This is the classic, and fundamental, astrological polarity between fantasy and reality, imagination and realization – and that centered on his love life!

Pynchon does, however, describe in great detail, and with much background information, the Pavlovian sexual conditioning of Infant Tyrone. We’re even told about the size of Infant T’s erection [84]. The sexual/erotic characteristics of any nativity are symbolized, illustrated, and embodied by the Zodiac sign, house position, and mutual aspects of Mars, the counterpart or binary of Venus. In Slothrop’s nativity Mars, the male sexual organ, is placed in its own sign, Scorpio, the sign, per se, of sex, death, and rebirth. Furthermore, Mars is placed in the material Second House (his own flesh & blood . . . “the penis he thought was his own,” a rocket-dowsing tool [216-17]) and in direct conflict with Venus and the Leo Stellium, the primary affliction of the chart.

Celestially, Mars and Venus are complementary opposites: war/peace, beast/beauty, sex/love, cock/cunt, brutality/grace, on the one hand and courage/cowardliness, strength/weakness, austere/vain, active/passive, pioneering/compromising on the other hand. Together, Mars and Venus rule the age phase 14-28, the years of puberty, sexual adolescence, and falling in love. One major question in Gravity’s Rainbow is if Tyrone ever really fell in love. Another relevant question could be if he actually enjoyed his sexual escapades! The astrological tension, conflict, and affliction between these two planets, the fundamental cosmic binary of love/sex, with each on its own side of our planet Earth, says NO! Was that Slothrop’s (notorious) Fatal Flaw [676]? Was he, the original Rocketman , due to infant conditioning or not, incapable of truly falling in love, not even mentioning the experience of genuine erotic pleasure? Once again, is this the Fatal Flaw of Tyrone Slothrop?!

In love and life, Slothrop sought grace (he even warned himself [213-14]), but, instead, found manipulation [216], cruelty [396], and himself living as an unhappy loner [390] ultimately ending his life as just “feeling natural” at the crossroads of himself [625-26]. All this fits appropriately into his nativity, because Mars, in its negative domicile of Scorpio, the sign of Sex and Death, dominates Venus, with that in full distress. Not only is Venus afflicted, but Neptune, the higher octave of Venus, is as well. The planet of illusions, seductive visionary Neptune, in Leo in the 11th House, is a three-ring circus itself, bringing about Slothrop’s costume theatricals, an endless line of unusual people aiding and abetting him for free, and other weird companions and fantasy figures channeling him onward and onward beyond any point of recognition: “it’s just got too remote” [740-41].

Neptune further denotes the chemical, parapsychological, transcendental conditioning and innate elements of his character, the lowest depths of depravity, as well as his broken heart and no salvation (after fucking Bianca [470-71]). In Slothrop’s nativity, Mars is both the “Lord & Ruler” of death, placed in the sign of death. Regarding his death (dissolution, dispersement), the afflicted aspect between Mars and Neptune fulfills a prophecy: “dying a weird death, the object of life is to make sure you die a weird death” [742]. Slothrop certainly dies a weird death, yet, due to Neptune’s confusing uncertainty, we do not even know if he actually died at all, or if he was transcendentally externalized in those enchanting Harz mountains. Was this a postmodern “Soul wandering”, vielleicht?!” Why, Tyrone would be only 82 in 2000, two years short of a perfect astrological age cycle.

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© all rights reserved, alle Rechte beim Autor, Douglas Kløvedal Lannark, Kopenhagen und Berlin, 2000-2005.

Links zu Douglas Kløvedal Lannark:

Douglas Kløvedal Lannark: MASON & DIXON: An Astrological Review — on this server.

Douglas Kløvedal Lannark: Hand–drawn Chart of Tyrone Slothrop — on this server.

Douglas Kløvedal Lannark: Venus Rules — Love — on this server.

The Fifth Gate – A documentary by Bente Milton: “Douglas Lannark is an acclaimed astrologer and expert in the various calendar systems used around the world.”

Douglas Kløvedal Lannark: Wann beginnt das neue Jahrtausend ? Kalender und Zeitrechnung – Meridian, 21.Jhg. 1999 / Heft 6.

Index Hauptseite Vorwort Die Parabel Dekonstruktion Michael D. Bell Summary Biographie Richard Fariña Robert Frost Galerie Literatur Luddism Mason & Dixon Monographien u. Aufsätze Patterns–Muster Proverbs for Paranoids Schweine Slow Learner Soccer Sterblichkeit und Erbarmen in Wien Vineland Weblinks Weiterführende Literatur The Wizard of Oz Fay Wray The Zero Homepage Seitenanfang/page up

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Last update Monday, June 13, 2005


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