The greenhouse disintegrates around him, the meridians and parallels crumping and rending which isn't quite as bad as it sounds since the body of the plane is suddenly filled with flames. It's also used near the end in the scene where Bischoff is escaping his sunken U-boat:
Its use in the Yamomoto scene is thematically appropriate for several reasons which I could write a whole paper on if I were the kind of person who writes papers instead of weblog entries on this topic. As far as I can tell the Bischoff scene has no reason to use it, except it's very near the end of the book which is where authors traditionally pile on references to the recurring images. So there you go. I think I got all of them because I wasn't looking for them at all and they just jumped out at me, but there might be more.
Sun Jan 02 2005 21:30 PST:
By no popular demand whatsoever, I present the list of Cryptonomicon-Baroque Cycle tie-ins that I haven't seen mentioned elsewhere (qv. NYCB passim). Presented in descending order of plausibility. Contains spoilers.
The nose of the plane, then, is a blunt dome of curving struts, like the meridians and parallels of a globe... The plane has been parked pointing east, so the glass nose is radiant with streaky dawn, the unreal hues of chemicals igniting in a lab...
Bischoff looks back and up, and sees the forward end of the pressure hull turned into a dome of orange fire, the silhouette of a man centered in it, lines of welds and rivets spreading away from that center like the meridians of a globe.
