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Let Down Your Hair Mrs. Maas. Interpreting: The Crying of Lot 49 by Thomas Pynchon
Master Thesis, English, 2012 (72 Standard Pages): Let Down Your Hair Mrs. Mass. Interpreting: The Crying of Lot 49 by Thomas Pynchon Department of Culture and Identity Roskilde University
Or you may find yourself with a quite complex complex, And you may end up like Oedipus. I'd rather marry a duck-billed platypus, Than end up like old Oedipus Rex. The out-patients are out in force tonight, I see.
Table of Contents 1. 2. 3. 4. 5. 6. Introduction Thesis Thesis Question Delimitations Structure Postmodernist Theory 5 7 8 8 9 10 11 15 21 25 26 26 28 31 43
6.1.0. Different Outlooks 6.2.0. McHales Dominant: The Ontological Instability of Postmodernism 7. 8. 9. 10. Meaning, Intention, Text, Context and Reader Method The Crying of Lot 49 A Brief Summary Analysis
10.1.0. Rapunzel 10.2.0. The Crying of Lot 49 10.3.0. Overlays in The Crying of Lot 49 and their Significance
Table of Contents 10.3.1. Communication Overlay 10.3.2. Names Overlay 10.3.3. Magic Overlay 10.4.0. Characters and Characterisation 10.4.1. Oedipa Maas The Maiden in The Tower 10.4.2. Pierce Inverarity The Shadow The Injured Prince 10.4.3. Metzger The Koshered Child The Substitute 10.5.0. The Obscure Plot: The Lovers Tryst/The Secret 11. 12. 13. Discussion Conclusion Resum 43 47 51 56 56 63 67 68 70 72 73
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1. Introduction She searches for the truth, but how can she be sure that she has found it, when the truth turns out to be a duck-billed platypus1 neither this nor that? Is that what happens to truth-seekers, especially those who are named after a blind prince? Oedipa Maas the novels protagonist leads the reader through one of the oddest literary experiences I have ever known. Pynchons novel The Crying of Lot 49 reads like a memory box of trinkets. To a stranger these trinkets are just different things, randomly picked from life and books, dissimilar, unrelated, yet boxed in together as a collection, a scope for analysis, an inquiry, a seeking. Usually, we say that every seeking is guided from the beginning by what is sought, because, if it is not we will not know what it is we have found when we eventually find it or will we? I began my seeking when I read Pynchons little story a while ago guided only by my own curiosity. Having finished it I was rather mystified and thoroughly exhausted by its informational and referential overload. My first impression was a very strong sense of construction and within this construction a scheme that kept eluding me because the story was pointing in so many different directions, especially in relation to the conception of space. Thematics of revelations, religious instants and death and themes of duality and liminality are emphasised in the novel. Pynchon himself, as well as his reader, is slowly building up a repertoire of half-buried quotations and intertexts where almost every word is found to be pregnant with scriptural memories and foreshadowings. (Petillon in ODonnell: 1991, 145) The novels play with epistemological dichotomies like reality and appearance, solipsistic ideas and thematics like transition between realities, in-betweenness, made me think of Buddhist philosophy2 but also of the dual worlds in the fairy-tale Rapunzel,3 which has been incorporated into the story from the beginning and seems to indicate a point of departure to the whole story. However, the novels original point of departure might have been a more Christian religious metaphysical theme, because, on the publishers page inside the book it states that: A portion of this novel was first published in Esquire Magazine under the title The World (This One), the Flesh (Mrs. Oedipa Maas), and the Testament of Pierce Inverarity. In his essay on Pynchons novel Pierre-Yves Petillon equates the Maas surname with the flesh: masse grave feeling the downward pull of
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From Tom Lehrers song: Oedipus Rex (1959) In Buddhist philosophy all phenomena originate in the mind and do not possess any form, hence, the phenomena of the three worlds of desire, of form and of non-form are all creations of the mind. Evans-Wentz, W.Y. (1961) Tibetan Book of the Dead, Chapter V. Reality 3 In Rapunzel (1812, Ed. 1857) the dichotomy of appearance vs reality and transition are major thematics, however, here it is referred to as the two worlds, because it would be pointless to talk of reality in a fairy-tale
gravity and going the way of all flesh, heavy (gravis) in more ways than one.4 (Petillon in ODonnell: 1991, 137) The novels mention of the Book of the Dead 5 could refer to either Egyptian or to Tibetan Buddhist religious practice. New religious philosophical angles kept popping up, like the bones of the dead and the muted horn - to wake the dead, eventually, when un-muted? The novels constant references to the language of the sacred, to religious instants and revelations; the promises of hierophany and the emphasis on the significance of maps, circuits and layouts of streets again pointed to more esoteric traditions. But, it also pointed to parity,6 isometrics and the mapping of landscapes7 and tied in with the protagonists search for clues in a strange landscape of multiple worlds to prove the existence of underground communication systems and communication across time and space. Faux historical intertexts illustrated by a Jacobean Revenge Play, a naval battle and a battle to gain control of the American postal courier service during the civil war all pointed to themes of communication bridging the gap between appearance and reality, the epistemological theme par excellence according to McHale. (McHale: 2001, 16) This short, dense emporium galorium of a novel intrigued me and it annoyed me. On the one hand the novels form is classically modernist set up as a detective story (McHale: 2001, 23). On the other, its sheer maximalism and its ontological inquiries into the meaning of being are quite perplexing like all the information that never seems to transfer to knowledge; the surrealist inputs; the constant interruption of the flow by things or events that seem to fit neither the story nor the reality constructed by, in or with the story. However, there is a recurring theme in the novel the theme of the Maiden in the Tower. The integration of the fairy-tale Rapunzel early on in the story and our protagonists strange amalgamation with its heroine are very explicit, very foregrounded in more ways than one, and, in my view, remain thus throughout the novel.
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Petillon links Pynchons original title in Esquire to the French Baroque poet Jean de Spondes (1557-95) sonnet XII, where he lists the three things that tempt Sponde and threaten the interior realization of Gods Temple: Tout senfle contre moy, tout massault et me tente et le monde [the World], et la chair [the Flesh], et lAnge revolt [the rebellious Angel]. 5 In The Crying of Lot 49: some promise of hierophany: printed circuit, gently curving streets, private access to the water, Book of the Dead (p. 20). There is no mention which Book of Dead it refers to. In his Psychological Commentary to the Evans-Wentz edition (1961) of the Tibetan Book of the Dead C.G. Jung writes that the Tibetan and the Egyptian Books of the Dead are both intended as guides to the deceased during the period of his Bardo-existence, symbolically described as the interim period between death and re-birth that lasts for 49 days. 6 In chapter one the protagonist Oedipa Maas reads the book reviews of Scientific American, where Martin Gardner had his own Mathematical Games column from 1956 to 1986. He also wrote about parity and in 1961 he wrote The Ambidextrous Universe: Symmetry and Asymmetry from Mirror Reflections to Superstrings. 7 Pynchons novel Mason and Dixon (1990) is, among other things, about surveying and mapping and in his introduction to the 1984 compilation of his short stories Slow Learner he admits that the major source for his short story Under the Rose (1961) which takes place in Egypt, was Karl Baedekers guide to Egypt from 1899.
2. Thesis There is an odd sense of detachment in The Crying of Lot 49 not so much from reality, although that is certainly the case too, as from itself. In my view this detachment from itself is mainly caused by an ontological contingency, an absence of truth. But, it is also owing to a layered thematic structure, where the different layers are presented not as sediments but rather as a palimpsest rendering each layer perspicuously transparent but lacking in cohesion. Reading Pynchons novel is a peculiar experience as Petillon points out, and he continues As the story unfolds, the reader is made increasingly word-conscious as each word becomes, figuratively, more conscious of both its etymological roots and its semantic field, so that eventually each word potentially suggests a whole knotty cluster of meanings [.] (ODonnell: 1991, 145) This tends to perplex the reader, mainly because every thematic is overly emphasized; e.g. almost all the names are linked to Freudian psychology, they have psycho sexual connotations and connotations of paranoia. All thematics pertaining to religion are somehow related to death. They are juxtapositions of Christian, Jewish, Buddhist and ancient Egyptian theology and mythology picked randomly and served as a bowl of magic soup. A well-known fairy tale frames the story, whereas the story itself is set up as a detective story with its protagonist Oedipa Maas in the role of the classic private-eye who struggles to discern reality from appearance in a world where every clue is prepared and laid out by her former, dead lover. (McHale: 2001) All she has to do as executor of his will is follow the dead mans instructions whatever they are and wherever they take her. The names, religious instants, fairy-tale and detective story of this novel are foregrounded thematics that have all been transformed into free flowing states disengaged from their usual marks of identification. They have become simulacra.8 In stead of creating a world has Pynchon created a constellation of bibelots?9 Is Oedipa an enlightened mediator who can guide the reader through this fictional world or is she obliviously following the yellow dotted line drawn by her former lover; or is she dreaming it all up as if she were some kind of postmodern Dorothy? Is Oedipa reflective, aware of the fact that the thing she is looking for could be her
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Baudrillard, Jean (1983) Nabokov, V (1992) vii. In his introduction to the 1992 edition of Vladimir Nabokovs novel Pale Fire from 1962 Richard Rorty quotes from Saul Malloffs sour review that the novelists immemorial purpose and justification was to create a world, and that Nabokov had created only a constellation of elegant and marvellous bibelots, an art which is minor by definition. Throughout the thesis I shall be using bibelots and trinkets to highlight Pynchons partiality to odd words, sentences, ideas, views and concepts that seem to have been picked randomly and used indiscriminately.
own projection, her creation, a solipsistic delusion? Is she hallucinating? Or, is she the pining Echo to Pierces Narcissus? In my view, the constant conflict between the dichotomy of reality and appearance and its eventual breakdown is a strong theme in this story. The novels multiple religious thematics seem to suggest an interpretation of navigating between binaries: good/bad, dead/alive, what we can know/what we cannot know. Postmodernist features are typically juxtaposed with and organized in oppositions with features of modernist poetics (McHale: 2001, 7). In Postmodernist Fiction (2001) McHale formulated a general thesis about the connection between modernist fiction and postmodernist fiction saying that the two isms are interdependent, the former being essentially epistemological (how can I interpret this world and my place in it?), the latter essentially ontological (what is a world and which world is this?). I shall apply McHales thesis as a methodological tool in my analysis of The Crying of Lot 49. The plot of Pynchons story is presented in the form of a detective story, which according to McHale is essentially epistemological. The protagonist sets out on a quest to unravel what seems to be an extensive conspiracy revolving around an underground postal service system. My thesis proposes that this epistemological quest conceals an obscure plot, which permeates and supports the entire story. This obscure plot is the well-known fairy-tale Rapunzel, but presented in a postmodern variation, which, contrary to more modern representations,10 seeks to up-hold the traditional formula for fairy-tales: an innocent story on top and underneath deep, dark murky waters of meaning that may or may not be penetrated. 11 3. Thesis Question What evidence is there of an obscure plot in The Crying of Lot 49 by Thomas Pynchon? How can this plot be interpreted as a postmodern adaptation of the old fairy-tale Rapunzel? 4. Delimitations There is a generous amount of intertextuality in this novel, but I have chosen only to point to intertextual references insofar as it coheres with my thesis. Additionally, I have decided to use Pynchons previous works as a reference; his novel V. and his collection of short stories in Slow Learner. Only rarely shall I refer to his later works. I have preferred in this thesis not to speculate whether its author intended the one or the other when he wrote the novel, or
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Since approximately the late 30s, Disney a.o Grimm, Jacob and Wilhelm (1857) Grimms Fairy Tales (see Appendix)
otherwise try to guess any deeper intrinsic meaning related to his personal life. I shall mention, however, that there are some discrepancies in the pieces of information I was able to obtain with regard to where he lived just prior to or while he wrote the novel. He is supposed to have stayed in Mexico during the early to mid 60s, and that is presumably where he in 1964 at an exhibition of paintings by the Spanish exile Remedios Varo saw the central painting of a triptych titled Bordando el Manto Terrestre. I shall be using the triptych as reference as it is elaborately described in the novel. With regard to complications concerning cross quoting in American English and British English it has not been easy to draw a sharp line between the two. I write and speak British English and this thesis is meant to reflect my language, however, it has been very difficult to keep my language and the American language used by Pynchon separated. When I refer to the lawyer Metzger, I shall continue to use the word lawyer throughout in order to avoid confusion. The same applies to any other discrepancies from British English: I shall choose the word used in the novels text and go with that. 5. Structure of the Thesis The thesis will be structured in the following way: I shall begin with a few different outlooks on postmodernism, on what that particular ism comprises from the points of view of theorists like Fredric Jameson, Jean-Francois Lyotard and Jean Baudrillard and continue with Brian McHales view, which attempts a narrower definition of the concept providing it with a dominant. I shall endeavour to stay within the limits of my thesis question, however, owing to the novels ontological contingency and the layered structure with its glut of information that has to be handled before I can begin my analysis and interpretation, I have deemed it necessary to present some thoughts about interpretation and meaning touching upon the Peircean idea of unlimited semiosis. The analysis will be split up into three sections beginning with an identification of the different thematics and themes of the fairy-tale Rapunzel followed by an analysis of The Crying of Lot 49 where each chapter of the analysis will take its point of departure in the thematics that were found in Rapunzel. Then, I shall proceed with an analysis of the layered structure of Pynchons novel. I have identified three different layers. These layers have a dual function. They are overlays that serve to highlight the ideas and theories at work in the story and they provide the story with a specific atmosphere or mood that reflects its plot and, eventually (hopefully), its obscure plot. The layered structure will be followed by an analysis of the novels characters comprising the protagonist and two major characters,
whereas the analysis of minor characters falls under the overlays chapter. The analysis chapter should result in a new plot. This will be followed by a discussion and a conclusion. 6. Postmodernist Theories The Crying of Lot 49 was first published in 1966 and the spirit of its text is very much in alignment with the spirit of its time, the early 60s. Postmodernism is not a label that can be glued on to the literature of a specific period in time. It is a construction which is conceived as a cultural movement following another cultural movement called modernism. Most often it pertains to art and literature written after World War II. Its point of departure is still the human condition, but, because the human condition changed so rapidly and radically after the war, especially in the United States in terms of new technologies and new ways of living and consuming, it often lead to a mystification of human relations. Man increasingly used technology to combat nature and its obstacles. The Interstate Highway System designed to link the cities of America had been initiated in 1956. Now, nothing stopped a person from going wherever or doing whatever he wanted. Eight million cars were sold in America in 1955, marking the 50s as the decade when America started its love affair with cars. To accommodate the post war baby boomers grand scale suburban housing projects were initiated, rows upon rows of identical houses, the so-called Levittowns.12 When the first housing development was completed in Norfolk, Virginia it consisted of more than seventeen thousand houses and eighty-two thousand residents, making it the largest housing development ever built in the United States. Prices were low, and only 10 per cent were asked as down payment. (Cullen: 2004, 151) By 1960 approximately 60 per cent of Americans owned their own home. Post war America had enormous resources to invest, but the idea at that time was that there had to be a unity of idea and purpose. We may draw a parallel to the industrial revolution in Britain of the late eighteenth and most of the nineteenth century, where new and better inventions emerged almost daily. But unlike Britain a large part of the American population benefitted from the new technologies. There was an obsession with technology and gadgets that prevails today. There would be TV for nearly everybody; there were airplanes, spacecrafts, rockets and finally in 1969 man on the moon. It was a kind of euphoria; it was the bright side of America. On the dark side was an increasing gap between the white middle classes and the black mainly Afro American minorities living on the fringe of society, often working as farm hands and
Suburban housing developments initiated by Abraham Levitt and his sons William and Alfred in the late 1940s providing cheap housing for blue collar workers in North America (Cullen: 2004, 150)
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domestic servants and subject to a different set of laws, which frequently caused racial tension and fuelled hate and anxiety in many parts of the American society. There were so many fear provoking incidents in the American fifties and sixties. The fear of Soviet spies fuelled the McCarthy era. The great diplomatic stand-off: the arms race of the Cold War with its near miss crises like the U2 incident and the Cuban Missile Crisis added fuel to the fear of nuclear war and gave rise to the American emphasis on core values like Family, Faith and Flagg. When the Crying of Lot 49 was published in 1966 one of its main themes the element of the two worlds could be seen as a reflection of American society at that time. The anxiety caused by living in a sort of hotbed between euphoria and tension is echoed in the foregrounded themes of the novel in the paranoia, the jumble of new-age religious references, the predilection to communication through time and space and the intertextual play with strange allusions mixed with echoes of formal historical text. Pynchons novel is embedded in the American history of the sixties, and it is not surprising why literary critic Brian McHale should favour 1966 as year zero.13 The novel not only reflects the physical, mental and cultural environment of its time, it also reflects the spiritual opening towards eastern philosophies that came to characterize the sixties. The influence from eastern religious philosophy promulgated by people like e.g. Alan Watts (1915-73), who lived and taught in California in the fifties and sixties, is evident. For the artist, musician, painter or writer it was a new age, the Age of Aquarius, an age of seeking and experimenting with altered states of consciousness and ways of living and being in the world. 6.1.0. Different Outlooks There is still some debate about whether there is a clean break between the periods of modernism and postmodernism, a view supported by Jameson and, to some extent, Baudrillard, or whether postmodernism stands on the shoulders of modernism and could actually be seen as a corollary to modernism; a view advanced by Brian McHale. Lyotard took a different stand. Apart from the fact that he uses the historical terms modern/postmodern interchangeably with the forms denoting the cultural movements modernism/postmodernism, he did not accept
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The Crying of Lot 49 was published in 1966, one of the reasons why McHale favours 1966 as year zero of
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postmodernisms claim as a periodizing concept, but called it a mode of the modern, anchored within the modern, but with a change in aesthetics and a new set of rules. The modern aesthetic, he explained, was an aesthetic of the sublime. It was nostalgic and only allowed the unpresentable to be invoked as absent content, whereas in the postmodern we may discern the unpresentable in writing, in the signifier: The postmodern would be that which in the modern invokes the unpresentable in presentation itself [.] (Lyotard: 2003, 14- 15) Lyotard emphasized Joyce, who belonged in the modernist avant-garde, because he made us discern the unpresentable in writing itself, in the signifier:
A whole range of accepted narrative and even stylistic operators is brought into play with no concern for the unity of the whole, and experiments are conducted with new operators. The grammar and vocabulary of literary language are no longer taken for granted; instead they appear as academicisms, rituals born of a piety (as Nietzsche might call it) that does not alter the invocation of the unpresentable. (Lyotard: 2003, 14)
The above quote proposes a postmodernist objective of ontological instability, a literary chaos as opposed to the aesthetic of the sublime which characterised modernism. Essentially what he proposes is that postmodernism is the naughty child who is not only allowed to sit at the modernist table, but allowed to run the whole household. Abrams explains that as postmodernisms attempt to break free from the modernist forms, whose counter traditional experiments had eventually become conventional. The elitism of modernisms high art was to be replaced by entertainment for the masses. (Abrams: 2005, 176) In Simulations Baudrillard contemplates the ramifications of this new changed pattern, and sees it as a distortion of the sign, insofar as representation used to indicate, as a point of departure, an equivalence of the sign and the real. He acknowledges, however, that this equivalence is utopian; it is an axiom. But, nonetheless, he maintains that simulation starts from the utopia of this principle of equivalence, from the radical negation of the sign as value, from the sign as reversion and death sentence of every reference (Baudrillard: 1983, 11). What Baudrillard proposes is essentially that postmodernism by its distortion of the sign dislodges the unity of meaning. By acknowledging that the equivalence between the sign and the real is utopian, an axiom, and that simulation starts from the utopia of this principle, he also acknowledges that what he calls simulation necessarily must be ideologically and politically grounded. The equivalence of the sign and the real is rooted in history and in ideology; what is agreed upon by a certain group of
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people at a certain point in history. The foundation of the real is shaken in postmodernism, but only because it can be shook. Perhaps the real in postmodernism is merely perceived as a point of departure, a good starting point for an equation that may be changed at will. For every starting point there will be a reference, and in my view every reference will contain an echo of some other starting point, because every starting point is based in the human condition, even the fantastic and science fiction. And nothing human is foreign to us, especially not in a global world. The intention to overthrow the modernist elitism of high art in favour of entertainment for the masses (Abrams: 2005, 176) is in itself a very elitist view render unto Caesar the things that are Caesars that belongs in the past. In spite of the different interpretations with regard to importance of the [post-] and the [modernist] in postmodernism; there seems to be a general agreement to some of the differences between modernism and postmodernism. Postmodernism