Crying of lot 49 essay

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Specifically, political language is used as a hegemonic device meant to create fear and paranoia in the public, and ultimately the idea that one certain person is able to oppose whatever enemy America might face. Shoop discusses in particular the gubernatorial campaign of Ronald Reagan in California, and how the former Hollywood actor who would go on to serve two terms as President of the United States defined his politics with paranoid language and persuasion.

The constant threat of attack and the unthinkable menace of Communism coaxed the American people into support of military growth, national security measures, and an arms race that created a ubiquitous atmosphere of fear and paranoia.

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Because this was happening on a national level, opposing beliefs were viewed as anti-American, and essentially analogous to support for the enemy. This use of paranoia as a political device is not unique to Reagan. The terrorist attacks of September 11, led to wars in Iraq and Afghanistan that were initially supported by an overwhelming majority of Americans. However, public support of the wars, which are ongoing to this day, has been greatly reduced in the last several years.

One of the primary contributing factors to this change was the discovery that Al-Qaeda and Osama Bin Laden were the perpetrators.

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Oedipa would be a victim of the same paranoia 50 years later, manipulated by a political force with a different face but the same tactics, and it occurs throughout America. It is through this idea that Pynchon creates the possibility for breaking out of the binds of paranoia. He does this not through Oedipa reaching her goal or finishing her journey, but through the transcendence of her husband, Mucho Maas. At the beginning of the novel, Mucho comes home and vents his discontentment with his work.

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Similarly, she experiences both the notion of possible sensitivity and her own inability to achieve it when she drunkenly knocks over a can of hairspray in her initial meeting with Metzger. Just as Oedipa is unable to sort molecules, she is unable to compute the path of the rogue hairspray. Was it something like this he felt, looking through the soundproof glass at one of his colleagues She is on the inside of the system looking out, but Mucho is standing on the outside looking in. While she constantly searches for the sublime, only a true Sensitive is capable of experiencing it.

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Consequently, he does believe in the message, and it is a message of contentment and connection, free from the affliction of paranoia. After Dr. Hilarius has his meltdown, Oedipa walks out of his office and finds Mucho broadcasting the ordeal on his radio station. This scene indicates the same idea of the Natural entropy, namely that information overload leads to disorder and miscommunication. He anticipates disorder in the system, and so establishes the necessary syllabic sorting in his own voice to compensate, and thus maintains order.

A song is played, and Mucho is able to hear a single violinist slightly out of tune amongst seventeen others. He asks,. With just his set of notes on that cut. Figure out what his ear is like, and then the musculature of his hands and arms, and eventually the entire man. Here Mucho poses the question of how his newfound abilities might be used. Mucho imagines the reconstruction of a man, which might be viewed as a form of divine creation, from just listening to the notes of his instrument. Something from nothing. Oedipa asks why anyone should want to do that, and Mucho replies,.

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They could dispense with live musicians if they wanted. But I can do the same thing in reverse. Listen to anything and take it apart again. Where the great majority of people are organized by the system, a handful of people, Mucho being one of them, are able to organize the system. Along with the single violinist, Mucho perceives that nothing more is happening between Oedipa and Metzger, and he knows this just because of the way she spoke into the microphone a few minutes earlier. His transcendent perception includes a form of communication and understanding that is not based on nor limited by language.

Oedipa suggests that Mucho might be addicted to the LSD, to which he responds,. Because you hear and see things, even smell them, taste like you never could. Because the world is so abundant. No end to it, baby. Transcendence occurs in the context of a psychedelic drug, although this is just a vehicle for presenting a state of existence that is essentially unpresentable.

It is not addicting or manipulative — there are no drawbacks. It enhances the mind and body, and connects with the world and all of the people in it. Communication barriers and the understood limits of humanity cease to exist. And perhaps the most important result of all of this organizing of information is the reconciliation of Natural and Hypothetical entropy.

Specifically, omniscience , and the consequent undoing of hegemonic paranoia. Oedipa will never reach her goal of finding the Tristero. That would require her to become a Sensitive, a path that she in both unwilling and incapable of pursuing. She speaks with him through his door for several minutes, and he is surprised to find out with whom he is speaking when he lets her into the office. The objects that Inverarity leaves behind at his death are clues to his identity.

It is the job of Oedipa to "bestow life on what had persisted, to try to be what Driblette was, the dark machine in the center of the planetarium, to bring the estate into pulsing stelliferous Meaning, all in a soaring dome around here. Pierce could make complicated networks out of nothing. He alone created the chaos around Oedipa. Pynchon succeeds in embodying Pierce Inverarity as a force with in the novel.

Pierce was a "knight of deliverance"12 who had "failed to free Oedipa Maas from the tower of her own consciousness of the world. The author, Pynchon, parallels Pierce. Pynchon creates a web of events that the reader must interpret. The reader is blanketed beneath a "semiotic regime," a place where signs and symbols can be decoded in an infinite number of ways.

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Pynchon compares Oedipa witnessing the play to the reader apprehending the novel. For example, Pynchon switches from Jacobean vo cabulary to modern phrases "While a battle rages in the streets outside the palace, Pasquale is locked up in his patrician hothouse, holding an orgy. This distances the reader from the play, similar to Oedipa's role as a confused onlooker, thereby giving Oedipa and us a false sense of security.

We soon find elements of 'The Courier's Tragedy' almost in all subsequent events of the novel. Pynchon, via Driblette, speaks to the reader: "You guys, you're like the Puritans about the Bible. So hung up with words, words. Instead, it is a warning to the reader and Oedipa of the addictive nature of their respective searches.

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Oedipa's search for the original version of 'The Courier's Tragedy', which is obstructed by her inability to separate her play from its author, editor or producer, is an exaggerated metaphor of the r eader's troubles in making sense of the novel. For our purposes, they serve to wed the reader's quest for a literary meaning with Oedipa's quest for self-discovery. As mentioned before, a major ele ment within the reader and Oedipa's quest is paranoia. Paranoia pushes the reader through the text.

We are constantly led towards a conclusion, but then deceived. Our inability to decipher symbols relates to our inability to increase the communicative entropy of our world. Nevertheless, The Crying of Lot 49 succeeds in actively involving the reader within the text, a hallmark of postmodern literature. Duyfhuizen, Bernard. Boston: Little,Brown, Hipkiss, Robert M. The American Absurd. New York: University of Chicago Press, Johnston, John. New York: Cambridge University Press, Plater, William M.

The Grim Phoenix. Bloomington: Indiana University Press, Pynchon, Thomas. The Crying of Lot Seed, David.

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The Fictional Labyrinths of Thomas Pynchon. Iowa City: University of Iowa Press, Wittgenstein, Ludwig. Tractus Logico-Philosophicus. Need a different custom essay on College Papers?

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