The Crying Of Lot 49

Mon Jan 21 13:03:39 CST 2008

Even moreso in Mason & Dixon. If you extent the concept to include 
the unquiet dead, Against the Day and Vineland will do very nicely, 
thanks. Communication with the Angels is central to Ceremonial 
Magic [frequently cited in his works], Ceremonial Magic is central 
to Pynchon's work. I'm guessing that the history of heresy is the real 
motivator here, but I could be wrong. In any case, all the name-drop-
ping in Against the Day---Blavatsky, A.E. Waite, Nicholas Nookshaft
[He Who Shall Not Be Named!!!] outlines the history of the resurgence 
of Ceremonial Magic at the turn of the previous century.

AtD is all about enlightment. CoL49 is all about endarkenment. 

 -------------- Original message ----------------------
From: Mark Kohut <markekohut at yahoo.com>
> Robin corrects "angle"..........................................
> we know about angels in later work, esp. GR, of course.
> 
> 
> ----- Original Message ----
> From: Mark Kohut <markekohut at yahoo.com>
> To: Dave Monroe <against.the.dave at gmail.com>
> Cc: pynchon -l <pynchon-l at waste.org>
> Sent: Monday, January 21, 2008 12:08:57 PM
> Subject: Re: The Crying Of Lot 49
> 
> 
> He loves it lovingly, working-it-outly......
>  
> But I had never noticed the "descending angle" before!!....
> And we know a little of what angles have come to mean in AtD........
>  
> and always wondered whether some auctions started by refusing latecomers with 
> "locked doors".?  Anyone know?
> 
> 
> 
> ----- Original Message ----
> From: Dave Monroe <against.the.dave at gmail.com>
> To: pynchon -l <pynchon-l at waste.org>
> Sent: Monday, January 21, 2008 10:51:39 AM
> Subject: The Crying Of Lot 49
> 
> eyes of the world
> Sunday, January 20, 2008
> The Crying Of Lot 49
> 
> After reading The Crying Of Lot 49 my initial reaction was similar to
> Mucho's when we learn Dr. Hilarius has been giving him LSD. Pynchon
> brings the reader hauntingly close to the edge of confusion, but at
> the same time offering a type of clarification only established by his
> word choice and scene description. Certain sounds that echo in the
> background throughout his book were interesting and made me realize
> the type of technology which was beginning to show its face during the
> 60's. As Pynchon writes on page fourteen, "Though she knew even less
> about radios than about Southern Californians, there were to both
> outward patterns a hieroglyphic sense of concealed meaning, of an
> intent to communicate." I believe Oedipa is searching for
> communication through the legend of the Tystero. Not only is she
> searching for a way to communicate, she is also searching for herself.
> I believe this is one reason Pynchon's addition of historical events
> is so prevalent. The World War II reference regarding old bones that
> were sold to a cigarette company was fascinating. The story relayed by
> Fallopian in the bar about the disagreements between the Russians and
> the U.S. was fantastic. And of course the entire legend of the
> Trystero and W.A.S.T.E was mind numbing. These historical events are
> relayed mostly by stories and words, which makes their link with
> another form of communication (music) so interesting. Music surrounds
> this book much like historical stories do. Mucho is a disc jockey, the
> teen band sings songs throughout the book, and the singing that takes
> place at Yoydyne.
> 
> Another theme that seems to loom in the background of this book is the
> presence of television. The television seems to create an initial bond
> between Metzger and Oedipa. The technological box not only builds
> their relationship, but in some terms ends it with the two having sex.
> (Which seemed to be Metzger's original agenda.) Pynchon writes on page
> twenty nine, "On the screen New Zealanders and Turks were impaling one
> another on bayonets. With a cry Oedipa rushed to him, fell on him,
> began kissing him to wake him up." Not only are they surrounded by the
> bright light of the television in this scene, but also the guitar
> sounds of the Paranoids. The character of the television itself is
> mentioned over and over in this book. From episodes of Bonanza to the
> scene in Nefastis' house. Pynchon includes cartoons in this section on
> page eighty five. "He returned to his TV set, which was now showing
> cartoons. Oedipa sat through two Yogi Bears, one Magilla Gorilla and a
> Peter Potamus, staring at Clerk Maxwell's enigmatic profile, waiting
> for the Demon to communicate." Again, we see a need for communication
> and a strange background noise reserved for the observant.
> 
> When I first began to read this book I wanted to finish so I could
> learn what it all meant, including the title. The ending has left me
> somewhat baffled. Pynchon writes on page one hundred and fifty two,
> "She heard a lock snap shut; the sound echoed a moment. Passerine
> spread his arms in a gesture that seemed to belong to the priesthood
> of some remote culture; perhaps to a descending angle." I couldn't
> help but think this might just be the end of Oedipa. Why the locked
> door to an auction? Why a reference to an angle? Is lot 49 more than
> the sale of some old stamps?
> 
> http://literaturelink.blogspot.com/2008/01/crying-of-lot-49.html
> 
> 
> 
> 
> 
> 
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