CoL49 (3) words she never wanted to hear [PC 40]

[Robin Landseadel]

I'll supply page numbers from the Perennial Classics [152 page] edition.

34: "whoops and yibbles"

http://www.urbandictionary.com/define.php?term=yibble

	"during the weeks that followed, when the head chef was
	looking the other way, da conho would assemble his machine
	gun, camouflage it with iceberg lettuce, watercress and belgian
	endive, and mock-strafe the guests assembled in the dining
	room. 'yibble, yibble, yibble,' he would go, squinting malevolent
	along the sights, 'got you dead center, abdul sayid. yibble,
	yibble, muslim pig.' da conho's machine gun was the only one
	in the world that went yibble, yibble.

http://osdir.com/ml/culture.literature.thomas-pynchon/2002-05/msg00368.html

http://yibbleyibbleyibble.blogspot.com/

34: 	A frail young man in a drip-dry suit slid into the seat across from
	them, introduced himself as Mike Fallopian . . .

On May 16, 2009, at 11:37 PM, rich wrote:

> Mike Fallopian--for a book so hung up on revelation and otherworldly
> spirits, there are lots of references to the earthly--female anatomy
> reproduction doesn't get any more earthly.

Birth and conversely abortion are threads in CoL49. This would be the  
very first encounter that Oedipa has with trystero, her first  
spotting  of a muted posthorn is on page 38,

	She found a pen in her purse and copied the address and
	symbol in her memo book, thinking: God, hieroglyphics.

. . . followed by Fallopian's: "You weren't supposed to see that."  
Fallopian's  warning was for the mail call that preceded Oedipa's  
visit to the ladies room, but see how it overlaps her discovery of the  
symbol of the muted posthorn? Oedipa's reaction—in this moment— is to  
"cry miracle". Her reaction to the symbol is "God, hieroglyphics."  
Note the echo of her "God" and the dead green eye of the tube and:

	40: All Oedipa would remember about him at first, in fact, were 	
	his slender build and neat Armenian nose, and a certain affinity 	
	of his eyes for green neon.
	
Not such dead eyes—maybe somebody's now watching her—but "green".  
Oedipa's quest is given a religious quality; key words and phrases  
hover Oedipa's revelations, words that point to religion and gnosis,  
heresy, dread and exposure:
	
	39/40: So began, for Oedipa, the languid, sinister blooming of 	
	The Tristero. Or rather, her attendance at some unique
	performance, prolonged as if it were the last of the night,
	something a little extra for whoever'd stayed this late. As if the 	
	breakaway gowns, net bras, jeweled garters and G-strings of
	historical figuration that would fall away were layered dense as
	Oedipa's own street-clothes in that game with Metzger in front of
	the Baby Igor movie; as if a plunge toward dawn indefinite black
	hours long would indeed be necessary before The Tristero
	could be revealed in its terrible nakedness. Would its smile,
	then, be coy, and would it flirt away harmlessly backstage, say
	good night with a Bourbon Street bow and leave her in peace?
	Or would it instead, the dance ended, come back down the
	runway, its luminous stare locked to Oedipa's, smile gone
	malign and pitiless; bend to her alone among the desolate rows
	of seats and begin to speak words she never wanted to hear?

It's at this moment that Oedipa is really "on the road."