The Crying of Lot 49 (Perennial Fiction Library)

Don't read books that go over your head - go back to watching The Disney Channel.

I tried to start this multiple times, but I finally gave up.

The Crying of Lot 49 is an amazingly rich and complex work, especially when you consider its slim, novella-like size. Thomas Pynchon is widely recognized as among the most brilliant of postwar writers, and this is the perfect introduction to his work. It has the themes, the multitude of characters, and the diverse interests of Pynchon's more sprawling tomes, but its size makes it more manageable.Which is not to say that it is a breeze--in fact, I'm sure I missed things in my first reading that will become more clear the second or third time around. The plot itself is quite complicated, and when you consider the book's brevity, the cast of characters can seem almost Tolstoyan (they tend to walk on and disappear later in an endless stream). Also, Pynchon makes good use of some richly gothic prose equal to anything by the deadly serious Faulkner or Cormac McCarthy--but we can rarely be sure if we should take Pynchon's prose at face value.The first thing you'll probably notice here is the sheer humor. Just the names of the characters make me laugh: Oedipa and "Mucho" Maas, Dr. Hilarius, "Bloody" Chiclitz, Arnold Snarb. And as usual with Pynchon, you can count on a generous helping of hilarous, sometimes awful, songs. Try the corporate ditties from the Yoyodyne Aerospace company. This book had me practically rolling on the floor again and again.The story centers on Oedipa Maas, the very likeable young woman saddled with the unfortunate task of executing the estate of Pierce Inverarity, her former lover. As she attempts to get his affairs in order, she becomes increasingly entangled in what may or may not be a worldwide conspiracy called the Tristero (also spelled Trystero). This conspiracy evidently began as a sort of terrorist group opposed to the mail-carrying family Thurn und Taxis, who really did have a monopoly of postal services in Europe for many decades. Thurn und Taxis are represented by the symbol of a post-horn, so Tristero chose a muted post-horn as its sign.All this is meticulously researched by Pynchon, who's interests and reading experience seems to be endless. We get accurate information here about entropy and the perpetual-motion concept of Maxwell's Demon, the Thurn und Taxis family, Elizabethan Drama--too much to list here. Speaking of Elizabethan drama, Pynchon also includes the best parody of a revenge play ever written.There is much more than knockabout humor here. The dreamlike night scene in San Francisco, when Oedipa keeps seeing the muted post horn again and again, is richly evocative, the scene in which Oedipa comforts the old man in his apartment is surprisingly touching, and near the end Pynchon gives us some eloquent philosophizing, but without interrupting the novel's flow. These scenes stick in the mind as much as the hilarous comedy parts with Metzger, the rock band The Paranoids, and the ex-Nazi psychiatrist Dr. Hilarius.I wouldn't ever give away the ending, but be forewarned that it is enigmatic. If you want Dickensi

Thomas Pynchon - The Crying of Lot 49It says something about Thomas Pynchon that "The Crying of Lot 49", by all reports a straightforward book, is, by Pynchonian standards, an oddity. For a writer who has built a reputation on constructing labyrinthine tomes that endlessly branch off for pages and pages until the reader wearily abandons any attempt at deciphering a plot, "Lot 49" is, well, linear. By far the most accessible of Pynchon's works "The Crying of Lot 49" is also probably his most concentrated. So short that it is often referred to as novella, "Lot 49" manages to get at Pynchon's BIG IDEAS and even contain some of his delightfully controlled chaos.It is the story of Oedipa Maas, summoned to California's San Narcisco to fulfill a duty to left her by some shady inheritance, namely to oversee the execution of a rather large estate left by the newly deceased Pierce Inverarity. Immediately Oedipa finds herself overwhelmed by the size and complexity of Inverarity's estate, and hopelessly imagines that she will never get Inverarity's affairs straightneed out. No sooner does she lose hope than Oedipa meets an odd man who seems to have some ideas to help her. As the two look into the estate, coincidence after coincidence piles up until Oedipa finds herself enmeshed in what may or may not be a global conspiracy where almost every person, place and thing she meets up with can, given enough time, be plausibly fit.The central question to this story, does the conspiracy exist or is Oedipa making it all up, is a metaphor which Pynchon pursues over many divergent paths, each leading to a different idea. On one level, Oedipa's quest is a microcosm of each of our own lives: using the available information she (an we) creates a story about the way things really are and continually tests and refines it. That Oedipa finds substantial clues in the oddest and most coincidental places is part of the mystery: is it really that life is so capricious that random encounters can have profound impacts, or is life much more banal, leaving Oedipa to simply imagine connections amidst a sea of information?On another level, Pynchon uses Opedipa's quest to get at the concept of entropy. Pynchon likes to apply terms and ideas from the realm of physics to psychological and sociological phenomena, and his invocation of entropy may be the most famous instance of this. Just as in a closed system individual particles will tend toward greater disorder so in Pynchon's universe do the people and information in our society tend toward entropy. Fighting against this decay is Oedipa, who tries to create some order out of the randomness that she encounters. Again we are met with a similar question, do Oedipa's actions counter entropy and point toward some transcendent truth or is she simply fighting an impossible battle and unable to create order in the world?Once you've accepted that these questions are valid there's nothing to do but follow Pynchon's ideas to their inevitable concl

Conspiracy buffs, look no further than "The Crying of Lot 49" -- a book that indulges in paranoia so much, you almost expect to see your own name mentioned somewhere in the text. There is an incredible amount of narrative inventiveness on every page, employing a wild concoction of dry humor, non sequiturs, bizarre characters with puns for names, and an endless barrage of references to a wide variety of pop culture, science, and technology. This is the first novel I've read that has introduced the concept of entropy as a narrative device. The protagonist is a woman named Oedipa Maas who, when the novel begins, learns that her former boyfriend, the wealthy Pierce Inverarity, has died and designated her to be the executor of his enormous estate. Inverarity's assets include vast stretches of property, a significant stamp collection, and many shares in an aerospace corporation called Yoyodyne. As Oedipa goes through her late boyfriend's will, aided by a lawyer named Metzger who works for Inverarity's law firm, she learns about a series of secret societies and strange groups of people involved in a sort of renegade postal system called Tristero. She starts seeing ubiquitous cryptic diagrams of a simple horn, a symbol with a seemingly infinite number of meanings. Every clue she uncovers about Tristero and the horn leads haphazardly to another, like a brainstorm, or a free association of ideas. This is a novel that demands analysis but defies explanation. My initial interpretation was that it's an anarchistic satire of the military-industrial-government complex, but it's deeper than that. Like Vladimir Nabokov's "Pale Fire," it establishes a very complicated relationship between the author and the reader, where Pynchon seems to be tricking the reader in the same way that Oedipa is unsure if she is witnessing a worldwide conspiracy or if she is merely the victim of an elaborate prank. By presenting Oedipa's investigation to be either circular, aimless, or inconsequential, the novel seems to satirize the efforts of people who try to find order in the universe. Pynchon uses the concept of entropy to illustrate that the more effort (physical and mental) we put into controlling the universe, the more random it becomes.

Okay it's not his best novel (that'd be Gravity's Rainbow) and it's not his worst novel (that'd be Vineland, which is still darn good, actually) but it is his shortest novel, so if you could say one definite thing about it, that might be it. The length is actually a good thing because is an easy book to hook people on Pynchon by giving them something short and say "Hey look he's great!". Because this is classic Pynchon, as good as anything he's ever done, a great big step forward from V. In these one hundred and eighty pages he manages to cram more prose and ideas and paranoia (because it wouldn't be a Pynchon book otherwise) than most authors can do in twice the space. Simply put, it's a fun book, and for all the trappings of "post-modernism" you can easily enjoy this book without camping out in your local library near the reference section if you just take everything on faith and read it. The story concerns Ms Oedipa Maas, who is executing the will of her late boyfriend and stumbles upon (she thinks) a conspiracy involving either the US Postal System, the Mob and just about everything else, a conspiracy that might stretch back hundreds of years. Or it might not. Pynchon proceeds then to play with Ms. Maas and the reader for the rest of the novel, throwing out obscure fact after obscure fact, toying with her perception of things (are things just happening randonly or is there a guiding force behind them?) and basically having a crackling good time doing so. His prose still consists of long winding sentences with a bit too much detail (it's a postmodern trademark to describe every single item on a desk at least once during the story) at times but the jokes are still funny thirty years later, the story is still good and frankly if you look past the fact that the story doesn't have a neat and pat ending then you'll probably enjoy this very much. Some folks find Pynchon too silly at times, but I think taking anything too seriously is bad and especially literature, where there's so much potential for humor. This is a good example of how you can write a serious, timeless piece of literature and still have the ability to make folks outloud. Remember, Joyce liked fart jokes. Keep that in mind.

If you've always heard the term postmodern and wondered what it meant this book is for you. But, let me warn you, this book is definately not for everyone, the plot is unique to say the least, and the characters are not what you will find in most novels, but then again, neither is the intellectual stimulation. In little over 100 pages, Thomas Pynchon has written an accessibly managable introduction to postmodern literature. Although this book is rather dense, and is filled with obscure facts and information from seemingly every conceivable specialty of knowledge, it is an enjoyable way to aquaint oneself with one of the most misunderstood genres of modern literature. Just be sure to keep a dictionary, encyclopedia and sourcebook to anarchism handy. The plot revolves around the exciting and often bizarre experiences and wanderings of Oedipa Maas, as she embarks upon a surrealistic journey into the unfamiliar techno-industrial pop culture wasteland of San Narcisco and surrounding counties, after being named executor of an ex-lovers will. In her madcap adventures she uncovers a bizzaire world where everything that she has ever learned crumbles in the face of absurdity and falls into question. It is a world where nazi doctors, secret societies, papal misdeeds, anarchist dreamers, narcicistic ex-child stars, and deranged outcasts all come out of the shadows to invade the "typical" suburban landscape of an average American housewife. This book is concerned with uncovering the realities, or lack thereof, that most people would want to stay hidden, or at the least forgotton. It is about questioning the assumptions that we all hold dear, even if it means coming to terms with a world that is without meaning, without order, and most of all without a coherent design. This is a novel with many questions to be answered, so if you welcome intellectual challenge and desire obscure knowledge this book will certainly not dissappoint. And if you don't quite understand it read it again...