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56 pages 1 hour read

Thomas Pynchon

The Crying of Lot 49

Fiction | Novel | Adult | Published in 1966

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Chapter 6Chapter Summaries & Analyses

Chapter 6 Summary

Oedipa returns to the Echo Courts hotel. There the Paranoids are lingering near the pool. Serge is "crackers with grief" (112) and sings a song about Lolita, the Nabokov novel about a man who falls in love with a child. Serge explains to Oedipa that Metzger fled to Nevada so he can get married to Serge's girlfriend. Metzger has signed over all legal responsibilities to a different lawyer at his firm. He is no longer connected to the Inverarity Estate. Oedipa then tries to call Emory Bortz but can reach only his wife. She tells Oedipa to pass by their house for a conversation about Jacobean revenge plays. Oedipa accepts the invitation.

As she drives to the Bortz house, Oedipa notices that the bookstore where she bought a copy of The Courier's Tragedy has burned down. She asks the men in the neighboring store for information, and they explain the owner "set fire to his own store for the insurance" (114). When she reaches Bortz's house, Oedipa sees him delivering a lecture in his yard to a group of students. He speaks about the version of The Courier's Tragedy that contains the reference to the Tristero. He claims this is a vulgar, "pornographic" (116) version of the play. These days, the only copy is in the Vatican. It was used to by a devoutly religious group as a propaganda tool. According to Bortz, the best scholar on The Courier's Tragedy and its author, Wharfinger, is Driblette. However, Driblette died by suicide just a few days ago. Oedipa may never discover why Driblette chose to stage this specific version of the play.

Oedipa is shown Bortz's slides, in which the Vatican version of the play is visible. Bortz explains how the reference to the Tristero may have been the Puritans' attempt to describe the "the brute Other" (120). Bortz hands Oedipa a copy of An Account of the Singular Peregrinations of Dr. Diocletian Blobb. In the book's eighth chapter, Blobb takes a ride on a coach belonging to Torre and Tassis. The coach is attacked by riders in black capes, sent by the Tristero. Blobb survives the attack, as does his servant. The pair is sent back to England to share a message with the world about the strength of the Tristero.

Oedipa learns about the history of the Tristero. The group was founded in the Netherlands in 1577. William of Orange won independence for the Netherlands and ruled with "a junta of Calvinist fanatics" (122), which included Leopold I. Together with Jan Hinckard, Leopold I owned the Thurn and Taxis postal monopoly. Hinckard was challenged for his family's fortune by his cousin, a man named Hernando Joaquin de Tristero y Calavera. Tristero claimed to be the rightful heir to everything Hinckard owned, including the monopoly on postal services. The two rivals fought a war that began in 1578 and ended in 1583. During this time, the postal service in the country fell apart. At the end of the fighting, Tristero set up his own eponymous postal service. The Thurn and Taxis system, Oedipa later learns, found operation difficult throughout the 1600s.

She suggests this was due to Tristero's relative success. Bortz suggests the end of the Thirty Years' War is relevant, as someone may have tried to combine the two postal systems as the "two systems could [have] be[en] invincible" and could have held a monopoly over all communications between the most important people on the continent (126). This attempt failed. The Thurn and Taxis monopoly, Oedipa learns, ended during the French Revolution. She speculates as to whether this means Tristero won the war. Over the course of the following days, she visits libraries. She meets with Bortz again and returns to Genghis Cohen. During this time, she also attends Driblette's funeral. There, she is annoyed no one will talk to her about the Tristero reference in the play. Oedipa begins to lose faith in her investigation.

Oedipa goes to The Scope and talks to Mike Fallopian. She updates him on her investigation. Mike suggests the Tristero might be an elaborate "hoax, maybe something Inverarity set up before he died" (129). Oedipa does not want to entertain this possibility. Feeling angry, she leaves.

Later, she receives a call from Genghis Cohen. He shows her a stamp featuring the acronym W.A.S.T.E., this time standing for "We Await Silent Tristero's Empire" (130). He tells her the stamp was attached to a letter that was from the same bookstore in San Narciso that recently burned down. Feeling desperate, Oedipa goes back to the hotel room and searches through the documents in Pierce's estate. She believes Pierce owned the bookstore as well as the neighboring store. She believes he owned the theater where she watched Driblette's version of The Courier's Tragedy. Each time she followed a clue that led her to Tristero, she realizes, she was also led "back to the Inverarity Estate" (131). Even the San Narciso college where Bortz lectures was funded largely by Pierce. She now worries whether Pierce possibly paid every single person she met and talked to during the investigation. She worries she is the victim of Pierce's elaborate joke.

Oedipa can no longer be certain about anything in her life. For a few weeks, she retreats into her own solitary obsessions. She is anxious and suffers from a series of medical issues, particularly with her teeth. Each day, Genghis reaches out to her with new information. He found an article from 1865 that discusses infighting in the Tristero organization in the early 1800s. He believes "the Tristero refugees" (133) came to America during this time and then moved to the West. They produced stamps as a secret way of identifying themselves.

Oedipal does not believe the article is real. She suffers from vivid, haunting dreams and a terrible toothache, which seems to worsen each day. Oedipa receives news from Genghis that Pierce's stamp collection is being put up for auction. They will "be sold, as lot 49" (135). According to Genghis, an agent named C. Morris Schrift will be at the auction on behalf of an unnamed party who plans to bid on the lot. Oedipa is intrigued. She attends the auction, meeting Genghis. He tells her the mysterious bidder decided to attend the auction "in person" (141). Oedipa is struck by the idea that this man may be able to answer her questions. She waits anxiously for the bidding to begin so she can spot the man who might hold all of the answers to her long investigation. As she waits, Genghis explains to her how the auction works. The man who does the bidding is called the crier. Oedipa sits in a chair. She waits for "the crying of lot 49" (142). 

Chapter 6 Analysis

In the final chapter, Oedipa is subjected to a deluge of information. This begins with the news that her lover Metzger has eloped with an underage girl. This news is delivered to her in the form of a song, one of many multimedia revelations that will define the chapter. Oedipa feels that the Paranoids are "trying to tell [her] something" (113), but she is so exhausted and overwhelmed that the departure of Metzger, even in the context of him leaving with an underage girl, barely registers on her psyche. She has reached the epitome of 1960s Alienation and Aimlessness, and Metzger’s departure points to another one of the Oppressive Traumas and Patriarchal Constructs making up this narrative and the narrative of Oedipa’s life.

Her exhausted state is made apparent when she visits the Bortz house and Bortz's wife, Grace, notices the "certain harassed style" that she normally associates with new mothers (115). In a sense, Oedipa is a new mother. Her experiences have given birth to a new perception of the world, a postmodern perspective that emphasizes the subjective and unknowable nature of existence. She is living now in a world of endless conspiracies and pattern recognition and interpretation and aimlessly drifts among them, even though this aimlessness is determined and forceful. Oedipa tries to uncover the truth behind them but does not actually achieve any aim or goal. This chaos is demonstrated further when Bortz tries to explain the history of the Tristero organization to her. At this point, the college professor slips entirely into lecture mode. The history of the organization is delivered as a flow of expositional information, no longer shrouded in mystery or symbolism. Bortz has primary and secondary sources of information to show Oedipa, more examples of the multimedia nature of her existence. Through song, wood cutting, textbook, and more, Oedipa learns that her previous understanding of society is impossible. She is adrift in arbitrary symbols and constructs.

The impossibility of this understanding is terrifying to Oedipa. She begins to worry that her discovery may "expand beyond a certain point" whereupon she can no longer contain it (128). Oedipa has lost her sense of control, even more so when Mike suggests to her that the entire investigation might be an elaborate joke played on her by Pierce. In Oedipa's world, nothing can be held to be objectively true any longer. Fiction and reality, represented by the fictional Tristero and the historical Thurn und Taxis, have conflated to such an extent that her existence has become a terrifying absurdity that is beyond her control. The conspiracy is all-consuming; the muted post horns are everywhere, with Oedipa herself lost amid the perpetual drift of unknowing. The institutions on which she once depended, such as her marriage to Mucho or her sessions with Dr. Hilarius, are one. She has no fixed point, no objectively dependable focal point, around which she can orient her existence. All she has is the pattern of symbols and secrets, which only serve to beget more Conspiracies and Pattern Recognition and Interpretation. She embodies the general cultural malaise in America, the 1960s alienation and aimlessness that sought answers only to find more questions.

At the end of the novel, Oedipa attends an auction. Pierce's stamp collection, one of the important clues that first caught Oedipa's attention, is up for sale. A mysterious bidder is expected to purchase the stamps, a symbolic demonstration that the truth (as represented by the bidder, who may choose to do as they please with the stamps) can be bought and sold. Capitalism has taken over the pursuit of meaning and is one of many oppressive traumas and patriarchal constructs. The entire investigation might be a hoax to fuel capitalism and financial markets, even, just as Macho felt that the car industry creates an artificial narrative of meaning to sell more cars.

In this case, the stamps may be destroyed, hiding the Tristero forever, or someone else may be pursuing the mystery. Oedipa simply cannot know, but she attends the auction to meet the buyer and find out more. The novel ends in a moment of anticipation. Oedipa settles back in her chair "to await the crying of lot 49" (142). The final sentence contains three conjugations of verbs. Oedipa "settled" (142) back in her chair, a past tense, only to "await" (142) the revelation. The verb await is different from the infinitive form of wait. The subtle difference removes Oedipa from the present moment; the base form of await is irregular, hinting at her experiences in contrast to the normal, infinitive verb to wait. Furthermore, Oedipa awaits the gerund, the "crying" (142) of the lot by the auctioneer, who has become the key to the mystery. In this sentence, Oedipa's normal, typical past (settled) is contrasted by her irregular present (await), but she is subjected to the will of others (crying). There is no resolution of the plot. Oedipa is kept waiting, perpetually at the mercy of the crying, always on the verge of solving the mystery only to uncover yet another question. Language itself has become another prison that traps Oedipa in a web of unknowing, subjective truth. All meaning-making, even language itself, is simply part of conspiracies and pattern recognition and interpretation.

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