Oedipa and The Crying of Lot 49

615 WordsFeb 4, 20182 Pages
Trystero and the world around Oedipa are only simulations due to the fact that they have become so layered with hyperrealism and even more simulations with all the characters Oedipa meets. She is convinced that she is either uncovering a powerful conspiracy or she is going insane, but willing to go wherever her investigation leads her in order to find meaning and truth behind it anyway. However, for Baudrillard, “...it is dangerous to unmask images, since they dissimulate that fact that there is nothing behind them” (Baudrillard 169). In other words, in Oedipa’s quest to “unmask” the clues she finds, they are all simulations based upon other simulations without any truthful meaning at their core. The Crying of Lot 49 depicts these layers of simulation through the “clues” Oedipa finds that are supposed to reveal the truth behind the word Tristero. Her first introduction to the word Tristero comes from her encounter of the painting, “Bordando el Manto Terrestre.” The real-life painting by Spanish exile, Remedios Varo, which depicts women, “embroidering a kind of tapestry which spilled out the slit windows and into a void, seeking hopelessly to fill the void” (Pynchon 11). A further analysis is that she herself is one of these women in the painting, forever weaving the clues and signs she receives, but ultimately attempting to fill an infinite void. Next, Oedipa hears the word “Trystero” in a play called The Courier’s Tragedy (Pynchon 49) Then she sneaks backstage to find
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