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Chapter 3
Themes
and Colors
Key
LitCharts assigns a color and icon to each theme in The Crying of Lot 49, which you can use to track the themes throughout the work.
Conspiracy, Interpretation, and Meaning
American Modernity and Counterculture
Media, Communication, and Human Relationships
Change, Redemption, and Marginalization
Summary
Analysis
The narrator declares that, beyond Mike Fallopian and The Courier’s Tragedy, other elements of Oedipa’s world will gradual start becoming “woven into The Tristero.” After looking over Pierce Inverarity’s will, Oedipa decides to visit Yoyodyne. She attends a stockholders’ meeting full of old men who spend an hour talking business and an hour singing songs about the company and the weapons it’s developing. Then, Oedipa goes on a tour with the elderly stockholders, but she gets lost among the Yoyodyne office workers and starts wandering around, looking for an exit.
The reference to weaving elements of the world together “into The Tristero” directly recalls the Remedios Varo painting Oedipa reflected on in the Chapter 1. In this painting, several women weave together an enormous cloth, which contains the whole world and spills out of the tower where the women are trapped. The metaphor is clear: Oedipa, feeling trapped as though in a tower, is weaving the clues she encounters into the massive Tristero conspiracy that is gradually coming to define her world. The Yoyodyne stockholders meeting is jarring because it pairs the seriousness of destructive military technology with the inane childishness of elderly stockholders singing songs about their own greatness. Pynchon is clearly suggesting that the people who hold power in America are foolish and comically incapable of wielding power responsibly. Given that Pynchon served in the navy and worked at Boeing, he may have considered this sentiment particularly true of the men who ran the Cold War military-industrial complex.
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Oedipa notices that one off the employees, a very young man named Stanley Koteks, is drawing the same trumpet-like symbol that she saw in the message from Kirby on the bathroom wall at The Scope. Oedipa clumsily tells Stanley that Kirby sent her and then explains that she’s a company stockholder. He asks if she can get the Yoyodyne management to stop taking patent rights away from engineers. Hoping to provoke him, Oedipa declares that individual engineers don’t invent anything anymore, but Stanley insists that “teamwork” is just an excuse for people who are afraid to take risks.
Another unlikely coincidence convinces Oedipa that her investigation must be on the right track. Struggling to find the words to suggest that she is already in on the conspiracy, Oedipa instead ends up introducing herself as one of the stockholders—the exact people she and Stanley both despise. Stanley’s disdain for “teamwork” suggests that his job designing weapons is alienating and unsatisfying (much like Mucho’s job at the radio). But it also aligns him with the classic trope of the solitary genius inventor, totally cut off from the world, who singlehandedly changes it from the outside. Clearly, Oedipa is suspicious about such straightforward theories of invention and authorship—after all, she is busy investigating what she conceives as a complex underground network of conspirators.
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Stanley shows Oedipa the patent for John Nefastis’s Nefastis Machine, a box connected to two pistons, with a bearded man on the outside. This man is the scientist James Clerk Maxwell, who famously thought that the second law of thermodynamics could be violated if some demon managed to sort hot from cold air inside a box. This would reduce entropy and create a difference in temperature that could, say, power a perpetual motion machine. By staring at Maxwell on the Nefastis Machine, Stanley declares, some people can control which of the two pistons will rise. Oedipa ponders her bizarre luck: among all the engineers surrounding her, she had to choose the crazy one.
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Stanley explains that only special “sensitives” can make the Nefastis Machine work, and Oedipa could get in touch with Nefastis in San Francisco at a certain P.O. box if she wanted to try. To take down Nefastis’s address, Oedipa opens her journal to a page where she has drawn the hornlike symbol from The Scope and written, “Shall I project a world?” Stanley Koteks suddenly grows suspicious and tells her that he was giving her the wrong address. Oedipa asks about the WASTE address from the bathroom wall, but Stanley tells her that it’s pronounced as an acronym—W.A.S.T.E. Then, he returns to his work and starts ignoring her.
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After a few days, Oedipa sees Mike Fallopian at The Scope. He tells her that Stanley Koteks is part of an underground network of disgruntled scientists who grew up thinking they could be great, independent inventors. Then, the scientists realized that being an engineer now means working in a team for a corporation that ultimately takes all the credit and reaps all the rewards.
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While Metzger and Fallopian get into an argument about patent rights and politics, Oedipa thinks about the other clues that have pointed her towards the truth. For instance, next to the lake in Fangoso Lagoons, there was a small monument to Wells, Fargo postmen killed by unidentified bandits dressed in black. Apparently, one of the victims traced out a cross—which reminds Oedipa of Niccolò’s stuttered “T-t-t-t-t…” in The Courier’s Tragedy.
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Oedipa tries to contact Driblette to ask him about the marker in Fangoso Lagoons, but he never answers. She visits Zapf’s Used Books and buys Jacobean Revenge Plays—the proprietor says she’s not the only one to look for it. Oedipa looks to the passage that mentions Trystero and sees a note in pencil about a variant in the 1687 edition of the play. She sees that the play’s text has been copied from another 1957 anthology. The L.A. library does not have a copy, so Oedipa plans to visit the publisher—and maybe also John Nefastis—up in Berkeley.
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In fact, the narrator explains, Oedipa first saw the marker in Fangoso Lagoons when she went there as part of her attempt to visit all of Inverarity’s scattered businesses and investments. The day after, she went to a retirement home that he built. Inside, a nurse viciously pursues a fly, and an elderly man named Mr. Thoth tells Oedipa about his grandfather, a mail courier on the Pony Express who loved murdering Native Americans. In his dreams, Thoth mixes a scene from a Porky Pig cartoon with a story about his grandfather defeating a group of bandits with “a Mexican name” that he can’t remember. He shows Oedipa a gold ring that his grandfather cut off of one of these people’s fingers: it has the W.A.S.T.E. horn symbol on it.
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Oedipa visits Mike Fallopian, since the history of 19th-century mail carriers is his specialty. Fallopian laments that there is no solid evidence about bandits attacking them, although he suspects that the national government might have hired them to reinforce its monopoly. He also knows nothing about the W.A.S.T.E. horn symbol.
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Next, Oedipa visits Genghis Cohen, a local stamp expert whom Metzger has asked to evaluate Pierce Inverarity’s stamp collection. He calls and asks her to visit one day to settle some “irregularities,” and when she arrives, he serves her wine made from dandelions that grew in the old cemetery that has been demolished to make way for the East San Narciso Freeway. Oedipa knows that this is a clue, but she still has no idea what it points to. She starts to wonder if she will ever figure it out at all.
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Cohen shows her what he finds peculiar about one of the stamps: its is printed with the mysterious W.A.S.T.E. symbol as a watermark. Another stamp, from Germany, says “Thurn und Taxis.” Cohen explains that Thurn and Taxis was Europe’s dominant mail carrier from 1300 to 1867, and he shows Oedipa the stamp’s watermark, which is a post horn very similar to the W.A.S.T.E. symbol. In fact, the W.A.S.T.E. symbol just has one more shape next to the horn, and Cohen suggests that this is a mute. Oedipa thinks this makes sense, since whoever is behind W.A.S.T.E. is clearly trying to “mute the Thurn and Taxis post horn.”
Because of the watermarks, Cohen continues, the stamps are clearly counterfeit. But he might still be able to sell them—someone might even want to collect them, knowing that they are false. The Pony Express stamp also has a peculiar black feather added to the image, as do seven others, and a mysterious typo: “U.S. Potsage,” instead of “U.S. Postage.” Oedipa tells Cohen that she saw the same thing on her letter from Mucho.
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Genghis Cohen notes that these eight forgeries span from 1893 to 1954, and he wonders if they might even go back to Thurn and Taxis—even to the 13th century. Oedipa tells him about all the other clues she has discovered, and Cohen declares that the fraudsters must still be going. Oedipa asks if they should report their findings, and Cohen suddenly gets nervous—when she asks him about W.A.S.T.E., he’s clearly no longer interested in answering her questions, and he starts talking about the dandelion wine.
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