A Beginning from an End

At the end of this novel, readers can't help but wonder whether Oedipa imagined the Tristero mystery, or whether it is a valid conundrum. While Oedipa sits and waits for the calling of lot 49, readers are left feeling unsatisfied about the open ending. But, is the Tristero mystery really the core of this novel's plot?

It can be argued that the 'meat' of this story is not, in fact, the mystery which Oedipa obsesses over, but rather the analyzing of why she chooses to obsess. Through miscommunication and drugs, Oedipa successfully isolates herself from those that she once considered close. She does this because she is unable to find meaning in her immediate surroundings, even mentioning her hopes that her interlude with Pierce will bring an escape reminiscent of Rapunzel's.

Oedipa is unhappy in modern society, and is a perfect example of the depression which is so common currently among those who seemingly have their lives handed to them on a silver platter. The truth of the matter is that Oedipa does not actually have any substantially problematic issues in her life, and because of this cannot find a meaning or a reason for her existence.

Because Oedipa can't find fulfillment in concrete life, she turns to something extraordinary, romanticizing events which normally would seem to be merely circumstantial. The fact that she is so interested in this mystery, and the fact that she blocks out key parts of her life (including her relationship with her husband) in order to pursue this mystery, should be a hint to readers that Oedipa has a skewed perception of the Tristero.

Through analyzing the reason for her obsession with the Tristero mystery, it can be deduced from Oedipa's obvious skewed view of the mystery that it is most likely a figment of her imagination.

Names in 'The Crying of Lot 49'

The symbolism of names and puns in “The Crying of Lot 49” is most certainly a significant part of understanding the text. Mucho Maas’ name and the name of his radio station are especially key parts to understanding the relationship between Oedipa and her husband.
Oedipa’s husband’s name (Mucho Maas) sounds very similar to the Spanish phrase ‘mucho mas’, which means ‘much more’. The full significance of this name will most likely be revealed later in the novel but, after reading the first chapter, this name already holds a certain amount of import. Perhaps this phrase ‘much more’ is in reference to Oedipa’s perception of her husband, and the plethora (‘much more’) of conflicting feelings that she feels towards him. She acknowledges that she had hoped to escape something through her relationship with Pierce, although she does not remember what she wanted to escape . This leads readers to believe that perhaps she wanted to escape her marriage with Mucho. She also questions Mucho’s mental capabilities; she is not only unsure about her relationship with Mucho, but also about Mucho himself. And yet, she still remains with him, demonstrating the conflicting emotions which she hold towards him.
The name of Mucho’s radio station is also demonstrative of Oedipa’s conflicting emotions and opinions towards her husband and things associated with him. His radio station (KCUF) is actually ‘fuck’ spelled backwards. Because this word generally has negative connotations, it can be concluded that Oedipa’s view of her husband is not entirely positive, and yet somehow she still remains with him.
By reflecting Oedipa’s opinion through the usage of names in this novel, I am of course making the assumption that Pynchon is portraying these other characters through Oedipa’s perspective. This idea is probable, as Oedipa herself has a name very similar to Oedipus, a renowned Greek hero, and this name reflects her status as the protagonist and main character of the novel. Assuming that this is true, and that she is indeed the main character of the novel, it can be concluded that the usage of names in this novel is representative of Oedipa’s conflicting emotions towards her marriage.

Female Oppression

Hierarchy plays a huge role in the structure of "There Was a Queen", by Faulkner. This hierarchy is not only found in racial dynamics, but also in the roles which males and females are expected to play. Two prominent examples of these gender roles are the young boys' societal position, and the perception of female sexuality.
It is mentioned near the end of the story that the boy has to move from his dead grandfather's place at the end of the table in order to sit next to his mother. This placement of seating is symbolic on many levels. The first, and most obvious, is that, by sitting in that seat originally, it is expected that one day the boy will take on the responsibilities of the grandfather and inherit the estate (he is, after all, the 'man of the house'). Another less obvious significance which can be taken from this movement is the fact that, by becoming closer to his mother and to women in general, he is in fact giving up some of his power. He is essentially moving down in status by becoming closer to his mother.
Narcissa's reaction to her niece's choice to sleep with a man who was not her husband (in order to have her anonymous love letters back in her possession), is to say the least, a very extreme response to an event which may seem quite frivolous to modern readers. This is representative of the value which was placed on the purity of females, even causing death through shock when it was discovered that pureness had been violated.
This value of purity is enforced by the fact that Narcissa’s niece found the love letters to be a source of embarrassment (although secretly she enjoyed them). It was, after all, not acceptable for women to feel lust during this time period. This sexual oppression is strongly linked to women’s perceived social inferiority to men. A man (which the boy one day will become) is allowed to sit at the head of the table, and is encouraged to accept his feelings of sexuality. This ideal most certainly does not hold true for women.

"The Young Housewife"

The Young Housewife", by William Carlos Williams, when first read appears to be a simple description of a beautiful girl standing inside her house calling the 'ice-man' (perhaps), and coming out to meet him on the curb. However, after analyzing this description, it becomes obvious that seemingly ordinary ideas in the poem may very well be significantly symbolic. Barry Ahearn remarks in William Carlos Williams and Alerity: The Early Poetry that perhaps the continuous barriers presented in the poem are representative of the barriers which divide the married woman and the man in the car. The walls of the house may very well represent the walls of society, while the curb represents spacial division.
But then the question that comes to mind is-why should it matter if these seemingly non-related individuals have barriers between them? The most logical answer that comes to mind is that these barriers could be said to be preventing, or hindering the man and the woman from having an affair. It would be logical to assume that they have some sort of intense personal relation, as the man is able to describe what the woman does inside of her house. Either he is fantasizing about her actions behind the walls, or he is intimately aware of how she acts in her house.
Perhaps, as Marjorie Perloff suggests in The dance of the intellect: Studies in the poetry of the Pound tradition, this whole interlude is indeed based on fantasy, and the man does not actually know what occurs behind her walls. Perhaps the man in the car is merely looking at a stranger, and imagining this moment to be more significant than it is. Perhaps, in his odd fantasy, he longs to crush the leaf which he compares the woman to under the wheels of his car, and craves the oppression of females.
Whether or not the man in the car knows the woman standing on the curb, the fact remains that this poem is more than a beautiful description; Williams’ work is rife with symbolism and makes the reader truly stop and question his intent behind his work.

The Wife of His Youth

In "The Wife of His Youth", by Chestnutt, readers are given an intimate view of the segregation and discrimination which is prevalent even among people of the same race.
It is undeniable that, in the Blue Veins, blacks with the lightest skin are more respected and hold positions of higher power. The more separated from their African ancestry the individuals become, the more social mobility they are given.
In this story, it is made quite clear that blacks can choose one of two choices. They can either integrate into white society, or they can become 'lost' in black society. According to this story, it is not an option for these individuals to combine these two options; in their eyes, the situation is literally black and white.
Even at the end of the story, when the main character accepts his past and his dark-skinned wife, readers are made to understand that, if he chooses to accept this past, he is giving up an opportunity to improve his social standing.
Not only are blacks and whites competing for social standing, but light and dark skinned blacks are also competing between themselves for a high position in the social hierarchy. Consequently, dark skinned blacks are not only at a disadvantage in society as a whole, but also within their race. Perhaps Chestnutt is attempting to capitalize on this point in this story, and to emphasize the fact that such social divisions are pointless and a waste of time and energy. If in this story African Americans were not divided amongst themselves, then they would be more apt to make progressive social change and advancement. If being something that they obviously are not were not a goal in their lives, then they would be more successful in developing with what resources they are given.

Huck's Moral Development

In “The Adventures of Huckleberry Finn”, by Mark Twain, the main character (Huck Finn) progresses through a unique moral development. Because he is not introduced to ‘proper society’ at a young age, he is given the liberty to view society’s standards in an objective manner. Pap’s removal of Huck from society also reinforces his ability to view society in a detached manner.
The river which takes Jim and Huck on their many adventures is often thought of as an alternate reality, a place which is separate from the customary constraints of society. This additional isolation lends to Huck’s ability to develop as an individual, rather than as a member of society. He is able to develop his own sense of morals and beliefs.
When Huck is faced with the decision of whether or not to report Jim to his ‘owners’, he is able to base that decision on his personal moral guidelines as a result of his detachment from proper society. He makes this decision based on what he personally believes is right, even though it might mean that he ‘goes to hell’. Although originally his decision to keep Jim as a traveling companion may have been heavily influenced by the practicality of the situation (Jim can help and protect him), eventually he does come to see Jim as an individual. Because Jim is an African-American and a slave, accepting him as a person would not have been typical of the ‘proper society’ which Huck chooses to shun.
It is thought by many that at the end of this novel, by agreeing to Tom’s elaborate scheme to free Jim (instead of taking the more sensible approach) that Huck is going against his newly developed morals. However, even though Huck may not appear to make a choice that aligns with his newly founded beliefs (which include respecting Jim as an individual and as a person), the fact remains that, in the end, Huck will accomplish his moral objective in the eventual freedom of Jim. It cannot be denied that, in order for him to function in society, it is necessary for him to make minor concessions (which include complying with Tom’s schemes).

Dickinson in Agony

Emily Dickinson's poem "I like a look of agony" explores the subject of death, and the inability to replicate the anguish of dying. Her approach to death is quite unique, as it is rare that poems are written about liking death; normally people tend to be afraid of the unknown, instead of looking forward to it.
In this poem, it is impossible to tell whether Dickinson is referring to her own death, to the death of someone she knows, or merely to death in general. The poem fails to be specific, saying things such as "The eyes glaze over..", leaving readers unsure whose eyes are being discussed. Perhaps this poem is purposefully ambiguous, and intends to revoke thought and reflection on the significance of one's own death and of those around you, and encourage them to truly remember her poem.
Because death is viewed as a positive thing in this poem, a reader can't help but wonder what the poet would view as a negative thing. A reader gets the idea from this poem that, in comparison to other things in the poet's life, the stability of death is a much needed anchor. Death, unlike other things, is not something that can be imitated.
Dickinson's recurring references to death in her poems are undoubtedly linked to war. Taking this into account, perhaps this poem is not written from Dickinson's point of view. Perhaps it is satirically written from the view of someone fighting in a war. Through this poem, Dickinson attempts to show what is required from war, and the fact that people fighting in a war not only look forward to the abstract concept of victory, but, on a more concrete level, must also look forward to death itself. In the long run, after all, death is victory.
Because the subject and narrator of this poem is ambiguous, all readers are able to relate to the content of this poem. Death, after all, is a goal which every individual works towards.