miércoles, 25 de noviembre de 2009
Psychodelic and Sober 49's
I searched for “The Crying of Lot 49” in the Google images option. I saw another cover for the novel. Suddenly, I thought how I could compare both versions of Pynchon’s text. I will name the image (A) as the one of the cover I posses. This means image (B) is Pynchon’s preceding cover. I will compare both novels in their style. In order to do this I will use three main aspects: Composition of both Illustrations, comments from other sources and my personal view supported by text. In order to divide the covers I designed it as a 9 quadrant image.
Image A
Composition:
- Color: This illustration gains strength with the use of colors to emphasize the title of novel. The use of a plain color (one that is used as a background) gives it a sense of uniformity. This sea-green tone serves as a visual conductor. Black is used to frame the title and depict some important information, such as the author’s name. However the red is the color that stands out the most. Despite of the intensity of red, another visual technique deals with another background, highlighting the number “49.”
- Space: The use of colors as previously mentioned highlight the title. The are four layers that derive from the image. These layers give the cover a sense of volume and space. The first one is the sea green background(taking most of the illustration’s space). The second one deals with black, the author and the frame seem to be over the first layer. The third space created is the white background in which the title, the horn and the “49” stand upon. The fourth layer and closest to one’s eye is the red used to color the “49.”
- Volume: The image gains depth with shadows used under the 49 and the horn’s shape at the right extremity.
- Law of thirds: This technical aspect is evident in the image. “The crying of lot 49” appears at the bottom right corner of the illustration. It would be located around quadrant 9 (z, 9).
- Texture: The cover of image (a) is full of texture. The greenish layer had some patches of white. And the frame is also giving another texture, I thought it could represent the one of a stamp. The cover seems to be “old” and gives it a essence of antiquity that is emphasized with the horn.
Foreign comment: “The comedy crackles, the puns pop, the satire explodes.”- New York Times
Opinion: This cover is very sober in comparison to image (b), it uses few colors, a plain background and no extravagant textures. The relationship of this illustration is also connected to the text. It reminds me of certain passages of passive action. Where Pynchon writes simple ideas that are not very eccentric. This illustration reminds me of excerpts such as:
“She thought of Mucho, her husband, trying to believe in his job.” (Chapter 2)
“The room would be good enough for the time she had to stay.”(Chapter 2)
“All those movies had happy endings.”(Chapter 2)
Image B
Composition:
-Color:
Foreign comment:
Opinion: One that captured my attention totally, colors shapes and vivid psychedelic vibe stood out from the conjunction of pixels.
Image A
Composition:
- Color: This illustration gains strength with the use of colors to emphasize the title of novel. The use of a plain color (one that is used as a background) gives it a sense of uniformity. This sea-green tone serves as a visual conductor. Black is used to frame the title and depict some important information, such as the author’s name. However the red is the color that stands out the most. Despite of the intensity of red, another visual technique deals with another background, highlighting the number “49.”
- Space: The use of colors as previously mentioned highlight the title. The are four layers that derive from the image. These layers give the cover a sense of volume and space. The first one is the sea green background(taking most of the illustration’s space). The second one deals with black, the author and the frame seem to be over the first layer. The third space created is the white background in which the title, the horn and the “49” stand upon. The fourth layer and closest to one’s eye is the red used to color the “49.”
- Volume: The image gains depth with shadows used under the 49 and the horn’s shape at the right extremity.
- Law of thirds: This technical aspect is evident in the image. “The crying of lot 49” appears at the bottom right corner of the illustration. It would be located around quadrant 9 (z, 9).
- Texture: The cover of image (a) is full of texture. The greenish layer had some patches of white. And the frame is also giving another texture, I thought it could represent the one of a stamp. The cover seems to be “old” and gives it a essence of antiquity that is emphasized with the horn.
Foreign comment: “The comedy crackles, the puns pop, the satire explodes.”- New York Times
Opinion: This cover is very sober in comparison to image (b), it uses few colors, a plain background and no extravagant textures. The relationship of this illustration is also connected to the text. It reminds me of certain passages of passive action. Where Pynchon writes simple ideas that are not very eccentric. This illustration reminds me of excerpts such as:
“She thought of Mucho, her husband, trying to believe in his job.” (Chapter 2)
“The room would be good enough for the time she had to stay.”(Chapter 2)
“All those movies had happy endings.”(Chapter 2)
Image B
Composition:
-Color:
Foreign comment:
Opinion: One that captured my attention totally, colors shapes and vivid psychedelic vibe stood out from the conjunction of pixels.
Yellow mobile thoughts

Chapter 4 is full of symbolism regarding Oedipa’s feelings towards her curiosity. The end of this chapter highlights this through the dandelions. As Oedipa begins to tie her clues together, her interest increases exponentially. She feels overwhelmed by the numerous connections there are among W.A.S.T.E and Thurn and Taxis. Her conversation with Genghis Cohen is proves her paranoiac behavior. Despite this, Pynchon is able to incorporate a metaphor that mitigates her behavior. “A few months ago it got quite cloudy. You see, in spring, when the dandelions begin to bloom again, the wine goes through fermentation. As if they remembered.”(Chapter 4) Basically the use of dandelions explains Oedipa’s nature. She is like one flower that hasn’t flourished, she needs to undergo through changes in order to evolve. However, Oedipa is so captivated by her imagination, she will remain in constant struggle with reality and her subconscious. The last passage of the chapter synthesizes her emotions, “as if the dead really do persist, even in a bottle of wine.”(Chapter 4)This phrase reminds me of “So it goes,” an expression in which Oedipa an unfinished thought. Pynchon’s incorporation of dandelions also gives the text a context. It portrays the essence of the hippies. Nature, psychoactive substances and colors are emphasized through this excerpt. I remembered MGMT’s song Electric feel has the same essence of description.
martes, 24 de noviembre de 2009
"Too much kirsch", Revolution, Lolita And "Naked lust"
This is the first time I sit to write a blog and I can’t decide how to begin. I will write impulsively, like Pynchon does. I mean it’s a 60`s book with descriptions and satire. So we got the Sex Revolution, psychodelic music, Vietnam War and the consumption of drugs in a conservative American society. We have a literary revolution, a type of literature that emerges from the youth: bold. Nabokov’s Lolita is an example of prose in which Humbert’s obsession was a taboo to most readers. “Reading in between the lines” is a skill I have developed in order to analyze texts. But this novel isn’t about deeper ideas or messages we as active readers have to figure out. The text itself is vanguardist, it proposes to focus on detail: on technique. We are introduced to Oedipa Mass apparently the main character of the story. She “came home from a Tupper ware party whose hostess had put perhaps too much kirsch in the fondue to find that she, Oedipa, had been named exectutor, or she supposed executrix, of the estate of one Pierce Inverarity, a California real estate mogul who had once lost two million dollars in his spare time but still had assets numerous and tangled enough to make the job of sorting it all out more than honorary.”(Chapter 1) I mean she went to a party, came back, was informed that she was now the executrix of a Pierce and it seems that he lost a lot of money but still had the power to gain wealth. Wendell (her husband) AKA Mucho Mass “suffered regular crises of conscience about his profession.”(Chapter 1) I mean that’s a humorous way to state, “he is one of those guys whose life is destined to constant frustration, because he never accomplished what he dream of.” As I observed through the first chapters I found two epithets. “Naked lust” and “gray sickness” (also a metaphor and synesthesia.) Pynchon is experimenting with words, with irony and a neo baroque writing.
lunes, 2 de noviembre de 2009
Efficient Survival Machines and Almighty DNA

Survival machine, survival machine…. it sounds like “TERMINATOR” or something like it. I don’t know about you but I find it very interesting. Let’s go look for the definition of both these words! As I wait for my slow computer to load up for the definition of survival, I wonder, “How did Dawkins created this term? Why does he use it to state that every organism is one of them?
1. Survival / sərˈvīvəl/ • n. the state or fact of continuing to live or exist, typically in spite of an accident, ordeal, or difficult circumstances: the animal'schancesofsurvivalwere pretty low fig. he was fighting for his political survival. An object or practice that has continued to exist from an earlier time: his shorts were a survival from his army days. PHRASES: survival of the fittest Biol. the continued existence of organisms that are best adapted to their environment, with the extinction of others, as a concept in the Darwinian theory of evolution. Compare with NATURAL SELECTION. (Oxford pocket dictionary)
2. n. Machine: A device consisting of fixed and moving parts that modifies mechanical energy and transmits it in a more useful form. A simple device, such as a lever, a pulley, or an inclined plane, that alters the magnitude or direction, or both, of an applied force; a simple machine. A system or device for doing work, as an automobile or a jackhammer, together with its power source and auxiliary equipment. A system or device, such as a computer, that performs or assists in the performance of a human task: The machine is down. An intricate natural system or organism, such as the human body. A person who acts in a rigid, mechanical, or unconscious manner. An organized group of people whose members are or appear to be under the control of one or more leaders: a political machine. (Merriam Webster)
These definitions used in context with Dawkins’s explanation of genes make sense. “Survival machines” means: A device (intricate or simple) that works in type of systematical structure that enables it for the continuance of his existence. I believe Dawkins explains this concept with accurate examples. “Different sorts of survival machine appear very varied on the outside and in their internal organs. An octopus is nothing like a mouse…Yet in their…replicators…the genes… from bacteria to elephants …we are all survival machines for the same kind of replicator-molecules called DNA.” (pg 21) We can conclude that we have the same origin and that we are able to exist through evolution. So I think Dawkins created this term to explain the origin of biological organisms, providing him with pivotal information to use in his text. “Last but not least” I must again say that Dawkins is able to leave me in a state of wonder about his book. He mentions “DNA works in mysterious ways” (pg 21) a phrase that makes an automatic connection to religion. Either “God works in mysterious ways” or “The lord moves in mysterious ways” or any variation of the sentence, it is very crucial to note this phrase. He is giving science (biology) the importance of religion (a world wide concept) through a statement in his text. Nice job Dawkins, an efficient survival machine and DNA working as God, in ONE CHAPTER. That’s enough information for today.
Chicago Gangsters and Dawkins
Dawkins assumes as position of authority, we can infer this by his writing itself. This position can be interpreted as “Hey look I’m a scientist and this is my book, I will tell you my opinion through science.” He is concise, “My purpose is to examine the biology of selfishness and altruism.”(pg 1) Even if we think this barrier of “Wise and arrogant” exists we have to give him credit for saying right away what is the purpose of the book. Some writers tend to use the same “authoritarian” position and lead the reader to a tenuous novel of insignificant value. Explicitly he never states that he is superior to the reader and that his opinion is better. However the use of simple arguments such as “ It (biology) touches every aspect of our social lives, our loving and hating, fighting and cooperating, giving and stealing, our greed and generosity.”(pg 2) Tend to be an attempt of persuasion towards the reader. This proves that Dawkins tries to use his knowledge to influence the reader. This is not an “evil” technique, as matter of fact I’m trying to persuade you. He states that, “The argument of this book is that we, and all other animals, are machines created by our genes. Like successful Chicago Gangsters, our genes have survived, in some cases for millions of years, in a highly competitive world.”(pg 2) Yes, Dawkins we have to survive, survival can be understood in a biological level (as Dawkins states) or a moral degree. Probably you need to sell books and teach science. I need to comment about your text and eventually do something to live. Whatever we must undergo in order to survive is indeed a biological trait, nothing new to must of us. Personally I love the fact you include Chicago gangsters as an example of this, it reminds me of “The Godfather.”
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