I haven’t seen so far in my short account of reading, a story that isn’t based on the development of a main character. Maybe you might be thinking, “Oh poor guy, he doesn’t know a thing about literature” or even “Ah, this blog sounds boring, I’d better go and read Duarte’s”. You are free to do that, honestly, her blogs are much better. Anyways, let me continue with my argument. A story always bases its context on the development of a central character. We can see how Don Quixote centralizes with Don Quixote’s development, Slaughterhouse Five with Billy Pilgrim, Candide with Candide, A Clockwork Orange with Alex, Nineteen Eighty-Four with Winston Smith, MacBeth with Macbeth, etc. Even if these characters are protagonists, antagonists, or anti heroes in their respective contexts, their development alters the development of the story.
When relating it to The Crying Of Lot 49, we can surmise that Oedipa (its central character) has a vast effect on the development of the story itself. At this height of the story we can identify pure paranoia in her way of acting: “Everyting she saw, smelled, dreamed, remembered, would somehow come to be woven into The Tristero” (64). The sentence can be interpreted as being a whole metaphor for paranoia in general. To Oedipa, every single anomaly might mean something. A fact which becomes quite ironic taking into account that she called Miles a paranoid, when she herself is ten miles past paranoia. This state of paranoia leads the construction of sentences and paragraphs to be complete strays of Oedipa’s thoughts. To the reader, it’s like being inside Oedipa’s head, where every time an event is introduced, a whole stream of thoughts follow.
For example, we can see this relationship of event/stream of thoughts when she reads bronze historical marker at Fangoso Lagoons: “…The only other clue was a cross, traced by one of the victims in the dust… A cross? Or the initial T? The same stuttered by Niccolò in The Courier’s Tragedy” (71). These side thoughts might have an important influence in the development on the story’s outcome later on. Oedipa’s paranoia leads the reader to believe that she is starting to see things that are not there, which reminded me of Theseus’ lines in A Midsummer Night’s Dream: “The lunatic, the lover, and the poet/Are of imagination all compact:/ One sees more devils than vast hell can hold” (V. i. 7-9). In reference to this lines, Oedipa I seeing “more devils than vast hell can hold”. To her, every single anomaly in an everyday life is part of a conspiracy. This sensation of paranoia makes the reader also believe that everything will finally come to be connected with this conspiracy. It might be true that it will in the end connect, or maybe it’s just a smokescreen created by this vast sensation.
When relating it to The Crying Of Lot 49, we can surmise that Oedipa (its central character) has a vast effect on the development of the story itself. At this height of the story we can identify pure paranoia in her way of acting: “Everyting she saw, smelled, dreamed, remembered, would somehow come to be woven into The Tristero” (64). The sentence can be interpreted as being a whole metaphor for paranoia in general. To Oedipa, every single anomaly might mean something. A fact which becomes quite ironic taking into account that she called Miles a paranoid, when she herself is ten miles past paranoia. This state of paranoia leads the construction of sentences and paragraphs to be complete strays of Oedipa’s thoughts. To the reader, it’s like being inside Oedipa’s head, where every time an event is introduced, a whole stream of thoughts follow.
For example, we can see this relationship of event/stream of thoughts when she reads bronze historical marker at Fangoso Lagoons: “…The only other clue was a cross, traced by one of the victims in the dust… A cross? Or the initial T? The same stuttered by Niccolò in The Courier’s Tragedy” (71). These side thoughts might have an important influence in the development on the story’s outcome later on. Oedipa’s paranoia leads the reader to believe that she is starting to see things that are not there, which reminded me of Theseus’ lines in A Midsummer Night’s Dream: “The lunatic, the lover, and the poet/Are of imagination all compact:/ One sees more devils than vast hell can hold” (V. i. 7-9). In reference to this lines, Oedipa I seeing “more devils than vast hell can hold”. To her, every single anomaly in an everyday life is part of a conspiracy. This sensation of paranoia makes the reader also believe that everything will finally come to be connected with this conspiracy. It might be true that it will in the end connect, or maybe it’s just a smokescreen created by this vast sensation.
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