The Crying of Lot 49 Chapter One One summer afternoon Mrs Oedipa Maas came home from a Tupperware party whose hostess had put perhaps too much kirsch in the fondue to find that she, Oedipa, had been named executor, 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. Oedipa stood in the living room, stared at by the greenish dead eye of the TV tube, spoke the name of God, tried to feel as drunk as possible. But this did not work. She thought of a hotel room in Mazatlan whose door had just been slammed, it seemed forever, waking up two hundred birds down in the lobby; a sunrise over the library slope at Cornell University that nobody out on it had seen because the slope faces west; a dry, disconsolate tune from the fourth movement of the Bartok Concerto for Orchestra; a whitewashed bust of Jay Gould that Pierce kept over the bed on a shelf so narrow for it she'd always had the hovering fear it would someday topple on them. Was that how he'd died, she wondered, among dreams, crushed by the only ikon in the house? That only made her laugh, out loud and helpless: You're so sick, Oedipa, she told herself, or the room, which knew. The letter was from the law firm of Warpe, Wistfull, Kubitschek and McMingus, of Los Angeles, and signed by somebody named Metzger. It said Pierce had died back in the spring, and they'd only just now found the will. Metzger was to act as co-executor and special counsel in the event of any involved litigation. Oedipa had been named also to execute the will in a codicil dated a year ago. She tried to think back to whether anything unusual had happened around then. Through the rest of the afternoon, through her trip to the market in downtown Kinneret-Among-The-Pines to buy ricotta and listen to the Muzak (today she came through the bead-curtained entrance around bar 4 of the Fort Wayne Settecento Ensemble's variorum recording of the Vivaldi Kazoo Concerto, Boyd Beaver, soloist); then through the sunned gathering of her marjoram and sweet basil from the herb garden, reading of book reviews in the latest Scientific American, into the layering of a lasagna, garlicking of a bread, tearing up of romaine leaves, eventually, oven on, into the mixing of the twilight's whiskey sours against the arrival of her husband, Wendell ("Mucho") Maas from work, she wondered, wondered, shuffling back through a fat deckful of days which seemed (wouldn't she be first to admit it?) more or less identical, or all pointing the same way subtly like a conjurer's deck, any odd one readily clear to a trained eye. It took her till the middle of Huntley and Brinkley to remember that last year at three or so one morning there had come this long-distance call, from where she would never know (unless now he'd left a diary) by a voice beginning in heavy Slavic tones as second secretary at the Transylvanian Consulate, looking for an escaped bat; modulated to comic-Negro, then on into hostile Pachuco dialect, full of chingas and maricones; then a Gestapo officer asking her in shrieks did she have relatives in Germany and finally his Lamont Cranston voice, the one he'd talked in all the way down to Mazatlan. "Pierce, please," she'd managed to get in, "I thought we had--" "But Margo," earnestly, "I've just come from Commissioner Weston, and that old man in the fun house was murdered by the same blowgun that killed Professor Quackenbush," or something. "For God's sake," she said. Mucho had rolled over and was looking at her. "Why don't you hang up on him," Mucho, suggested, sensibly. "I heard that," Pierce said. "I think it's time Wendell Maas had a little visit from The Shadow." Silence, positive and thorough, fell. So it was the last of his voices she ever heard. Lamont Cranston. That phone line could have pointed any direction, been any length. Its quiet ambiguity shifted over, in the months after the call, to what had been revived: memories of his face, body, things he'd given her, things she had now and then pretended not to've heard him say. It took him over, and to the verge of being forgotten. The shadow waited a year before visiting. But now there was Metzger's letter. Had Pierce called last year then to tell her about this codicil? Or had he decided on it later, somehow because of her annoyance and Mucho's indifference? She felt exposed, finessed, put down. She had never executed a will in her life, didn't know where to begin, didn't know how to tell the law firm in L. A. that she didn't know where to begin. "Mucho, baby," she cried, in an access of helplessness. Mucho Maas, home, bounded through the screen door. "Today was another defeat," he began. "Let me tell you," she also began. But let Mucho go first. He was a disk jockey who worked further along the Peninsula and suffered regular crises of conscience about his profession. "I don't believe in any of it, Oed," he could usually get out. "I try, I truly can't," way down there, further down perhaps than she could reach, so that such times often brought her near panic. It might have been the sight of her so about to lose control that seemed to bring him back up. "You're too sensitive." Yeah, there was so much else she ought to be saying also, but this was what came out. It was true, anyway. For a couple years he'd been a used car salesman and so hyperaware of what that profession had come to mean that working hours were exquisite torture to him. Mucho shaved his upper lip every morning three times with, three times against the grain to remove any remotest breath of a moustache, new blades he drew . . . The Crying of Lot 49 . Copyright © by Thomas Pynchon. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold. Excerpted from The Crying of Lot 49 by Thomas Pynchon All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.
