Thomas Pynchon is often associated with the postmodern literature. His two novels, The Crying of Lot 49 and Inherent Vice can be recognized as parody and pastiche of detective fiction. At first, the genre of detective fiction is depicted. The next two chapters confirms why The Crying of Lot 49 and Inherent Vice can be called parody and pastiche.
The first chapter presents the definition of detective fiction in literature and depicts the difference between crime fiction and the story of detection. Both terms are often used in literature but it is important to know that the meaning is quite different and the terms cannot be used as substitutes. Moreover, the chapter presents general requirements which need to be confirmed to consider a particular piece of writing as the detective fiction. Also, the types of detective fiction such as the whodunit novel, hard-boiled fiction, thriller, suspense novel and Gothic novel are presented in the detailed manner. What is more, the first chapter touches upon the issue of the recognition of parody and pastiche in literature, due to that both terms are introduced and broadly depicted.
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The chapter presents the components of the suspense novel such as the unknown future of the protagonist and the elements from classical detective fiction such as the “Watson” figure. Furthermore, Oedipa Maas is described as paranoid and obsessed with the mystery. The chapter presents that the process of solving the mystery is parody of the detective fiction. Moreover, Oedipa’s behavior and her paranoia also have influence on the reader’s perception of the story as not the typical detective fiction but its parody. The chapter presents that Oedipa’s obsession with the mysterious Trystero make her act in an irrational way which consequently have an impact on the reader who may start to doubt in Oedipa abilities to solve the