This essay analyses Thomas Pynchon’s novel The Crying of Lot 49 (1966) in relation to postmodern literary theory, specifically the concepts of hyperreality and imaginary stations. In Simulacra and Simulation (1981), Jean Baudrillard proposes that the Disneyland theme park in California is an imaginary station that conceals the fact that it is the world outside of Disneyland that is hyperreal. These ideas were developed further in relation to California by Umberto Eco in Travels from Hyperreality (1986). Baudrillard’s model is applied in this essay to the housing development of Fangoso Lagoons in The Crying of Lot 49. By analysing the mediums through which it is portrayed, how it is described and the events that occur there, Fangoso Lagoons is found to be similar to Baudrillard’s example of Disneyland because it is presented as an amazing, fantastic and bizarre spectacle. However, the true hyperreality lies outside of the development, in the novel’s semi-fictional California. This essay argues that Fangoso Lagoons is presented as hyperreal, similar to Baudrillard’s example of Disneyland or Umberto Eco’s example of Hearst Castle, but that it is in fact an imaginary station. As Baudrillard and Eco propose, the purpose of the imaginary station is to make the world outside appear as real through contrast. The imaginary station achieves this by feeding reality energy to its hyperreal surroundings.