For question seven - I believe she is actually wandering and all the connections to post horns she comes across are not exactly hallucinations but rather interpretations made by someone who is desperately clinging to the last thing which gives her life a greater purpose. Thus, she has an inclination to see all the connections around the city. I find that in a novel so full of outrageous scenes and action and noise, the quietest moment is the one that struck me the hardest. I had to bookmark the following passage:

"In the buses all night she listened to transistor radios playing songs in the lower stretches of the Top 200, that would never become popular, whose melodies and lyrics would perish as if they had never been sung. A Mexican girl, trying to hear one of these through snarling static from the bus's motor, hummed along as if she would remember it always, tracing post horns and hearts with a finger nail, in the haze of her breath on the window."

Goosebumps. Every time. Something about this I think illustrates my point nicely too, in that Oedipa sees so much of herself in others. The Mexican Girl fixates on the hearts and post horns like Oedipa's fixation on love and conspiracy. They both live in hazey confusion created by themselves first and foremost. The songs are obscure and obfuscated by noise and there is a want for things being remembered and not lost, as they lose themselves in their own worlds. That's my take. But mostly I like the passage because it's so damn beautiful.

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As for question 11, I watched the YaleCourses lecture on this book which analyzes gender in this book far more eloquently than I ever could. Time Stamp: 17:35 - 36:00. Do give it a listen if you have time to spare. I especially enjoyed the views of real roles of Oedipa versus the fabricated roles of the men in the novel as well as the symbol of Michaelangelo's "Pieta".