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Like Ulysses, Finnegans Wake, The Waste Land, and The Cantos, William Gaddis’ The Recognitions and J R are among those twentieth-century texts that demand and deserve close attention: “demand” because of their complex nature; “deserve” because of their undeniable stature. --Preface (1983)Editor John Kuehl is also author of John Hawkes and the Craft of Conflict. We’ll get to Moore shortly.“The Writing of The Recognitions” by David Koenig, aka, Peter W. Koenig, whose dissertation, “‘Splinters from the Yew Tree’: A Critical Study of William Gaddis’ The Recognitions (1971), is quoted throughout this volume because he frequently quotes from Gaddis’ own notes to The Recognitions. “Gaddis Anagnorisis” by John Leverence. Re: “loose baroque syntax” and alchemy in The Recognitions. “To Soar in Atonement: Art as Expiation in Gaddis’ The Recognitions” by Joseph S. Salemi. [Together with....“Flemish Art and Wyatt’s Quest for Redemption in William Gaddis’ The Recognitions” by [author:Christopher Knight|5042449] who is not (?) the same Christopher J. Knight, author of Hints and Guesses: William Gaddis and the Longing for an Enlarged Culture (?). It’s up next or next in my Gaddis criticism reading. [And we get.....[Redemption. Atonement. Expiation. Suffused throughout this collection.] “Dryad in a Dead Oak Tree: The Incognito in The Recognitions by John Seelye. “And yet it is, nonetheless, an excursion into fairyland.” Written in the early 1960’s ; first pub’d here. Moore does a thing about Peer Gynt with a dash of Jung. “‘il miglior fabbro’: Gaddis’ Debt to T.S. Eliot” -- which is pretty obvious if you’ve spent any amount of time at The Gaddis Annotations ; but there’s even more in this piece. By Miriam Fuchs, of Marguerite Young fame. Also though too, note the title of her dissertation (included in our bibliography) -- “‘Persistent Pattern and Significant Form’: The Conceptual and Formal Impact of The Waste Land on Selected Anti-Realistic American Novels” (1979).Stephen H. Matanle does a thing with Empedocles and his body parts in “Love and Strife in William Gaddis’ J R”. There’s a similar passage in Hegel which Žižek likes to quote ; I oughta dig it out. But as Empedocles would have it, “Many foreheads without necks sprang forth, and arms wandered unattached, bereft of shoulders, and eyes strayed about alone, needing brows” kind of thing. The article is entitled eerily similarly to his dissertation :: “Love and Strife in William Gaddis’ J R” (1980).Susan Strehle does a cool thing with time in J R in which the durée of Bergson belongs to the narrator while the characters all suffer under the regime of broken clock time. Complaint -- a normative interpretation of Heidegger’s ‘authentic time’ which is always a thing to be avoided.“Art as Redemption of Trash: Bast and Friends in Gaddis’ J R” by Johan Thielemans. [Told you there was a lot of Redemption in here!]Steven Weisenburger, whom you know as the lunatic who did the A Gravitys Rainbow Companion: Sources and Contexts for Pynchons Novel, has a thing about paper, of all things. Lots of paper. Money too. Here’s a punchy line from his conclusion :: “One needn’t buy the arguments of a John Gardner or a Gore Vidal to the effect that a Gaddis or a Pynchon must be read with their novels in one hand and some deconstructionist critic in the other. Good lord, their works are not ‘difficult’ in that way at all!” Which is true ; and also true that they can be so read, which is pretty cool!“The Paper Empires and Empirical Fictions of William Gaddis” by Joel Dana Black foreshadows that title of a later collection of stuff by Gaddis riff-raff, Paper Empire: William Gaddis and the World System, edited by Joseph Tabbi and which includes stuff by the likes of Joseph McElroy (“Gaddis Dialogue Questioned”), Stephen J. Burn (“The Collapse of Everything: William Gaddis and the Encyclopedic Novel”), Jeff Bursey (aka, Gaddis, jr.) & Anne Furlong (“Cognitive Gothic: Relevance Theory, Iteration, and Style”), and but the Moore piece (“The Secret History of Agapē Agape”) is now available in both his William Gaddis: Expanded Edition and that big Gaddis Annotations website (FREE!). I need to get a copy of this Paper Empires thing!And then as finale we have “Gaddis: A Tribune of the Fifties” by Frederick R. Karl, which is a chapter from his American Fictions 1940-1980: A Comprehensive History and Critical Evaluation. Karl’s also got a bio of George Eliot. The bibliography, although hopelessly dated for our purposes these many years later, does include the rather titillating entries for Gaddis’ contributions to Harvard Lampoon. Note too that already by 1983 we can list 15 dissertations which treat of Gaddis’s first two novels. Not too shabby ; although he had already been through the National Book Award Wringer by then. He got the Genius thing in 1982, but I don’t recall any discussion of that within these essays. HERE’s the MacArthur page for Gaddis’ award. Back to the dissertations, there’s this intriguing title :: “Techniques of Reference, Allusion, and Quotations in Thomas Mann’s Doktor Faustus And William Gaddis’s The Recognitions” (Robert Charles Brownson). Back to the bibliography.... there’s a seemingly maintained bibliography at the afore=mentioned williamgaddis.org site :: HERE. Lampoon entries inclusive. I’d also point to the link up there at the top to the errata Moore is collecting, case you should want to do that whole thing about “didn’t anybody proofread this thing” thing. Here’s a general impression. Readers of Gaddis ought to add to their reading list (I know I am!), because Moby-Dick is assumed, Melville’s The Confidence-Man. ________________IN RECOGNITION OF WILLIAM GADDISwas composed in 10-point Digital Compugraphic Sabon and leaded two pointswith display type in Sabonby Metricomp;printed by sheet-fed offset on 55-pound, acid-free Glatfelter Antique Cream,Smythe-sewn and bound over binder’s boards in Joanna Arrestox B,by Maple-Vail Book Manufacturing Group, Inc.;and published bySYRACUSE UNIVERSITY PRESSSyracuse, New York 13210
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