fictions present

A survey of Gaddis’s known and archived unpublished prose fiction, particularly short stories from before The Recognitions and incomplete forerunner projects for his eventually published novels. Those include the two aborted novels that evolved into The Recognitions, notes toward a projected novel about filmmaking that provided foundational material for Carpenter’s Gothic and A Frolic of His Own, and more. Each entry contains archival location information, historical information, description and analysis of the archived work, and discussion of any connection to the eventually published fiction.

A survey of Gaddis’s known and archived unpublished creative work in poetry and drama, from a parodic Elizabethan play and the complete script of Once at Antietam to a full western film screenplay and a year of failed pitches for TV drama. Each entry contains archival location information, historical information, description and analysis of the archived work, and discussion of any connection to the eventually published fiction.

Translator Francine Ozaki reads The Recognitions through the overarching debates of twentieth-century translation theory, finding the conflict between Wyatt’s and Otto’s handling of Forgery, Originality, and Authenticity illuminating the concerns of today's professional translators. Questions of credit, treachery, allegiance, payment, and dependency are so fully addressed in the novel that translators and translation theorists should be reading it to help make sense of their own artistic and professional roles.

Further memories from yet another student of William Gaddis during the time when WG taught at Bard.

Scott Zieher offers some creative non-fiction in praise of perhaps Gaddis’s least-lauded publication: the lavishly illustrated and sample-provisioned “masterwork of printed ephemera” A Pile Fabric Primer. How did this mysterious document come to be, and what does it tell us about the creative writer's working conditions?

Kate Michelson Goldkamp surveys the Juvenilia preserved in Gaddis’s archive, finding, among other things, early prefigurations of his “delight[] in the macabre” in some illustrated mini-stories, hints of the boy JR's worldview in studies of US geography, and doodles that prefigure some of the published fiction’s hand-drawn illustrations.

Cole Fishman argues that Gaddis should be recognized for his contributions to philosophy, no matter what the "disciplinary gatekeepers" think.

David Ting excavates the archived compositional history of Agapē Agape to test what we can learn from the marginal annotations in Gaddis’s working library, focusing on his copy of Susan Stebbing’s Philosophy and the Physicists. Ting finds Gaddis testing his own ideas against those of Stebbing and her sources, while making outward connections between this technical material and his literary reading in Plato and Faust. Illuminating the novel’s chronological evolution, Ting also provides us a case study in tracking how authors use their reading as a “means of invention.”

After noting how J R was a reflection of postmodern society and antiheroic traditions in America in the 1970s, Lalita Kashoba Mohan signals a similar postmodern turn in her homeland, India, and other countries "whose economic development is now following America’s earlier path."

Elliot Yates examines Gaddis’s first corporate writing assignment, with the company Textron, which seems to coincide directly with his first conception of the plot for J R. Textron was one of the first US corporations to explicitly pursue conglomerate “diversification” through buying up seemingly unrelated businesses, and Yates shows how this not only helped generate the plot of J R, but functions as a key to understanding its formal design.