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[…]sixteenth-century Russian saint Pafnuty Borovsky so exactly that in the course of copying he comes to completely identify with the saint and his words.” This obviously parallels Wyatt’s identification with Flemish painters, especially the crucial moment of adding a signature, which Wyatt broods on. Fun fact: Gaddis disliked the idea of readings and refused to give them, with one exception—asked to give a reading for a special event in 1991, he read a comic chapter from Dostoevsky’s Demons. I feel an entire book, or dissertation, could be devoted to Gaddis and Russian literature. Granted, that’s a lot of reading, but […]

[…]considered how we might contribute. It seemed like it would be interesting if Edwin could come into town, because, of course, he has been publishing Gaddis’s work. Edwin is the editor and founding editor of the New York Review Books. There’s a brochure out there of their forthcoming edition of Gaddis’s Letters. Danielle and I both run and cofounded Dorothy, A Publishing Project. Before that, we both worked at Dalkey Archive Press, which produced the previous editions of Gaddis’s first two novels. So, we have in common with one another that we are a somewhat narrow club of people who […]

[…]Anthony Appiah’s writing on racism, nationalism, and plot. While these approaches can be used to examine Frolic as a product of culture, which is valid and meaningful, this paper will center on Gaddis’s craft as a writer who intentionally uses racism to make his legal satire. In Playing in the Dark, Morrison writes: I wish to close by saying that these deliberations are not about a particular author’s attitudes toward race. That is another matter. Studies in American Africanism, in my view, should be investigations of the ways in which a nonwhite, Africanist presence and personae have been constructed—invented—in the […]

[…]of our main characters, of Edward Bast and Jack Gibbs, so that the audience could also drown into too much of everything, too much of information, too much of life. So, I think that was something really important. The fact that the audience could feel exactly the same as our characters but also as ourselves when we went to work. Ali Chetwynd: How about you, Tim? Tim Youd: I mean I understand that my diptychs appear abstractions but, for me, they are really and truly literal. It is every word of the book. In its own way, it is a […]

[…]in expression and finds that, to be even more authentic in its message, it is best to transgress into form. The divide between modernism and postmodernism, we might see, embodies a genealogical model of the same divisions Gaddis’s work overcomes. For his own philosophical genealogy, he is especially illuminatingly read alongside the writings of philosophers that continued to find new ways to articulate ideas past the culmination of metaphysics in German Idealism, specifically those who sought to push beyond the work of G.W.F. Hegel. Gaddis’s artistic techniques, even more specifically, parallel Søren Kierkegaard’s performative responses to that moment in philosophy, […]

[…]business type we have come to know as the “conglomerate.” A breathless list of “[s]ome of the wide range of products produced by Textron divisions” in a corporate film trade journal covering Fruits of Diversification’s Waldorf debut efficiently surveys the breadth of the company’s holdings: [S]hown in the film are: television aerials, textiles, polyethylene bags and sheets, Isomode vibration eliminating pads, cold-flow metal parts, plastic brooms, chain saws and carryable generators, plywood, batting, padding, upholstery filling, saddle girths, a revolutionary new foam plastic, centrifugal pumps, radar equipment, radar chaff dispensers, guided missiles and magnetic controls. (“Textron Meets Its Shareholders” 43) […]

[…]to contract with regard to said play by defendant and thus its alleged unlawful use could [not] form . . . any basis for action for breach of implied contract” (Frolic 355). Oscar, as a playwright struggling with contracts, is a distant cousin to the Marlowe of “Faire Exchange.” But Oscar is at the same time no Faust, and no Marlowe; indeed, he has inherited none of Marlowe’s demonic ardor, Faustian possibilities, or (to return to the imagery of Gaddis’s 1961 letter) that taste for continuing to be the fox running for his life and doing decades of hard work […]

[…]as Alaska was not a state at the time, there is no entry for it, which robs us of the chance to compare Billy Gaddis’s report to the one on “Alsaka” in J R, which similarly itemizes “precios metals,” “timber,” “coal and oil” and “wild life” (J R 465). In addition to Gaddis’s schoolwork, there is also correspondence from his time at Merricourt, written mostly to his mother Edith but also to other family members and friends. While not literary works per se, we can see the burgeoning creativity of the young writer in these letters. Most of these are […]