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[…]which I guess is ultimately text. Another thing I remember about it is, I’m not sure it was working even at the time, but there’s a soundtrack, right? RA: I managed to get it working again because RealAudio Player got completely left behind, and so I’ve since reloaded the 8-tracks as MP3’s. There were suggestions of which tracks to play with which chapters. Another note here is that my good old friend Colin Gagon and Will Oldham, there he is again, were the collaborators on the soundtrack. Colin and I played with and toured with Will for many years in the […]
[…]book Nobody Grew but the Business: On the Life and Work of William Gaddis: “At the time, I was working on a novel with the pretentious title Awake, which I imagine, if it had ever been published, would have put most people asleep. I looked at it a few years ago, and it certainly had its soporific charms. In any case, Gaddis was pleasant and patient with me during our weekly meetings. He made suggestions for editing, and talked generally about my work, but thirty-five years later, I do not remember the specifics. One event I do remember, however, is […]
[…]“Oil-Fueled Accumulation in Late Capitalism: Energy, Uneven Development, and Climate Crisis.” Critical Historical Studies, vol. 7, no. 2, 2020, pp. 206–40. https://doi.org/10.1086/710799. Marx, Karl. Capital, Volume I. Translated by Ben Fowkes, Penguin, 1976. Panitch, Leo and Sam Gindin. “Finance and American Empire.” American Empire and the Political Economy of Global Finance, edited by Leo Panitch and Martijn Konings, Palgrave, 2008. Shaw, George Bernard. The Perfect Wagnerite: A Commentary on the Nibelung’s Ring. Dover, 1967. Sobel, Robert. The Age of Giant Corporations: A Microeconomic History of American Business, 1914–1992, 3rd ed., Praeger, 1993. Spiro, Joan Edelman. The Politics of International Economic […]
[…]and if what they do is often for harmful or destructive ends, it compels us because it reflects critical understanding of a traditional hierarchy and society that is equally corrupt behind its façade of rightness. One tradition of American antiheroes is closer to this line. These begin with Twain’s Birdofredum Sawin and Huck Finn, moving through Holden Caulfield toward (from Gaddis’s era) Randle McMurphy of One Flew Over the Cuckoo’s Nest. Like the European model, these are Romantic rejectors of an overly rationalized civilization, but unlike the Europeans they are often anti-intellectual and wilfully naïve, hence a greater proportion of […]
[…]philosophy has lost its way. How could philosophy lose its way when philosophy is precisely the critical thinking which propels us forward? By adding form to content we have the possibility of thinking beyond thinking. The Recognitions does just this: It thinks beyond the end of thinking. Gaddis is here attempting to solve the same crisis of the end of philosophy that Kierkegaard was, knowing perhaps that philosophy has been written too straightforwardly and needs to perform stylistically. Far from being abstract or unrelated to the bettering of this world—far from the cries of those who think Gaddis’s novels could […]
[…]revealing, but that the novel itself has much to contribute to existing debates within Translation Studies. Its major themes—originality, authenticity, authorship, even forgery—are central matters of debate in Translation Studies, and while Gaddis himself seems to have had notably “old-fashioned” ideas about how translators should actually handle his novels, the contrast between how his protagonists Otto and Wyatt deal with originality, authorship, and authenticity in The Recognitions gets to the heart of more recent debates about translation as theory, practice, and profession. Translators and translation theorists, therefore, would benefit from reading it. Gaddis and His Translators The Recognitions remains one […]
[…]annotations are evidence of his writerly attention to what he read, and his separate working notes are often where these concerns are centralized. List-making, in these working notes, was an essential part of Gaddis’s workflow: hundreds of such sheets reside in his archive. Our most representative roadmap for Gaddis’s intellectual concerns in the late 1950s, pertaining to Stebbing and the PP, might well be the following page, composed in a fine calligraphic hand, from a folder of loose 1950s notes toward the player project (see Figure 1). This document is exceptional for our study: it presents a host of critical […]
[…]Klink boldly go into the lows and (watermelon sugar) highs of fan fiction, fan culture and fan studies in Off Center‘s “Episode 8: Fanfiction as a Form of Digital Narrativity with Flourish Klink”! (The Barker takes a seat at the desk and shoves her booted feet onto it. The lighting bleaches white. A wall of shadow slowly begins sliding in from stage left.) BARKER: A total eclipse of the art! Steve Tomasula explores how his experience of the 2017 solar eclipse elevated the normal to the sublime in “Total Eclipse: A Rearview Review of Rhythms”! (A spotlight pierces through the darkness […]
[…]rises. The Barker stands alone at center stage, but we are aware of a larger editorial team working in the wings.) BARKER: Another month. Another issue. Another mailshot. (Darkness, before a hard, white spotlight pierces the gloom. The Barker stands in sharp relief.) BARKER: Data is power! Stephan Paur illuminates the issues surrounding the (in)formation of identities in Infopower and the Ideology of Extraction! (The lighting shifts, whites becoming a mix of greens and turquoises reminiscent of an affiliate’s branding. The Barker waits, arms crossed.) BARKER: HYPER. LITERARY. CULTURE. (Off stage, someone begins to box a beat. It’s as off-rhythm […]
[…]and putting it back together again in order to fully grasp its material being, like the inner workings of a well-crafted clock. As a reader, I probably came well-prepared. Only three years earlier, I had had the privilege of attending the first seminar Hans-Walter Gabler, professor of English Literature at Munich University, offered using his recently published, first-ever critical edition of Ulysses. Naturally, in my early encounters with Gaddis, I deeply sympathized with Steven Moore’s approach as embodied in his Reader’s Guide to William Gaddis’s ‘The Recognitions’ to first and foremost lay bare the literary, cultural, and mythological allusions buried […]