Search results for "critical code studies working group"

[…]threaten’d in this place!” I have plans to explore the Gaddis of contracts further in later critical work, but here, in the limited space of this archive-based piece, let me emphasize the counterintuitive aspects of Gaddis’s criticism of contract law in J R by referring to one of the novel’s most adroit readers. In a 2012 review of J R’s reissue by Dalkey Archive, Lee Konstantinou notes that Gibbs is citing nineteenth-century English jurist Henry Maine’s ideas, in Ancient Law (1861), about the movement from anchoring life in social institutions and their often hierarchical networks (Status) to grounding it in […]

[…]regrettable. Gass continues, “I could see [Gaddis’s] youthful love glowing plainly when our group visited Dostoyevsky’s apartment. The sight of the master’s desk actually wet Willy’s eyes. I envied him. When my eyes moistened, it was only for Bette Davis, and such a shallow show of weakness made me angry with my soul” (196-97). Their opposing opinions on Russian authors stand out because in practically every other way Gaddis and Gass were likeminded literary souls, and perhaps this kindredness is most plainly seen from a distance; that is, by looking at the arc of each man’s entire career. Both writers […]

[…]more? So when I saw Gaddis’s piece in The New Yorker, I surmised that he had something he was working on, so I thought we should just go out big! At least this is how I was going to sell it to Allen Peacock. Who cares if you overpay, because it’s William Gaddis! Soon after Al went to Gaddis’ agent Candida Donadio. Allen’s boss was Joni Evans, who was married to Dick Snyder, the CEO of Gulf and Western—who owned Simon and Schuster. From what I was told, there was this ripple in the backdrop about the decision to buy […]

[…]affecting all areas of life in the postwar period. In doing so, the links between Gaddis’s critical project in The Recognitions and in his mid-career novels become clearer, demonstrating an ongoing critical engagement with the effects of unfettered economic growth that undergirds Gaddis’s wide-ranging engagement with the social, economic, and political realities of his time. Works Cited Alberts, Crystal. “Mapping William Gaddis: The Man, The Recognitions, and His Time”. William Gaddis, ‘The Last of Something’: Critical Essays, eds. Crystal Alberts, Christopher Leise, and Birger Vanwesenbeeck, McFarland & Company, 2010: 9-27. Burn, Stephen J. “After Gaddis: Data Storage and the Novel”. […]

[…]of course, you seek to make it your own. In that whole tradition, regardless of what genre you are working in, there is often a way of having a kind of inner textual conversation with the artist you are working with. But I think with the mindset that I was entering the piece with, in a sick way, I kind of wanted to just flatten everything, to let the dissonances between the pieces be structural elements that add tension, and to not have too many moments that would call attention to one piece or another. And I think part of […]

[…]focus from Gaddis to the characters. Second, readers need to place individuals in larger aggerate groups and recognize how these groups act like an ecosystem for ideas and values—a blend of history, culture, and economics. Understanding the movement of ideas and values between individuals and aggregate groups help readers find nuanced meaning with regards to how they hold characters responsible for their actions, as well as how culture shapes characters. This dynamic relationship is central to a writer’s craft. In other words, every writer has choices when building a character. The writer can present a character as racist but also […]

[…]clear to me that that was not at all what the world was like. Marty and I were living in Illinois working at Dalkey, and, yeah, I was just super lonely. I often felt like I had nobody to talk to despite working at one of the coolest presses in America. There was nobody to talk to about books, or the kind of books I liked. I remember reading something from one of my favorite writers saying something like: “If you want to be invited to the party, start a party.” So I said, all right, it’s time to start […]

[…]Prodigy Went to Market: The Education of J R.” in William Gaddis, “The Last of Something”: Critical Essays, eds. Crystal Alberts et al., McFarland & Company Publishing, 2010: 126–42. Chetwynd, Ali. “Friction Problems: William Gaddis’ Corporate Writing and the Stylistic Origins of J R.” Orbit: A Journal of American Literature, 8.1, 2020. https://doi.org/10.16995/orbit.gaddis.2 Duplay, Mathieu. “Fields Ripe for Harvest: Carpenter’s Gothic, Africa, and Avatars of Biopolitical Control.” in William Gaddis, “The Last of Something”: Critical Essays, eds. Crystal Alberts et al., McFarland & Company Publishing, 2010: 143–59. Ercolino, Stefano. The Maximalist Novel: From Thomas Pynchon’s Gravity’s Rainbow to Roberto Bolaño’s 2666, trans. Albert Sbragia. […]

[…]Gothic’: Gaddis’s Anti-Pauline Novels.” in William Gaddis, “The Last of Something”: Critical Essays, eds. Crystal Alberts, Christopher Leise and Birger Vanwesenbeeck. McFarland and Company, 2010: 115–125. Stampfl, Barry. “Hans Vaihinger’s Ghostly Presence in Contemporary Literary Studies.” Criticism: a Quarterly for Literature and the Arts 40.3 (summer 1998): 437–454. Thomas, David Wayne. “Gödel’s Theorem and Postmodern Theory.” PMLA 110.2 (March 1995): 248-261. Vaihinger, Hans. The Philosophy of “As if”: A System of the Theoretical, Practical and Religious Fictions of Mankind (1911). trans. C. K. Ogden. Kegan Paul, Trench, Trubner, 1924. Vidal, Gore. The Decline and Fall of the American Empire. Southend […]