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[…]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 […]
[…]throughout his writing. In Underworld we meet the “garbage guerilla” turned UCLA cultural studies professor Jesse Detwiler, who lectures his students on the basic maxim of their civilization: “Consume or die” (286-87). While commentators have noted DeLillo’s aversion to American materialism, consumption, and extravagant waste, in Peripheralizing DeLillo, Thomas Travers offers the first systematic reading of political economy in his work. Travers deploys Marxist literary theory under the influence of Fredric Jameson to analyze the crisis in late capitalism’s ceaseless subsumption of markets and its creation of a permanently unemployable underclass, a surplus population. Narrative fiction that represents capitalism’s totalizing […]
[…]contributions from literacy studies, Foucauldian theory, environmental justice scholarship, and critical data studies. Next, I explain why extractive ideologies are at the core of infopower. My guiding assumption throughout is that data and power are always intertwined. Writing in Big Data & Society, Andrew Iliadis and Frederica Russo rightly emphasize that corporate, governmental, and academic entities “own vast quantities of user information and hold lucrative data capital,” enabling them to “influence emotions and culture,” and that “researchers invoke data in the name of scientific objectivity while often ignoring [the fact] that data are never raw [but] always ‘cooked’ ” (1). […]
[…]the Atari VCS, around not just about Combat, but that whole platform, and about the platform studies approach as we saw it. So, Ian and I wrote a book called Racing the Beam. And we also started a series with MIT Press, Platform Studies. Racing the Beam incorporates these ideas, it has a methodology to it, we reverse engineered some of the cartridges, we looked at the material history of the system, by analogy to book history, or the material history of texts. We did a few interviews, but it was not a qualitative social science approach that we took, […]
[…]Gaddis Scholarship. Want to dive deeper into post-post-modern futurology? The Futures of Gaddis Studies roundtable—featuring CRYSTAL ALBERTS, GREGORY COMNES, TIME CONLEY, BRIGETTE FÉLIX, VICTORIA HARDING, ANJA ZIEDLER, RONE SHAVERS, TOM LECLAIR, and electronic book review’s very own JOSEPH TABBI—delivers reflections, revelations, and recognitions of The Recognitions! JOIN US NEXT TIME FOR MORE ELECTRONIC BOOK REVIEW Tegan Pyke Co-editor, ebr contact@electronicbookreview.com All listed articles come with risk of riPOSTe, re-riPOSTe, and re-re-re-riPOSTe. Authors’ views are their own. Internet connection required for access but not […]
[…]Era: Introduction to the Special Issue on ‘Gaddis at his Centenary’” 2: Futures for Gaddis Studies’ Steven Moore – “New Directions in Gaddis Scholarship” Various Authors – “Futures of Gaddis Studies: Visions for the Next 100 Years’” 3: Gaddis in Context: Peer-reviewed articles Benjamin Bergholtz – “‘Trouble with the Connections’: J R and the ‘End of History’” Jack Williams – “‘A Long and Uninterrupted Decline’: Accumulation, Empire, and Built Environments in William Gaddis’s The Recognitions” John Soutter – “Vaihinger’s Not So Fleeting Presence: Gaddis, Ballard, and Delillo” Rochelle Gold – “Pre-Written Business Correspondences and Computer Therapists: William Gaddis’s J R, ELIZA, […]
[…]laudable and understandable, especially in the light of Herman & Krafft’s flawless politeness, critical generosity and respect for other critical voices, such a narratological ‘solution into playful irony’ tends to smooth out the often painfully sharp and hurtful edges and contours of specific sentences, passages and characterizations. Considering that Pynchon’s texts always acknowledge ‘our’ immature complicity with the dark sides of power and sin, we should perhaps give his texts some leeway, and in fact come to value their controversial and immature tendencies. Maybe one might even imagine a poetics of “more maturity, more immaturity!” Maybe we should value the […]
[…]2010s was academia. Notwithstanding the biography and letters, there was no further conference, critical monograph, or collection of essays on Gaddis between The Last of Something and the centenary events: not even another conference panel after “Why Now.” The reason may be generational: many of the 20th century’s Gaddis scholars—the generation(s) whose foundational 1970s or 1980s articles, or 1990s monographs, were compiled in Harold Bloom’s 2004 Modern Critical Views —had retired by the early 2000s. Between 2015 and 2022 a third of Bloom’s Gaddisians died. The bibliography of Gaddis scholarship reveals that only a small proportion of Gaddis’s scholars have published […]
[…]is responsible for the advancement of feminism, anticapitalism, posthumanism, postcolonialism and critical race studies.” No. Literature is an art project, not a political project, and should be judged solely on its artistic merit, not for its usefulness in pursuing social justice. Last year a Jane Austen specialist wondered about teaching older novels that fail “to speak to pressing societal issues. Perhaps a world in grave crisis truly doesn’t have time for texts from the past which can’t be instrumentalized by the future.” No concern for artistry, craftsmanship, style, tone, wit, only whether a novel qualifies as a tool for social […]
[…]and the artist’s value and role in a rather disenchanted society, have been recurring topics in critical studies of Gaddis, as they were for the man himself (see for example Angela Allan’s excellent recent study on neoliberalism and the value of art). Due to the encyclopedic and allusive nature of the novels across abundant cultural, religious, and philosophical themes and aesthetic issues, interdisciplinary, intertextual, intermedial, and transgeneric critical approaches suggest themselves. Various of Gaddis’s acknowledged influences have thus been studied; visual art illuminates him through studies of the meaning and implications of perspective and technique of fifteenth-century Flemish painting for […]
[…]2022 N. Katherine Hayles Award for Criticism for editing the first issue of The Digital Review on critical making and critical design. What is The Digital Review, and how is it distinct from other kinds of journals? And also, what is critical making? LF: Thank you for asking that. Because I think a lot of people will associate the editorial work I’ve been doing with ebr, electronic book review, which has been edited by Joseph Tabbi for a long time. TDR came, not necessarily out of the pandemic, but it was manifested in 2020. So, the timing seems as if […]
[…]simply builds on its community focus, since at the heart of all of these essays is the way that a group can use algorithms to do something that really wasn’t possible before. But the ability of these kinds of algorithmic systems to foster creative practices, rather than simply replacing artists, is something that needs more emphasis in our current debates. In a recent Atlantic article, Ian Bogost wrote about how he is using AI image creators like DALL-E to produce visuals to accompany seemingly trivial musings (“My daughter texted, asking what her ‘goth name’ should be; moments later, I sent […]
[…]was a direct response. When hydropower arrived, there were a lot of folks who were in horrible working conditions and, frankly, were undervalued in what they were doing and were out of a job. And so there were a group of folks who used a fellow by the name of Ned Ludd as their sort of spiritual leader, and they decided to fight the rush towards industrialization. And they started, as you said, breaking into factories, breaking the looms, and they worked really hard to target the factories, the mill owners and the people who supported this rush to industrialization. […]
[…]I love the idea of Google Docs. But in practice it’s hard to track, depending on the size of the group that you’re working with. I love that Google Docs is so wide open. You can radically alter the aesthetics of the writing space itself, which adds a whole different level. Lately, I’ve been using Reddit a lot with students, I like it, because it’s easy to create accounts. There you can bracket space by creating a subReddit. And you can define norms for play within that space. You can kind of do your own thing unobstructed for periods of […]