Agape Agape (Penguin Classics) by William Gaddis

By William Gaddis

William Gaddis released 4 novels in the course of his lifetime, giant and intricate books that helped inaugurate a brand new circulation in American letters. Now comes his ultimate paintings of fiction, a refined, focused fruits of his paintings and concepts. For greater than fifty years Gaddis accumulated notes for a e-book concerning the mechanization of the humanities, informed in terms of a social historical past of the participant piano in the US. within the years sooner than his dying in 1998, he distilled the total mass right into a fiction, a dramatic monologue by means of an aged guy with a terminal disorder. carrying on with Gaddis's career-long mirrored image on these points of company technological tradition which are uniquely damaging of the humanities, Agape Agape is a beautiful success from one of many undeniable masters of postwar American fiction.

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And suddenly I realized that the poem was talking about me. “Ah, Sun-flower! [sic] weary of time, / Who countest the steps of the sun; / Seeking after that sweet golden clime, / Where the traveller’s journey is done” . . [T]he sweet golden clime, I suddenly realized that this existence was it! And, that I was born in order to experience up to this very moment that I was having this experience, to realize what this was all about—in other words that this was the moment I was born for. This initiation.

That which is said to lie beyond the local and contingent manifestations of character) require only nominal mention here. Thus, we must reckon with the volatile logic of “diff´erance,” in consequence of which there is said to be no stable vocabulary in which self-knowledge can be grasped. We must also reckon with the postmodern dissolution of the self as a biologically given and unitary entity and its redefinition as an aggregate of historically constituted and contradictory subject positions.

Qtd. in Lehman 50). Similarly, DeLillo has spoken of his search for a prose of “sun-cut precision,” a prose defined by its “clarity and accuracy” (“Outsider” 60). In short, to write under the sway of such criteria is to eschew the kind of allusive, mystically resonant language that animates the high-modernist visionary moment. The post-1945 type of visionary moment must also be seen as emerging from a historical conjuncture in which the artist’s sense of cultural placement is different from that of his or her high-modernist predecessor.

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