Since Twitter is about to embark on a big group read of William Gaddis’ two first novels, what with NYRB reprinting them, I wanted to share my favorite quote from The Recognitions, which, together with JR, ranks among my favorite novels – though I do think A Frolic of His Own is Gaddis’s most underrated book. Not as easy to read as Carpenter’s Gothic, not as Bernhardian as Agape, Agape, and not as spectacular as the first two. And yet, it is very good. That said, below, three quotes from The Recognitions, a masterpiece. If you feel intimidated by its heft and erudition – Gaddis worked as a researcher before he published this book – Steven Moore’s excellent and extensive “Reader’s Guide” is worth bookmarking. In fact, I recommend it. I’m sure there isn’t a greater expert on William Gaddis on earth. I’m not a huge fan of these “group reads” – but if that is what gets you into these two novels, then so be it. The Recognitions was an absolutely eye-opening reading experience, which was among the small handful of books that set me on the path of reading that I am on to this day, hurtling after books, trying not to drown.
“Something like writing is very private, isn’t it? How…how fragile situations are. […] Delicate, that’s why they keep breaking, they must break and you must get the pieces together and show it before it breaks again […]. That’s why most writing now, if you read it they go on one two three four and tell you what happened like newspaper accounts, no adjectives, no long sentences, no tricks they pretend, and they finally believe that they really believe that the way they saw it is the way it is, when really…why, what happened when they opened Mary Stuart’s coffin? They found she’s taken two strokes of the blade, one slashed the nape of her neck and the second one took the head. But did any of the eye-witness accounts mention two strokes? No. […] They write for people who read with the surface of their minds, people with reading habits that make the smallest demands on them. […] Why, all this around us is for people who can keep their balance only in the light, where they move as though nothing were fragile, nothing tempered by possibility and all of a sudden bang! something breaks. Then you have to stop and put the pieces together again. But you never can put them back together quite the same way. You stop when you can and expose things, and leave them within reach, and others come on by themselves, and they break, and even then you may put the pieces aside just out of reach until you can bring them back and show them, put together slightly different, maybe a little more enduring, until you’ve broken it and picked up the pieces enough times, and you have the whole thing in all it’s dimensions. But the discipline, the detail, it’s just…sometimes the accumulation is too much to bear.”
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“Do you know what it was? That everything was so afraid, so uncertain God saw it, that it insisted on vanity in His eyes? Fear, fear, pessimism and fear and depression everywhere, the way it is today, that’s why your [Flemish Master’s] paintings are so cluttered with detail, this terror of emptiness, this absolute terror of space. Because God isn’t watching. Maybe he doesn’t see. Oh, this pious cult of the Middle Ages!”
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“What did you want from [this poet] that you didn’t get from his work? […] This passion for wanting to meet the latest poet, shake hands with the latest novelist, get hold of the latest painter, devour…what is it? What is it they want from a man that they did´n’t get from his work? What do they expect? What is there left of him when he’s done his work? What’s any artist but the dregs of his work? […] What’s left of the man when the work’s done but a shambles of apology.”
shigekuni. 