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- catalog abstract "As Peter Wolfe's insightful new study explains, William Gaddis has brought vigor to the classical tradition that Yeats, Joyce, and T.S. Eliot were reshaping before him. Directing this tradition to American themes, Gaddis recoils from the belief that Yankee optimism is built on abundance. Convinced that truth can best be revealed by juxtaposition, reflection, or distortion, he illuminates his protest against the modern abundance fetish by means of indirect lighting. His favorite idiom is irony, one that rests on limited expectations. But his country doesn't suffer from scarcity, and the narrative mode he favors is the long (or mega) novel. In this regard, Gaddis calls forth Walt Whitman. Gaddis is large, embraces multitudes, and is unafraid of self-contradiction. Thus he favors a narrative texture that's thick and heavy with a good deal of spillover. He resists imposing clean, consecutive discourse upon a reality consisting largely of a scumbling of depths, mirror images, and puzzling alternatives. His practice of splintering traditional storytelling modes forces us to seek merit and value along the margins. Also, by keeping the chronology of his books vague, he transmits the pressure his people feel living amid guidelines and controls that can't be seen or felt, let alone made sense of. What remains, through it all, is the richness of his moral imagination. His explorations of identity and survival stir unerring insights into the depths of human behavior.".
- catalog contributor b10169875.
- catalog created "c1997.".
- catalog date "1997".
- catalog date "c1997.".
- catalog dateCopyrighted "c1997.".
- catalog description "As Peter Wolfe's insightful new study explains, William Gaddis has brought vigor to the classical tradition that Yeats, Joyce, and T.S. Eliot were reshaping before him. Directing this tradition to American themes, Gaddis recoils from the belief that Yankee optimism is built on abundance.".
- catalog description "Convinced that truth can best be revealed by juxtaposition, reflection, or distortion, he illuminates his protest against the modern abundance fetish by means of indirect lighting. His favorite idiom is irony, one that rests on limited expectations. But his country doesn't suffer from scarcity, and the narrative mode he favors is the long (or mega) novel. In this regard, Gaddis calls forth Walt Whitman. Gaddis is large, embraces multitudes, and is unafraid of self-contradiction. Thus he favors a narrative texture that's thick and heavy with a good deal of spillover. He resists imposing clean, consecutive discourse upon a reality consisting largely of a scumbling of depths, mirror images, and puzzling alternatives.".
- catalog description "His practice of splintering traditional storytelling modes forces us to seek merit and value along the margins. Also, by keeping the chronology of his books vague, he transmits the pressure his people feel living amid guidelines and controls that can't be seen or felt, let alone made sense of. What remains, through it all, is the richness of his moral imagination. His explorations of identity and survival stir unerring insights into the depths of human behavior.".
- catalog description "Includes bibliographical references (p. 300-305) and index.".
- catalog extent "312 p. ;".
- catalog hasFormat "Vision of his own.".
- catalog identifier "0838636942 (alk. paper)".
- catalog isFormatOf "Vision of his own.".
- catalog issued "1997".
- catalog issued "c1997.".
- catalog language "eng".
- catalog publisher "Madison, [N.J.] : Fairleigh Dickinson University Press,".
- catalog relation "Vision of his own.".
- catalog subject "813/.54 20".
- catalog subject "Gaddis, William, 1922-1998 Criticism and interpretation.".
- catalog subject "PS3557.A28 Z93 1997".
- catalog title "A vision of his own : the mind and art of William Gaddis / Peter Wolfe.".
- catalog type "Criticism, interpretation, etc. fast".
- catalog type "text".