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A postmodern masterpiece about fraud and forgery by one of the most distinctive, accomplished novelists of the last century. The Recognitions is a sweeping depiction of a world in which everything that anyone recognizes as beautiful or true or good emerges as anything but: our world. The book is a masquerade, moving from New England to New York to Madrid, from the art world to the underworld, but it centers on the story of Wyatt Gwyon, the son of a New England minister, who forsakes religion to devote himself to painting, only to despair of his inspiration. In expiation, he will paint nothing but flawless copies of his revered old masters—copies, however, that find their way into the hands of a sinister financial wizard by the name of Recktall Brown, who of course sells them as the real thing. Dismissed uncomprehendingly by reviewers on publication in 1955 and ignored by the literary world for decades after, The Recognitions is now established as one of the great American novels, immensely ambitious and entirely unique, a book of wild, Boschian inspiration and outrageous comedy that is also profoundly serious and sad.
At the center of this hugely comic tale of "free enterprise" America stands JR--an eleven-year-old capitalist, eagerly following the example of the grasping world around him. Operating through pay phones and post-office money orders, JR inadvertently parlays a shipment of Navy surplus picnic forks, a defaulted bond issue, and a single share of common stock into a vast paper empire embracing timber, mineral and natural gas rights, publishing, and a brewery. At once a novel of epic comedy and a biting satire of the American dream, JR displays the style and extraordinary inventiveness that has made Gaddis one of the most acclaimed writers of our time.
"Fire the Bastards! "is a scorching attack on the book-review media using the critical reception of William Gaddis's 1955 novel "The Recognitions "as a case study.
A dazzling fourth novel by the author of The Recognitions, Carpenter’s Gothic, and JR uses his considerable powers of observation and satirical sensibilities to take on the American legal system.
A revelatory collection of correspondence by the lauded author of titanic American classics such as The Recognitions and J R, shedding light on his staunchly private life. UPDATED WITH OVER TWO DOZEN NEW LETTERS AND PHOTOGRAPHS Now recognized as one of the giants of postwar American fiction, William Gaddis shunned the spotlight during his life, which makes this collection of his letters a revelation. Beginning in 1930 when Gaddis was at boarding school and ending in September 1998, a few months before his death, these letters function as a kind of autobiography, and also reveal the extent to which he drew upon events in his life for his fiction. Here we see him forging his first novel, The Recognitions (1955), while living in Mexico, fighting in a revolution in Costa Rica, and working in Spain, France, and North Africa. Over the next twenty years he struggles to find time to write the National Book Award–winning J R (1975) amid the complications of work and family; deals with divorce and disillusionment before reviving his career with Carpenter’s Gothic (1985); then teaches himself enough about the law to produce A Frolic of His Own (1994). Resuming his lifelong obsession with mechanization and the arts, he finishes a last novel, Agapē Agape (published in 2002), as he lies dying. This newly revised edition includes clarifying notes by Gaddis scholar Steven Moore, as well as an afterword by the author’s daughter, Sarah Gaddis.
Recognitions is a captivating text dating back to the early Christian church and referenced by early church fathers Origen and Eusebius. The narrative is addressed to James the Just, the Bishop of Jerusalem, and is recorded by one Clement, a Greek, who chronicles a series of discourses by the apostle Peter, which he is witness to while accompanying Peter in his travels. Clement begins his account by detailing his own religious search before hearing of Christ. While in Rome, Clement hears the preaching of Barnabas who testifies of the miracles and teachings of Jesus. Clement, being moved by the words of Barnabas, defends him from a mob and ends up following after him to Palestine where he meets up with Peter. A large portion of the text is devoted to an intriguing disputation between Peter and Simon the Sorcerer before an audience of onlookers. Peter invites Clement to accompany him in his travels from city to city, creating an opportunity for Clement to be instructed more perfectly concerning the faith.
This novel is one of the most ambitious and remarkable literary achievements of our time. It is a picaresque, psychological novel--a novel of the road, a journey or voyage of the human spirit in its search for reality in a world of illusion and nightmare. It is an epic of what might be called the Arabian Nights of American life. Marguerite Young's method is poetic, imagistic, incantatory; in prose of extraordinary richness she tests the nature of her characters--and the nature of reality. Miss MacIntosh, My Darling is written with oceanic music moving at many levels of consciousness and perception; but the toughly fibred realistic fabric is always there, in the happenings of the narrative, the humor, the precise details, the definitions of the characters. Miss MacIntosh herself, who hails from What Cheer, Iowa, and seems downright and normal, with an incorruptible sense of humor and the desire to put an end to phantoms; Catherine Cartwheel, the opium lady, a recluse who is shut away in a great New England seaside house and entertains imaginary guests; Mr. Spitzer, the lawyer, musical composer and mystical space traveler, a gentle man, wholly unsure of himself and of reality; his twin brother Peron, the gay and raffish gambler and virtuoso in the world of sports; Cousin Hannah, the horsewoman, balloonist, mountain-climber and militant Boston feminist, known as Al Hamad through all the seraglios of the East; Titus Bonebreaker of Chicago, wild man of God dreaming of a heavenly crown; the very efficient Christian hangman, Mr. Weed of the Wabash River Valley; a featherweight champion who meets his equal in a graveyard--these are a few who live with phantasmagorical vividness in the pages of Miss MacIntosh, My Darling. The novel touches on many aspects of life--drug addiction, woman's suffrage, murder, suicide, pregnancy both real and imaginary, schizophrenia, many strange loves, the psychology of gambling, perfectionism; but the profusion of this huge book serves always to intensify the force of the central question: "What shall we do when, fleeing from illusion, we are confronted by illusion?" What is real, what is dream? Is the calendar of the human heart the same as that kept by the earth? Is it possible that one may live a secondary life of which one does not know? In every aspect, Miss MacIntosh, My Darling stands by itself--in the lyric beauty of its prose, its imaginative vitality and cumulative emotional power. It is the work of a writer of genius.
This story of raging comedy and despair centers on the tempestuous marriage of an heiress and a Vietnam veteran. From their "carpenter gothic" rented house, Paul sets himself up as a media consultant for Reverend Ude, an evangelist mounting a grand crusade that conveniently suits a mining combine bidding to take over an ore strike on the site of Ude's African mission. At the still center of the breakneck action--revealed in Gaddis's inimitable virtuoso dialoge—is Paul's wife, Liz, and over it all looms the shadowy figure of McCandless, a geologist from whom Paul and Liz rent their house. As Paul mishandles the situation, his wife takes the geologist to her bed and a fire and aborted assassination occur; Ude issues a call to arms as harrowing as any Jeremiad--and Armageddon comes rapidly closer. Displaying Gaddis's inimitable virtuoso dialogue, and his startling treatments of violence and sexuality, Carpenter's Gothic "shows again that Gaddis is among the first rank of contemporary American writers" (Malcolm Bradbury, The Washington Post Book World).
WINNER OF: Frantz Fanon Outstanding Book from the Caribbean Philosophical Association Canadian Political Science Association’s C.B. MacPherson Prize Studies in Political Economy Book Prize Over the past forty years, recognition has become the dominant mode of negotiation and decolonization between the nation-state and Indigenous nations in North America. The term “recognition” shapes debates over Indigenous cultural distinctiveness, Indigenous rights to land and self-government, and Indigenous peoples’ right to benefit from the development of their lands and resources. In a work of critically engaged political theory, Glen Sean Coulthard challenges recognition as a method of organizing difference and identity in liberal politics, questioning the assumption that contemporary difference and past histories of destructive colonialism between the state and Indigenous peoples can be reconciled through a process of acknowledgment. Beyond this, Coulthard examines an alternative politics—one that seeks to revalue, reconstruct, and redeploy Indigenous cultural practices based on self-recognition rather than on seeking appreciation from the very agents of colonialism. Coulthard demonstrates how a “place-based” modification of Karl Marx’s theory of “primitive accumulation” throws light on Indigenous–state relations in settler-colonial contexts and how Frantz Fanon’s critique of colonial recognition shows that this relationship reproduces itself over time. This framework strengthens his exploration of the ways that the politics of recognition has come to serve the interests of settler-colonial power. In addressing the core tenets of Indigenous resistance movements, like Red Power and Idle No More, Coulthard offers fresh insights into the politics of active decolonization.