William Gaddis - The Recognitions

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The book Jonathan Franzen dubbed the “ur-text of postwar fiction” and the “first great cultural critique, which, even if Heller and Pynchon hadn’t read it while composing
and
, managed to anticipate the spirit of both”—
is a masterwork about art and forgery, and the increasingly thin line between the counterfeit and the fake. Gaddis anticipates by almost half a century the crisis of reality that we currently face, where the real and the virtual are combining in alarming ways, and the sources of legitimacy and power are often obscure to us.

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She lit a spirit lamp, and sat beside it for a moment before finding a teaspoon in which to liquefy an injection of heroin, staring into the flame, and the lilies beyond it. — If I am not real to him, she said aloud, staring at the dead lilies, — then where am I real? And the book of Stevenson, which she had laid open on a pile of books beside the lamp, threatened to catch fire. She took it down, and read there, again, "You are a man and wise; and I am but a child. Forgive me, if I seem to teach, who am as ignorant as the trees of the mountain; but those who learn much do but skim the face of knowledge; they seize the laws, they conceive the dignity of the design — the horror of the living fact fades from their memory. It is we who sit at home with evil who remember. . and are warned and pity. ."

knock knock knock sounded on her door, in ruthless precision of recall to time in its aseptic succession of importunate instants. Her lips tightened. — Who is it? she called.

— Chaby.

— Jesis Christ why don't you put some lights on? he said when she let him in. He walked past her to the light cord.

— Because I'm alone, Esme said. Her weight hung on him, and without a word he bore her down.

As the afternoon ended, Otto was walking alone, south, on Madison Avenue, his own face expressing an extreme of the concentration of vacancy passing all around him, the faces of office messengers, typists turned out into the night air, dismally successful young men, obnoxious success in middle age, women straining at chic and accomplishing mediocrity who had spent the afternoon spending the money that their weary husbands had spent the afternoon making, the same husbands who would arrive home minutes after they did, mix a drink, and sit staring in the opposite direction. With his dispatch case, and an unkind thought for everyone he knew, Otto carried his head high. Affecting to despise loneliness, still he looked at the unholy assortment streaming past him as though hopefully to identify one, rescue some face from the anonymity of the crowd with instantly regretted recognition, and so rescue himself. He even strongly considered conversation with strangers; and with this erupted the thought of his father whom he had arranged to telephone, and appoint a place for their first meeting. With this, Otto took sudden new interest in every very successful middle-aged man who passed, coveting diamond stickpins, a bowler hat, an ascot tie, and even (though he would have been shocked enough if this were "Dad") a pair of pearl-gray spats. It was a problem until now more easily left unsolved; and be damned to Oedipus and all the rest of them. For now, the father might be anyone the son chose. The instant their eyes met in forced recognition, it would be over.

— I must call the Sun Style Film man, he thought suddenly. — Peru, and northern Bolivia. . Someone beside him was asking him how to get to Vesey Street. Otto held the impatient man with long and intricate explanation, two sets of alternate routes and was commencing a third when the poor fellow retreated down wind, thanking him, retiring to a policeman to ask directions for Vesey Street.

On the corner a tall black man with an umbrella towered in a hat of unseasonal straw, though on him no more out of season than the permanent attire of a statue. He stood as far as possible from the black poodle dog as their leash would allow, atolls of a formidable reef casting the white-caps to one side and the other. — He's very handsome, Otto said of the strangely familiar animal.

— I takin her to the veterinary, said Fuller, not looking at this young man whom he did not know but at the dog. — Seem like she sufferin with the worms, he added with relish, looking at the dog which ignored him.

— That's a shame, said Otto. — Beautiful dog.

— Yes, mahn, said Fuller, looking up and back at the poodle, — seem like she sufferin from the worms, he repeated, watching her face as though hoping to see discomfort and embarrassment cloud it.

The light changed, and the sea moved reuniting its currents, bore the reef away north and Otto south toward Esme. He had left her late the night before after what might have been an argument, except that he found no way to argue with Esme. He had worked for so long to develop his weak capacity for dialectic into equip- merit for a sophistical game that he was useless now against her blank simplicity. When she had asked him not to spend the night with her there, — because it's so Greenwich Village… he realized that none of his cleverness would change her mind. Still he was jealous enough of her: she had a way of bending one shoulder down almost upon the table and looking up across at him, laughing, which rose into his mind now, and he hurried toward the pit of the subway.

— Wait a minute, Esme called, after he had climbed her stairs wearily. Chaby was still fastening his clothes when he knocked.

Otto and Chaby did not exchange any greeting. They had come to behave together like two animals of different zoological classes in a private zoo, each wondering at their owner for keeping the other. Otto made it evident that he was waiting. Esme treated the three of them together as though they were well-met friends, or as happily, thorough strangers, while Otto smoked industriously. Chaby left, after keeping Esme at the door in a conversation audible enough to drive Otto to turning on the radio, which he did with an air of long habit. After Chaby had gone, Esme sat down beside the truculent smoker on the daybed. He suggested' that they go to dinner, making the invitation in a tone tired but duty-bound, as a gentleman, a concept which labored mightily in his mind as it does in many, who find it the last refuge for in-sipience.

She agreed readily; at which he sulked more oppressively still. When she drew off her dress to change it, he tried to put his arms around her. — You don't do that to ladies who are dressing themselves, she said to him. — Besides your funny bandage gets in the way.

— I may have to go to Bolivia and northern Peru, Otto said soberly, and as though in direct answer. — Soon enough, he added, somewhat menacing. While she sought another dress, he opened his dispatch case and took out the play with business-like aversion. He separated the pages quickly to Act II scene iii, and immediately found the line. Enough times he had found it with a fond smile. Now he took his pen and drew it blackly through priscilla (with tragic brightness): But don't you understand, Gordon? These are the moments which set the soul yearning to be taken suddenly, snatched out of the heart of some fearful joy and set down before its Maker, hatless, disheveled and gay, with its spirit unbroken.

He wrote in:

Don't you understand the sudden liberation that's come over me? and sat pouring smoke down on the wet ink. 3°4

Out on the street, Otto said, — How does it feel to be with a gentleman for a change?

— Ot-to.

— But he is such a ratty little creature, Chaby. How can you stand him.

— Isn't he bad? she said laughing, on Otto's arm. — Do you know what he did when I first knew him? He had something in his hands, and he told me to reach into his pants pocket and get some matches, and I reached in and he'd cut the bottom of the pocket off, my hand just went in and in. Wasn't that bad?

— Yes. What did you do then?

— I didn't do anything.

— Well what did he do?

— I don't remember.

— Where do you want to have dinner?

— At the Viareggio?

— Esme, that place is always so full of… well, I don't know, all the rags and relics below Fourteenth Street. It's like Jehovah's Witnesses when you sit down at a table there, everybody comes over. Why do you go there anyhow?

— I don't go there.

— Esme!

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