William Gass - Middle C

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Gass’s new novel moves from World War II Europe to a small town in postwar Ohio. In a series of variations, Gass gives us a mosaic of a life — futile, comic, anarchic — arranged in an array of vocabularies, altered rhythms, forms and tones, and broken pieces with music as both theme and structure, set in the key of middle C.
It begins in Graz, Austria, 1938. Joseph Skizzen's father, pretending to be Jewish, leaves his country for England with his wife and two children to avoid any connection with the Nazis, who he foresees will soon take over his homeland. In London with his family for the duration of the war, he disappears under mysterious circumstances. The family is relocated to a small town in Ohio, where Joseph Skizzen grows up, becomes a decent amateur piano player, in part to cope with the abandonment of his father, and creates as well a fantasy self — a professor with a fantasy goal: to establish the Inhumanity Museum. . as Skizzen alternately feels wrongly accused (of what?) and is transported by his music. Skizzen is able to accept guilt for crimes against humanity and is protected by a secret self that remains sinless.
Middle C

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Joey was sorry he couldn’t share his happiness with anyone. The world should be sorry; but you didn’t burden friends with your own good luck. In no time, he would find himself relieved of his relief. Those bursts of celebratory energy he enjoyed would be replaced by the weariness left within their scorched shells. Already he felt his elation make a few farewell waves. As far as his mother went, silence was surely the better strategy. No need to know — that was the popular expression. He returned the songbook to its place on the bedside table. This time, reverently. Perhaps he would contest Miriam’s claim after all. What did she want with this dreary leftover room? It occurred to him that he hadn’t seen her in … what? one, two, several days. She must be in the garden, digging like a dog, quite out of sight. He felt like a little piano practice, a return to more virtuous days. The museum had regained its voice, and also demanded his presence. He knew a can that deserved kicking. Skizzen pled guilty of neglecting these duties. Newspapers were accumulating in sliding piles. He needed flypaper, and would have to go downtown in a day or two to fetch some. Last time, the kid in the hardware who served him exclaimed, “You must have a lot of flies.” You hadn’t noticed? Skizzen should have said. There are a lot of flies. The professor also had a few things to say to the assembled … Joey laughed — call them to quorum — Joseph winced — are there enough to have a hearing? — this is an assembled multitude? Be more forceful with your speaking. No more deliver a simple “say.” As for your vocal level, exhibit more gradients than a shout. He ought to instruct his imaginary multitude about the virtues of marching bands. Then they will understand what has here been achieved. No need to search, some late afternoon, Miriam might turn up of her own accord. She couldn’t cultivate her garden forever.

[— — — — — — — —]

A Note About the Author

William H. Gass — essayist, novelist, literary critic — was born in Fargo, North Dakota. He is the author of six works of fiction and nine books of essays, including Finding a Form, Tests of Time , and Life Sentences . Gass is a former professor of philosophy at Washington University. He lives with his wife, the architect Mary Gass, in St. Louis.

Other titles by William H. Gass available in eBook format

Life Sentences картинка 1978-0-307-95744-3

A Temple of Texts картинка 2978-0-307-49824-3

The World Within the Word картинка 3978-0-307-82429-5

For more information, please visit www.aaknopf.com

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