By William Gaddis
William Gaddis released 4 novels in the course of his lifetime, colossal and intricate books that helped inaugurate a brand new circulate in American letters. Now comes his ultimate paintings of fiction, a refined, focused end result of his artwork and ideas. For greater than fifty years Gaddis accrued notes for a publication in regards to the mechanization of the humanities, instructed in terms of a social heritage of the participant piano in the United States. within the years earlier than his loss of life in 1998, he distilled the full mass right into a fiction, a dramatic monologue by means of an aged guy with a terminal ailment. carrying on with Gaddis's career-long mirrored image on these elements of company technological tradition which are uniquely harmful of the humanities, Agape Agape is a beautiful success from one of many undeniable masters of postwar American fiction.
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Additional info for Agape Agape (Penguin Classics)
She had not only had too much life but she had such an active quarrel with it that she would have been hard put to find anyone to address her story to. I was twenty-three years old: I had had as much life as I cared to remember and my audiencebeginning with my motherwas vast. There were more potential witnesses to my life than there had been people in my life so fara heady feeling. I could add them all to my life by writing my life. Which is not why I wrote the book, but it was a thought. Furthermore, it was high time that I became the author of something I could call "my life'' in order to get on with it.
This brief rehearsal of the differing meanings and emerging traditions named "postmodernism," quickly reveals the slippage that characterizes definitions of postmodernism. The contradictions that structure its definition turn on both ontological and epistemological axes. " Fredric Jameson, who is associated with one form of postmodernist critique, argues that postmodernism is positioned both ideologically and historically in relation to modernism (1983). " Perhaps what is most notable about the language of instability that structures debates about postmodernism is its relentless turn toward some affective dimension, some level at which the critic feels unsettled by or sympathetic to postmodernism, as if the main question must be: if we are in a postmodern condition, how do we feel about it?
That, furthermore, I was only three when I went to live with her, and that I was only there for one month. I remembered living there for one year. PIGS! I wasn't about to change anything so dear to me, so I let it slide. , and she said that she felt very sorry that she'd had to leave me with my crazy grandmother and her chickens when I was five years old. BUT MOTHER, I said. PIGS! WHATEVER HAPPENED TO THE PIGS? What pigs? She was annoyed. She denied ever having said anything about pigs. It had been chickens all along.
Agape Agape (Penguin Classics) by William Gaddis