Authors: William Gaddis
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Reviewers praise William Gaddis and
A Frolic of His Own
“Magnificent . . . both cutting-edge, state-of-the-art fiction and a throwback to the great moral novels of Tolstoy and Dickens . . . wonderfully complex . . . a stupendous achievement.
âSteven Moore,
Review of Contemporary Books
“Gaddis tackles our litigious culture, and he does so with a spirited vengeance. . . .
A Frolic of His Own
manages to take a whack at nearly every sacred cow in our culture. Broadly satirical, it nevertheless mirrors with devastating accuracy our clamoring, ill-mannered times. . . . Rich, hilarious, teeming with life,
A Frolic of His Own
reminds us of all that literature can be.”
âAlicia Metcalf Miller,
Cleveland Plain Dealer
“One of America's greatest post-war writers . . . Like all good satire, this is a very funny but also a very serious book.”
âPeter Guttridge,
Independent on Sunday
“Gaddis keeps up an astonishingly high level of energy as well as verbal and narrative invention . . . Like the English masters of the conversation novels, Firbank and Waugh, Gaddis will plant a hint of some disaster, enlarge on it slightly, circle back, and reveal its full horror and idiocy only when it assumed almost mythic proportions.”
âRhonda Koenig,
New York
“The all-seeing Swift of our messy times, an unchallenged master of the dialogue-driven narrativeâWilliam Gaddis has captured the paranoia of modern life. He continues single-handedly to reinvigorate an American literature created by living speech in dazzling, energetic masterworks of relentless perception.”
âEileen Battersby,
Irish Times
“Practically rebuilds the Tower of Babel from the sounds and furies of the late 20th century.”
âRichard Lacayo,
Time
“The writing is brilliant.”
âMalcolm Jones, Jr.,
Newsweek
“A stunning novel . . . wildly funny . . . I doubt that a more finally fine book will be published this year.”
âFrank McConnell,
The Boston Sunday Globe
“Gaddis remains one of contemporary fiction's true originals. He is funny, relentless, and uncompromising.”
âScott Bradfield,
Independent
“Brilliant . . . the first genuine depiction of the bloodlust that is our national legal farce.”
âRick Moody,
Details
“As a guide to our world, no one is better, or funnier, than William Gaddis . . . A superb comic novel, one in which you begin by laughing at the characters and end by caring for them deeply.”
âMichael Dirda,
Washington Post Book World
“His most accessible novel . . . pitched very close to the key of black humor.”
âSven Birkerts,
The New Republic
“Pure gold, an original.”
âNeil Schmitz,
The Buffalo News
“Shamelessly comic and entertainingâin every sense a frolic of his own.”
âPeter Keough,
The Boston Phoenix
“A dazzling achievement.”
âDavid Kipen,
LA Reader's Review
“A hilarious critique of our litigation-crazed society.”
âJudith Wynn,
Boston Sunday Herald
“The wittiest novel to be published in many a year.”
âThomas McGonigle,
Chicago Tribune
“When the history of 20th-century American letters is written, William Gaddis will occupy a prominent place as the most devastating satirist of American postwar society.”
âM. D. Carnegie,
The Washington Times
“William Gaddis' name will be synonymous with major fiction for decades to come.”
âPeter Wolfe,
Post-Dispatch
(St. Louis)
“A technical masterpiece . . . Perfectly timed and perfectly biting, it exposes the absurdity of today's litigation-happy society.”
âVanessa V. Friedman,
Entertainment Weekly
“Gaddis is funniest when he's gunning for the barbarians at the gateâfor the culture of the game show, the shopping mall, the tabloid newspaper. . . . Gaddis builds around the reader a magnificently ornate and intricate house of words. . . . There's a bed for us all in this oppressively realistic, beautifully designed Long Island madhouse.”
âJonathan Raban,
The New York Review of Books
“This is classic modernist comedy.”
â
The New Yorker
For Muriel Oxenberg Murphy
What you seek in vain for, half your life, one day you come full upon, all the family at dinner. You seek it like a dream, and as soon as you find it you become its prey.
âThoreau, to Emerson
Justice? âYou get justice in the next world, in this world you have the law.
âWell of course Oscar wants both. I mean the way he talks about order? She drew back her foot from the threat of an old man paddling by in a wheelchair, âthat all he's looking for is some kind of order?
âMake the trains run on time, that was the . . .
âI'm not talking about trains, Harry.
âI'm talking about fascism, that's where this compulsion for order ends up. The rest of it's opera.
âNo but do you know what he really wants?
âThe ones showing up in court demanding justice, all they've got their eye on's that million dollar price tag.
âIt's not simply the money no, what they really want . . .
âIt's the money, Christina, it's always the money. The rest of it's nothing but opera, now look.
âWhat they really want, your fascists, Oscar, everybody I mean what it's really all about? She tapped a defiant foot against the tinkling marimba rhythms seeping into the waiting room somewhere over near the curtains, where the wheelchair had collided with a radiator and come to rest. Trains? fascism? Because this isn't about any of that, or even âthe opulence of plush velvet seats, brilliant spectacle and glorious singing' unless that's just their way of trying to be taken seriously too âbecause the money's just a yardstick isn't it. It's the only common reference people have for making other people take them as seriously as they take themselves, I mean that's all they're really asking for isn't it? Think about it, Harry.
âI've thought about it, now look. How long do we have to wait. I've got to be in court in an hour.
âHe's been in therapy they said, it shouldn't be long. The nurse said he's in a highly agitated state.
âEver see him when he wasn't?
âWell my God can you blame him? She was digging deep in the shopping bag on the floor there between them âafter all, being run over by a car?
âLooks like he's planning a long stay.
âWell of course he wanted his own robe and pajamas, the rest of it's mail, notes, papers, how he expects to get any work done here.
âProbably as much as he ever gets done anywhere.
âAnd do you have to start that? I mean that's why I asked you to stop up here and see him isn't it? to show a little family concern for him? Maybe you can even pretend it was your own idea, here . . . coming up with whatever brightly wrapped, âyou can give him this.
âBut what . . .
âIt's just a jar of ginger preserves, the kind of thing he likes with his toast in the morning. I'm sure all he gets here is that loathsome Kraft it's grape because it's purple.
âYou don't think he'll believe it do you? that I went out and bought him ginger preserves for his morning toast?
âI think he'll think you were very thoughtful.
âI was. I picked up a copy of this Opinion in the Szyrk case for him.
âThat was very thoughtful Harry, it was just the wrong thought. You know he and Father hardly see eye to eye on anything as it is, do you think this asinine business about the dog all over the papers will help matters?
âAnd something else here about that big Civil War movie, he may want the . . .
âWell my God you're not going to show him that! I mean I just told you he's in a highly agitated state didn't I? Isn't it all bad enough? When I drove out there to pick up his things the lawns hadn't been cut, that south veranda still hasn't been repaired I don't know what holds it up, he was going to have the garage doors painted and they haven't been touched, the way he's talked about getting the ignition on that terrible car fixed for months, and then of course Lily drove in, that was all I needed. In a BMW. I wish you wouldn't drum your fingers that way, and can't you do something about that awful music? His hands came to grips on the attaché case flat on his lap, and she closed her knees as though in restraint against the tum, tum, tum tum tum, tum being accompanied without great success by stabs from the wheelchair. âA new BMW, she'll probably be here any minute. I didn't want to tell her what had happened but of course I knew Oscar would be furious if I didn't, it's like everything else. I thought it was that real estate woman driving in but it turned out he's never even called her, it's just as well though. You can't imagine anyone wanting to buy the place the way it looked this morning.
âExactly.
âWhat do you mean, exactly. It's Father who's making noises about selling it after all.
âThat Oscar doesn't want to see the place sold.
âWell I know that Harry my God, we've gone over it for a hundred
years. I mean we used to talk about one of us buying the other one out when we grew up, but if something happened to him and the whole place would come to me he'd get violent because it had belonged to his mother when Father married her and he'd say he'd come back and haunt me, he'd jump out from behind doors to show me what he'd do, grabbing me and tickling me till I screamed, till I couldn't breathe till, till somebody came, until my mother came and pulled him off, or Father. That's all he was afraid of. Father.
âSounds a little unhealthy, if you ask me.
âWell I didn't. I mean we were just children, after all.
âExactly.
The music had taken up a Latin throb livened by haphazard thrusts, lurches, abrupt leaps of hands from the wheelchair where she turned her back, left an awkward leg behind in her impatience, and which opera, if it came to that, âtrue love defying family hatred'? a âtragic tale of family ties and superstition'? tapping the deviant foot behind her âbut where he ever thought he'd get the money, unless he married it like Father did. I mean you can see why Lily's parents gave up on her, he told me her father's putting all his money into her brother's hands, getting around the estate taxes in case he dies, so of course she pictures herself marrying Oscar and moving right in if she can ever get her divorce straight, which of course she can't. Where are you going.
âLook he's probably going to be here for a while, why don't I come up later in the week when he . . .
âYou can come up later in the week too Harry, I mean this whole thing will give you both a chance to get to know each other a little better won't it, spend some time just chatting? Because I still think he paid off her first lawyer when she went on to this second one, half Oscar's age and she's already managed a mess of a marriage and this mess of a divorce and her mess of a family and now this mess she's got herself into getting her purse stolen? Of course they won't give her a penny no, no but Oscar will, lending her money as though she could ever pay it back while he's talked about getting the ignition on that car fixed for months, the way he's talked about his teeth, will the car last long enough to justify getting new tires. Two thousand dollars for new teeth no, no he'll give it to Lily but he won't go out and buy himself new oh my God! What happened!