“Next month marks the 70th birthday of British dramatist Howard Barker, one of the most significant playwrights of the last century and this, and though there’s no very formal celebration planned, there are a few events to mark the occasion — not least the recent publication of the fourth edition of Arguments for a Theatre, his magnum opus of theory, which collects several important texts written since the third edition of 1997.”
George Hunka explores the satiric impulse underlying the work of the twentieth-century writer
That William Gaddis was first and foremost a satirist is suggested by Stephen Moore in his monograph on the novelist. “The Recognitions  pioneered (among other things) the black humor of the 1950s and 1960s and the Menippean satire of the 1970s,” he writes. Moore also cites critic John Aldridge’s opinion:
… the novel of fabulation and Black Humor — of which The Recognitions was later to be identified as a distinguished pioneering example — had not yet come into vogue [in 1955]. […] [Critics’] work over the past 20 years has created a context in which it is possible to recognize Gaddis’s novel as having helped inaugurate a whole new movement in American fiction.
Any given novel may cut across genetic categories of tragedy, comedy, satire, romance, and others, and indeed Gaddis’s novels also do so. But it can also be said that there may be one primary genetic impulse to the creation of a given fiction, and for Moore, Aldridge, and the critics that Aldridge cites, it seems clearly to be the satiric impulse that drives Gaddis’s work. It is something of a mystery, then, that for all the secondary critical literature that Gaddis’s novels have produced in the years since the writer’s death, most concentrate on the novels’ narrative innovations, structural and linguistic challenges, and influence on “postmodern fiction” rather than their place in the American satire and black humor traditions from 1955 to 1975 and after. (more…)