George Hunka explores the satiric impulse underlying the work of the twentieth-century writer
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William Gaddis

That William Gaddis was first and foremost a satirist is suggested by Stephen Moore in his monograph on the novelist. “The Recognitions [1955] 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…)

An essay by the American novelist Philip Roth, first written in the 1960s
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Photograph: Saul Leiter
Several winters back, while I was living in Chicago, the city was shocked and mystified by the death of two teen-age girls. So far as I know the populace is mystified still; as for the shock, Chicago is Chicago, and one week’s dismemberment fades into the next’s. The victims this particular year were sisters. They went off one December night to see an Elvis Presley movie, for the sixth or seventh time we are told, and never came home. Ten days passed and fifteen and twenty, and then the whole bleak city, every street and alley, was being searched for the missing Grimes girls, Pattie and Babs. (more…)

An announcement from The Paris Review

Mark your calendars: on Tuesday, April 5, 2016, at Cipriani 42nd Street, The Paris Review will honor Lydia Davis with the Hadada Award at our annual gala, the Spring Revel. (more…)

Two photographers take a look around the iconic literary journal
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Photograph: Paul Barbera

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