[...] The Recognitions needed devotees who would keep its existence known until such time as it could be accepted as a classic; but a cult following is not the finest one to have, suggesting something, at best, beloved only by special tastes—in this case, the worry was, a wacko book with wacko fans. In fact, a cult did form, a cult in the best old sense, for it was made of readers whose consciousness had been altered by their encounter with this book; who had experienced more than its obvious artistic excellence, and responded to its neglect not merely with the resigned outrage customarily felt by those who read well and widely and wish that justice be accorded good books; it was composed of those who had felt to the centers of themselves how much this novel was indeed a recognition and could produce that famous shock: how it revealed the inner workings of the social world as though that world were a nickel watch; how it combined the pessimisms of its perceptions with the affirmations of the art it, at the same time, altered and advanced; more, how its author, though new to the game, had cared enough about himself, his aims, his skill, to create greatness against the grain, and, of course, against the odds.

Well, it was ambitious certainly, dense, lengthy, complex. Its author is a romantic in that regard, clearly concerned to create a masterpiece; for how else, but by aiming, is excellence to be attained? It’s not often one begins a sand castle on a lazy summer morning—pattybaking by the blue lagoon—only to—by gosh!—achieve—thanks to a series of sandy serendipities—an Alhambra with all its pools by afternoon. The book was about bamboozlers, the slowest wits could see that, and therein saw themselves, and therewith withdrew. This was not to be a slow evening’s soporific entertainment, it was to be their indecent exposure.

They cribbed from the dustjacket. They stole from any review appearing earlier. They got things (by the thousands!) wrong. They condemned the subject, although they didn’t know what it was; they loathed its learning, which they said was show-off; they objected to its tone, though they failed to catch it; they rejected with fury its point of view, whose criminal intent they somehow suspected. They fell all over one another praising Joyce, a writer who, they said, was the real McCoy, whereas . . . yet had they been transported to that earlier time, they would have been first in line to shower Ireland’s author with deaf Dublin’s stones.

Silence became his mode, exile (in effect) his status, cunning in scraping by his strategy, while compiling data and constructing other people’s niggling or nefarious plots, building another long book out of our business world’s obsession with money, manipulation, and deception, composing a hymn to Horatio Alger, music made of inane, conniving, sly, deceitful speech. J R did ok at the store for a time, and gathered in the National Book Award, but I think it was less read than The Recognitions, less enjoyed, and could not produce, of course, the same surprise. Furthermore, although clearly created by a similar sensibility, and expressing a common point of view, J R was as different from the earlier novel as Joyce from James. But do not put down what you have to go to J R yet, even if it is almost as musical as Finnegans Wake, a torrent of talk and Tower of Babble, a slumgullion of broken phrases and incomplete—let’s call them—thoughts; because there is plenty to listen to here; because we must always listen to the language; it is our first sign of the presence of a master’s hand; and when we do that, when we listen, it is because we have first pronounced the words and performed the text, so when we listen we hear, hear ourselves singing the saying, and now we are real readers, we are participating in the making, we are moving the tune along the line, because no one who loves literature can follow these motions, these sentences, half sentences, of William Gaddis, very far without halting and holding up their arms and outcrying hallelujah there is something good in this gosh awful god empty world.

Which is almost the whole point of what we do.

Too often we bring to literature the bias for “realism” we were normally brought up with, and consequently we find a work like The Recognitions too fanciful, obscure, and riddling; but is reality always clear and unambiguous? is reality simple and not complex? does it unfold like the pages of a newspaper, or is the unfolding more like that of a road map—difficult to get spread out, difficult to read, difficult to redo? and is everything remembered precisely, and nothing repeated, and are people we know inexplicably lost from sight for long periods, only to pop up when we least expect them? Of course; the traditional realist’s well-scrubbed world where motives are known and actions are unambiguous, where you can believe what you are told and where the paths of good and evil are as clearly marked as highways, that world is as contrived as a can opener; for all their frequent brilliance, and all the fondness we have for these artificial figures, their clever conversations and fancy parties, the plots they circle in like carousel’d horses, to call them and the world they decorate “real” is to embrace a beloved illusion. The pages of The Recognitions are more nearly the real right thing than any of Zola’s or Balzac’s.

very like the chary pronouns above