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“... pop up, in a frivolous or portentous spirit, and they are often relevant to the concerns of William Gaddis’s later novels, JR and Carpenter’s Gothic. One of the slighter-seeming themes is the learned American’s scorn for those of his compatriots who know no language but English. If you have ever been in Athens or Rome with an American ...”

“... Off and on, for over half a century, William Gaddis worked on a manuscript about the short life of the player piano in the United States. Over fifty years on an outmoded entertainment? There is more here than meets the eye: ‘Agapē Agape is a satirical celebration of the conquest of technology and of the place of art and the artist in a technological democracy,’ Gaddis wrote in a proposal from the early 1960s ...”

“... as prolific; but we need some such terms if we are to begin to describe the extraordinary work of William Gaddis, born 1922, the author of The Recognitions (1955), JR (1975), Carpenter’s Gothic (1985) and now A Frolic of His Own. Everyone talks in these novels, all the time and at length. They don’t listen, or they barely listen; or they listen too ...”

“... idea of literature, and a peculiar division of labour between writer and reader. Their author, William Gaddis, who won the National Book Award with JR, might actually have felt short-changed by the accolade of the imprint, to judge by a riff in JR deploring the way ‘longer works of fiction [are] now dismissed as classics and … largely unread due ...”

“... and Development’ arm of American fiction – the tradition of Thomas Pynchon, Robert Coover, William Gaddis and Don DeLillo. That might not sound hard if you think of R&D as a matter of surface effects: pop-cultural references, metafictional gestures, glazed irony and so on. But for Moody (b.1961), as for Jonathan Franzen (b.1959) and David Foster ...”

“... forms’ but sterile imitators of those forms. To argue that Donald Barthelme, Ronald Sukenick, William Gaddis and company belong to some contemporary American avant-garde is to rationalise the fact that they have no audience. Karl cites as instances of writers misunderstood in their day the case of Melville, condemned to an obscure life as a customs ...”

“... older and tried hands: proven winners. As a cohort, novelists are MacArthur’s senior citizens. William Gaddis (1982) was awarded a fellowship at the age of 60, Ruth Prawer Jhabvala (1984) at 57, Susan Sontag (1990) at 59, Ernest J. Gaines (1993) at 60. Thomas Pynchon was a relatively young 51 when he won, but by 1988 already the author of his major ...”

“... named after him and he was the recipient of mandatory encomia on official occasions. John Lewis Gaddis’s biography is a tombstone-sized tribute, based on unlimited access to its subject and his papers. Not bad for a mid-level policy planner whose most senior diplomatic postings were a brief ambassadorial appointment to Belgrade and an even briefer one to ...”

“... Barring Vogel, the core members all got screen deals. They hesitated to invite the novelist William Gaddis because none of them could get through his mammoth novels. They relented, Friedman tells us in his memoir, Lucky Bruce, when Heller’s one-time agent, Candida Donadio, said not to worry – nobody read ...”

“... the face of intense criticism, adhered to policies that brought us safely through. Yet John Lewis Gaddis’s book prompts the thought that perhaps the time of the historian is not yet. To be fair, Gaddis makes much of the risks of writing contemporary history, but adds that if historians are not willing to run them ...”

“... in Radiance, marries a Lemian satire of Cold War militaristic capitalism to the architecture of a William Gaddis novel, or how Ted Chiang’s brainy novellas crystallise Lemian themes of metacognition and first contact.Such encounters might have challenged Lem’s biases. They might also have pushed him to confront the limits of his experience, evident ...”

“... of his cohort, such as Jonathan Franzen and Jeffrey Eugenides, who publicly cursed the prophets Gaddis, Barthelme, Barth and Coover, forsaking the structural feints and syntactical feats of the 1960s and 1970s, would be mauled by the millennium, by a bearish market more interested in television and the internet. Marcus, however, still clings to the ...”