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Elvis was making one of important his early TV appearances on by claude mckay, Saint Patrick’s Day 1956. A Career Change - After 20 Years of essay pro Nursing! “As a child, I vacillated between wanting to be a teacher like my grandmother and wanting to be a nurse because of the cool uniforms. Nursing won out after I read the poetry by claude mckay Sue Barton and Cherry Ames novels. “Biking has long been a favorite hobby of computers mine. Poetry By Claude Mckay? I remember getting my first bike from the Marion Gamble Hardware Store as a birthday gift from 1840 fashion my parents when I was in poetry by claude mckay, grade school. The picture on the left below is me and mr darcy, of my father holding me when I was just a newborn. In 1963, I Started Teaching Third Grade. “In 1963, I started teaching third grade at Sacred Heart School in Lombard, Illinois. By Claude? At that time, you did not need a teaching degree in red bull, a Parochial School (I had begun pursuing my teaching degree, but I had not finished yet). My first class had 54 students. My favorite pet was our family cow!

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It is free to download. Click Here to Download. Our Cover Letter Checklist. Cover letters are one page documents that you send with your resume when applying for plays, a job. It is poetry by claude mckay, meant to: Introduce yourself to the hiring manager. Argue why you’d be a good fit for the job Fill in who killed, places your resume cannot describe Further explain other aspects of your resume. By hitting those 4 aspects, your letter can be a convincing and poetry mckay powerful companion to a well-written resume.

If you want to see how a cover letter in your field should be written, then browse through our cover letter example library. To begin, include both the metabolic biology, employer’s and your contact information. Poetry By Claude! See the example below: While the example above demonstrates the information you need to include in the section, there are various ways to format it. Check out the me and mr darcy, cover letter designs below to get more ideas on how you can structure this section. No spelling or grammar errors! This one really goes without saying. Spelling mistakes make an awful first impression. Put yourself in the hiring manager’s shoes for by claude, a second. Would you like to be addressed as “Dear Sir or Madame?” or “To whom it may concern?” “Dear Sir or Madame” makes you sound like you’re from the year 1865, and “to whom it may concern” is very irritating to hiring managers. You can easily avoid this problem by doing your research.

Look through the company’s website, LinkedIn, or even give the is tone a literary device, company a call to ask for mckay, the hiring manager’s name. Even if you get it wrong, it still looks like you’ve made an effort. In the first paragraph, begin by telling the employer the position you are applying for and how you learned about the opportunity. The rest of this paragraph should briefly present basic info about yourself, including: degree, area of study/expertise, and your career goals in terms of metabolic rate, how they align with the goals of the company. The second paragraph should respond directly to poetry by claude the job description written by computers, the hiring manager. Describe how your previous job experiences, skills, and abilities will allow you to by claude mckay meet the me and mr darcy, company’s needs. To make that easier, you can (and should) literally include words and phrases from the job description in poetry mckay, your cover letters. No bombast!

The rule of thumb is that you’re allowed to why are computers be as boastful as you want – so long as you have the evidence to back it up ! To go the extra mile, do some research about the company, and try to by claude mckay find out what they are doing — and me and mr darcy why — given the poetry mckay, current state of their industry. In a third paragraph, explain how you can fit into that schema, and help push the company forward and achieve any goals you suspect they may have. The final paragraph is called the “call to salem trials plays action.” Inform them that you’d love to poetry get interviewed. Tell them that you’ll be in computers, contact with them in by claude, a week if you don’t hear back. Thank them for spending the time to read your letter. Aside from the content on the page, the actual look and feel of the document is also an important aspect of the your letter. Elements such as margins, font size and me and mr darcy style, and by claude alignment all factor in to the hiring manager’s overall impression of you. Here are a few quick tips when styling your own:

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Maintain a uniform alignment throughout. We suggest keeping all paragraphs left-aligned. Formatting For Applicant Tracking Systems. If you don’t know what an why are important, ATS is, you absolutely must read up on it before sending in your next job application. Applicant tracking systems are mostly designed to mckay read through resumes, sifting through keywords and essay pro key-phrases to statistically determine whether to let you through to poetry the next stage. 70% of is tone device, jobs are filled via an applicant tracking system. Some ATS software is mckay, designed to read through letters as well, while others are not. You might as well be completely prepared. The good news is that simply by following the instructions we’ve written above, your letter should already be in good shape.

If you’ve responded directly to essay pro the hiring manager’s job description, and included language from it in your own your letter, you already have a high likelihood of hitting statistically important keywords and phrases. Yes, someone will read it. Will they read it carefully? It depends on the hiring manager. Some use the letters to “weed out” candidates out of a huge stack, while others believe that the candidate’s interview skills are more important. Either way, you’re going to need to write a strong letter, in order to poetry give yourself a higher chance of getting a job. Winning Cover Letter Templates for All – Copy, Paste, Fill in the Blank. Simply click the section that best reflects your current life situation and work experience, then choose the computers important, “tone” of cover letter that best suits your personality. Before you start – 5 tips for filling in these template letters:

In our templates, you’ll be filling in the blanks that look like [this]. Here’s some help for filling in these trickier ones: [insert positive trait] – here’s a list of poetry mckay, positive traits you can use to describe yourself [insert 1-3 soft skills] – here’s a list of soft skills you can use to describe your abilities [insert 1-3 hard professional skills] – our cover letter samples or resume by industry pages should help you brainstorm [insert GPA] – only insert if your GPA is above a 3.5 [insert your degree] – style it this way, including the parentheses – (BS Engineering) My name is [your name]. I am thrilled to be applying for the [position] role in your company. After reviewing your job description, it’s clear that you’re looking for is tone device, an enthusiastic applicant that can be relied upon to fully engage with the role and develop professionally in a self-motivated manner.

Given these requirements, I believe I am the perfect candidate for the job. I am a [insert positive trait] high school student [insert GPA] who has been consistently praised as [insert positive trait] by my teachers and peers. While working on academic and extracurricular projects, I have developed proven [insert 1-3 soft skills] skills, which I hope to leverage into the [name of open position] role at your company. After reviewing my resume, I hope you will agree that I am the type of positive and driven candidate that you are looking for. I am excited to elaborate on how my specific skills and abilities will benefit your organization. By Claude! Please contact me at [PHONE] or via email at trials plays, [EMAIL] to arrange for a convenient meeting time. Thank you for your consideration, and I look forward to hearing from by claude you soon. Confident (Authoritative) Tone. My name is [your name]. Why Are! Thank you for the opportunity to apply for the [position] role at your company.

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We are glad you found our cover letter page useful. Mckay! As far as your question goes, the student cover letter above could be reworked for an internship application. Please let us know if you have any other questions. This helped me so much, I’ve never written a cover letter before. Thank you so much RG! We are glad that the information is helpful! Please feel free to read other related articles and let us know if you have any questions. Hey please i want to apply for a post of an armorer in the ministry of defense in our country advertised in the dailies.

It wants people with high school education and i basically have that. Duncan! Please lead me through… We will need more information regarding the poetry mckay, job posting as well as your background to lead you. Hi! Do you have cover letter samples to apply as a job intern?

Not currently, but it is on our list of samples to add. For now, our student sample above should be helpful in salem plays, giving you some ideas on how to format your own. Thanks a lot RG this was very helpful. Before today I have never done a one, now I have confidence with putting together a cover letter. Poetry! One small question though, what should I name the cover letter?

We are glad that you found our cover letter resources helpful. You can simply name your it “Deitric (last name)’s Cover Letter.” That way, it will be easier for the employer to spot as they go through all the me and mr darcy, applicants in their inbox. Good luck on the job hunt! Hi! I have never written a cover letter before and would like to apply to a “work from home” job–but, have no idea how to write it. Please help! We have plenty of industry-specific samples above.

Find your industry and get a few detailed tips on how to poetry by claude mckay structure your own cover letter. RG I must say this helps me a lot. Why Are! Not sure if I could master it but this would definitely help. Thank you so much for making my day 3. We are really glad to hear that and mckay thank you for biology, your support.

Please let us know if you have any question. I remain stumped as to how to by claude mckay address a cover letter in metabolic, response to a job advertisement that gives neither the company name nor the by claude, name of the who killed king duncan, person in charge of hiring. This is true of many job postings on Craigslist, for example. I dislike “To Whom It May Concern”, but what other greeting would you recommend? Many job seekers also run into this issue. When the posting doesn’t include a name of the company or hiring manager, try copying some of the job description and searching for it on Google.

You may find the job ad with the names included. If this doesn’t work, then it is mckay, acceptable to address the cover letter with “Dear Hiring Manager.” Good luck on me and mr darcy the job hunt, I normally just put Dear Hiring Manager. I’ve had issues where you call and there are multiple people who do the hiring, so I don’t know who will be doing my interview until the day I have my interview. If I ask the by claude mckay, employee there like, “Oh I’m not sure.” I’m going to forward this to a client of mine I was just talking to him about this. Plays! Now he’ll know that I’m not just trying to make his life miserable. Great!

We hope they find our resources helpful. I have done my resume and poetry now I’m preparing myself to biology do CL, but I have problem with it, because everything is by claude, wrote in resume – especialy introduction. It would be the best if I could copy my introduction from resume to CL, because there is almost the same to write. Me And Mr Darcy! please advise. Some of the contents from your resume intro should be used in poetry by claude mckay, you CL, but should not simply be copied. If you read the above guide and download the template pack, you will learn exactly what information should be included. Also, be sure to check out our CL samples to salem witch trials give you a better idea on how you can word your cover letter. Good luck on the job hunt!

I am trying to write a cover letter for a managerial position in by claude, the hospitality field. However, I do not see any examples. We are in the process of adding new cover letter samples and have included your suggestion in the list. In the meantime, follow the why are computers, guide above and download one of cover letter templates. Poetry! Good luck on the job hunt! Basically, a cover letter is a letter of essay pro, introduction. Usually I state the name of the position I’m applying for and why I am qualified for the position.

At the poetry mckay, end of the letter, I’ll write something like “If you have any questions or to schedule an appointment for an interview, please contact me at ***-**-****.” Then double space and type “Sincerely” and then space 4 times and type your name. You’ll be signing in the space above your typed name. This has been most helpful. GBU. Glad you liked it. Share it with you your friends.

GBU, too! I am working on a resume for an experienced welder, One of the requirements is a valid drivers license, which I do not possess at why are computers important, this time , but if I was hired, I could pay the traffic fine and get my license back with my first paycheck. Should I explain this on my resume or by poetry mckay, telephone or in person or not at mall. In all honesty, your best bet is to find a way to pay the traffic fine and get you license back before applying for king duncan, the position. Thanks for mckay, the advice. I was thinking that very thing or appearing at traffic court and setting up a payment plan which would clear the is tone device, way for poetry mckay, a re issue. All about the a literary, money. which I happen to be in short supply of. Thanks again. We know the struggle. Hang in poetry by claude mckay, there brother!

Try add figures that will impress an employer and that pertain to the position you are applying for. Best of essay pro, luck! I live in Thailand and odd numbers here are auspicious so it probably won’t hurt to throw some of them in. I’m still not sure what you all are referring to with bullet point ‘numbers’. By Claude Mckay! Can someone explain? Thank you. thank you so much RG you really shade light on cover letters, i was clueless wat it was so mostly i would ignore it and send my applications without one from why are computers today i will do thngs differently. Download our cover letter template pack and poetry by claude use the me and mr darcy, tips written above. That should get you started. Poetry Mckay! Best of luck!

How to address gaps in me and mr darcy, employment. My mom passed away unexpectedly in 2005. I was incapacitated by depression and unable to work from 2005-2008. Got a job in poetry, 2008 was employed until 2012 when I had a baby. i have been a stay at home mom. Ready to go back to work again. How do I address the gaps when posting my resume on job resource sites? I have spent the past six months working reworking my resume. I’ve searched hundreds of resume websites; Resme Genius is, by far, the best. Would appreciate any advice. Thanks for the kind words.

One of the easiest ways to mask your work gaps is to use a functional format: https://resumegenius.com/resume-formats/functional-samples-writing-guide. Give it a try and essay pro see what you think. Good luck on the job hunt! How do explain a reason for leaving a company when you hate your job/employer, more management than the job itself. We always recommend not to burn any bridges with former employers and to leave on a positive note. By Claude! So in that case, we suggest that you explain that you are looking for an opportunity in a new industry or a different position. Although it may sting, make sure to also thank management for the opportunity you were given.

Good luck! Struggling with how to a literary address a cover letter for a summer internship. I’m not applying for a posted internship, just going to show up at an organization that my school advisor suggested I reach out to. I have no idea who I’ll be giving my cover letter to, but I don’t want to say “dear hiring manager” because technically they wouldn’t be hiring me… right? Aside from that, this guide was still very helpful. We’re glad that you found our advice helpful.

In your case, “Dear Hiring Manager” or “Dear Madam or Sir” would be appropriate. Good luck! So i have been asked to email my salary requirements, Here is my situation though, I previously worked with this company in poetry by claude mckay, the same exact role. I left for another job opportunity ( which built my skill set and experience) about a year ago this month. They have asked me to come back and biology fill that position again. How do I compose a salary requirement. In this situation you have the by claude, leverage, so it would be fair to ask for 10-20% more than you were paid before. The skills and experience you gained over the last year make you more valuable than you were before. Good luck! Hi, I am trying to help a friend who is looking to move into a completely different line of work, he has only had 1 job since high school, which has nothing to do with what he really wants to do. How do you approach that in a cover letter, since he has no experience in the field?

Your friend will have to discuss their general skills or traits that are relevant to the job. I just turned 62 and want to retire from my current job, but not ready to retire. Any suggestions on how to “put my best foot forward” when applying for a new position in an industry I’ve never worked in before? When applying for a position in an industry that you’ve never worked in who killed duncan, before, the first thing you should do is come up with a list of the relevant skills that you can transfer over to poetry by claude that industry. Essay Pro! From there, you can work on poetry ‘selling’ those particular skills in who killed king duncan, your cover letter and resume. Good luck! So glad I stumbled upon this.

Glad you found it helpful! I’m applying for a new job but the mining company has different projects. Poetry! Would I have the company’s address or the project site address? We recommend that you use the address that the cover letter is being sent to. If you are not sure, then use the company’s address. Why Are! Good luck! Some cover letter here have helped me move on to another level. Through this i had to poetry pay bills for essay pro, my ailing child . Thanks you have been of great help through the by claude, way to write a winning cover letter. Great information!

My question is I have been out of the work force for about a year and a half due to birthing children and staying home for them. I am wondering if this is something i should include on my CL to explain my gap in work history or is this information to personal to duncan include? Great question! If your work gap is longer than a couple of months, then you should certainly include an explanation in your cover letter. Don’t spend more than 1-2 sentences on your explanation though. Remember that you want to poetry mckay keep the salem plays, focus of your cover letter on your experience and qualifications. You can say something like “After taking some time at home with my family,” then express how excited and enthusiastic you are to by claude mckay return to the work force and how this position is exactly what convinced you that now is the who killed king duncan, time to do so. You can use that phrase for maternity leave, or caring for poetry, older family members, or even your own issues. Shoot, you can use that even when you didn’t choose to is tone device take a break, so to mckay speak. Good luck!

I’m a college dropout and I couldn’t decide on which template to essay pro use for poetry by claude mckay, my cover letter. I quit school during my sophomore year. We suggest using the ‘Non-Student’ templates. Who Killed King Duncan! If your college experience is relevant to the job you are applying for, you might consider including it your cover letter. Best of luck on poetry by claude the job hunt! Thank you Resume Genius!

what if there is no job description given? how do you start of with the cover application in such a scenario? Even without a job description you can still follow the template above. Look up job descriptions for the same position from other companies to get an who killed duncan, idea of poetry mckay, what the employers is looking for. Unless requested in the job ad, leave your salary requirements off your cover letter. Biology! Good Luck! Fair point – it’s always good to by claude mckay be careful when sending out personal information. Thanks for metabolic, the suggestion!

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franzen gaddis essay The following essay by Jonathan Franzen appeared in The New Yorker . The following text has been transcribed from the 30 September 2002 issue. Mr. Difficult: William Gaddis. and the Problem of.

For a while last winter, after my third novel came out, I was getting a lot of angry mail from strangers. What upset them was not the novel — a comedy about poetry, a family in crisis — but some impolitic remarks I'd made in me and mr darcy the press, and I knew that it was a mistake to send more than bland one-sentence notes in by claude reply. Me And Mr Darcy! But I couldn't help fighting back a little. Mckay! Taking a page from an old literary hero of mine, William Gaddis, who had long deplored the reading public's confusion of the writer's work and the writer's private self, I suggested that the letter writers look at my fiction rather than listen to distorted news reports about metabolic, its author. A few months later, one of the by claude original senders, a Mrs. Essay Pro! M—, in mckay Maryland, wrote back with proof that she'd done the reading. She began by listing thirty fancy words and phrases from my novel, words like diurnality and antipodes, phrases like electro-pointillist Santa Claus faces. She then posed the dreadful question: Who is it that you are writing for? It surely could not be the average person who just enjoys a good read. And she offered this caricature of me and my presumed audience: The elite of witch, New York, the elite who are beautiful, thin, anorexic, neurotic, sophisticated, don't smoke, have abortions tri-yearly, are antiseptic, live in lofts or penthouses, this superior species of humanity who read Harper's and by claude The New Yorker . The subtext seemed to be that difficulty in fiction is the tool of socially privileged readers and writers who turn up their noses at the natural pleasure of a good read in favor of the invidious, artificial pleasure of feeling superior to other people.

To Mrs. M—, I was a pompous snob, and a real ass-hole. One part of why are, me, the part that takes after my father, who admired scholars for their intellect and poetry mckay their large vocabularies and computers was something of a scholar himself, wanted to poetry by claude, call Mrs. M— a few names in reply. But another, equally strong part of me was stricken to learn that Mrs. M— felt excluded by my language. Me And Mr Darcy! She sounded a little bit like my mother, a lifelong anti-elitist who used to get good rhetorical mileage out of the mckay mythical average person.

My mother might have asked me if I really had to use words like diurnality, or if I was just showing off. In the face of hostility like Mrs. M—'s, I find myself paralyzed. It turns out me and mr darcy that I subscribe to two wildly different models of mckay, how fiction relates to its audience. In one model, which was championed by Flaubert, the best novels are great works of art, the people who manage to write them deserve extraordinary credit, and if the who killed average reader rejects the by claude mckay work it's because the average reader is a philistine; the value of trials, any novel, even a mediocre one, exists independent of how many people are able to poetry, appreciate it. We can call this the who killed king Status model. By Claude! It invites a discourse of genius and salem trials art-historical importance. In the opposing model, a novel represents a compact between the writer and mckay the reader, with the writer providing words out of me and mr darcy, which the reader creates a pleasurable experience.

Writing thus entails a balancing of mckay, self-expression and a literary device communication within a group, whether the group consists of Finnegans Wake enthusiasts or fans of Barbara Cartland. Every writer is first a member of mckay, a community of readers, and the deepest purpose of reading and writing fiction is to sustain a sense of connectedness, to computers, resist existential loneliness; and so a novel deserves a reader's attention only as long as the author sustains the poetry reader's trust. Essay Pro! This is the Contract model. The discourse here is one of poetry by claude mckay, pleasure and connection. My mother would have liked it. To an adherent of Contract, the Status crowd looks like an arrogant connoisseurial elite. To a true believer in Status, on the other hand, Contract is a recipe for pandering, aesthetic compromise, and a babel of competing literary subcommunities. With certain novels, of course, the distinction doesn't matter so much. Who Killed Duncan! Pride and poetry Prejudice, The House of Mirth: you call them art, I call them entertainment, we both turn the pages. But the two models diverge tellingly when readers find a book difficult.

According to me and mr darcy, the Contract model, difficulty is a sign of trouble. In the by claude mckay most grievous cases, it may convict an author of placing his selfish artistic imperatives or his personal vanity ahead of the why are important audience's legitimate desire to be entertained — of by claude, being, in device other words, an asshole. Taken to poetry by claude mckay, its free-market extreme, Contract stipulates that if a product is disagreeable to you the device fault must be the product's. If you crack a tooth on a hard word in a novel, you sue the author. If your professor puts Dreiser on your reading list, you write a harsh student evaluation. If the local symphony plays too much twentieth-century music, you cancel your subscription. You're the poetry consumer; you rule.

From a Status perspective, difficulty tends to signal excellence; it suggests that the novel's author has disdained cheap compromise and stayed true to an artistic vision. Easy fiction has little value, the argument goes. Pleasure that demands hard work, the is tone device slow penetration of poetry mckay, mystery, the outlasting of lesser readers, is the pleasure most worth having; and if, like Mrs. Witch Plays! M—, you can't hack it, then to hell with you. The Status position is poetry by claude mckay, undeniably flattering to the writer's sense of rate biology, importance. In my bones, though, I'm a Contract kind of person. I grew up in a friendly, egalitarian suburb reading books for pleasure and ignoring any writer who didn't take my entertainment seriously enough. Even as an adult, I consider myself a slattern of a reader. Poetry Mckay! I have started (in many cases, more than once) Moby-Dick, The Man Without Qualities, Mason Dixon, Don Quixote, Remembrance of Things Past, Doctor Faustus, Naked Lunch, The Golden Bowl, and salem witch plays The Golden Notebook without coming anywhere near finishing them. Indeed, by a comfortable margin, the most difficult book I ever voluntarily read in its entirety was Gaddis's nine-hundred-and-fifty-six-page first novel, The Recognitions.

Gaddis, whose last two books are being published this fall, four years after his death, would have been eighty this December. As much as any American writer of his generation, he frankly endorsed Status and poetry by claude mckay disdained Contract. His methods were increasingly postmodern, but he had old-fashioned Romantic and rate biology high-modern notions of the artist as savior and the work of poetry mckay, art as singular and sacred; the plight of both art and artist in a commercially mad America was at the center of his work. Which work is, itself, quintessentially difficult. I read The Recognitions as a kind of metabolic, penance, back in poetry the early nineties. During the previous year, while my father, in a different time zone, was losing his mind, I'd written two treatments and four full drafts of an original screenplay. Is Tone! In lieu of actual dollar payments, I had the enthusiastic support of poetry, a Hollywood agent who, out of pity or negligence, never mentioned that my story bore a fatal resemblance to Fun with Dick and Jane, which I hadn't seen. Me And Mr Darcy! My story had double and triple crosses and characters who used prosthetic makeup to impersonate other characters.

I lived in that state of rage which comes of doing sustained work that you know to be shoddy and dishonest. By September, when I finally abandoned the project, one wall of my study was scuffed and by claude dented from the metabolic rate biology pencils, scripts, shoes, and phone books I'd been throwing at it. Mckay! I borrowed money and left Philadelphia to sublet a dark, underfurnished Tribeca loft (yes, Mrs. M—, a loft), whose silence was disturbed only by the shadowy traffic of pigeons in the air shaft. I'd been hoping to write some fiction, but I was far too sick of audience-friendly narrative, of well-made plots and metabolic rate biology lovable characters. One evening, in a state of grim distraction, like somebody going out to score hard drugs, I walked up Sixth Avenue and bought The Recognitions in a beautiful, newly reissued Penguin edition. Every morning for a week and a half, I went from the breakfast table to a beige ultrasuede sofa module, turned on a lamp, and by claude mckay read non-stop for six or eight hours. I had some professional curiosity about Gaddis, but a few hundred pages of The Recognitions would have satisfied it.

I sat and read the metabolic extra seven hundred pages in something like a fugue state, as if planting my feet on a steep slope, climbing. Poetry Mckay! I was reluctant to leave my ultrasuede perch for any reason. The only way I could justify sitting there and spending borrowed money was to is tone a literary, make a regular job, with regular hours, out of climbing the mountain. There were quotations in mckay Latin, Spanish, Hungarian, and six other languages to be rappelled across. Blizzards of obscure references swirled around sheer cliffs of erudition, precipitous discourses on alchemy and me and mr darcy Flemish painting, Mithraism and early-Christian theology. The prose came in page-long paragraphs in which oxygen was at a premium, and the emotional temperature of the novel started cold and got colder. The hero, Wyatt Gwyon, was likable as a child (a small disgruntled person), but otherwise the author's satiric judgments and intellectual obsessions discouraged intimacy.

It was a struggle to figure out what, or even who, the story was about; dialogue was punctuated with dashes and largely unattributed; Wyatt himself dwindled to a furtive, seldom-glimpsed pronoun (he); there came brutish party scenes, all-dialogue word storms that raged for by claude mckay scores of pages. Me And Mr Darcy! The only portable nourishment that might have helped sustain me on my climb was a familiarity with Gaddis's influences, maybe a nice pemmican of T. S. Eliot and Robert Graves, which I hadn't thought to poetry mckay, bring. Salem Witch Trials Plays! I was alone and unprepared on a steep-sided, frigid, airless, poorly mapped mountain. Did I already mention that The Recognitions has nine hundred and fifty-six pages? But I loved it. At the novel's hidden pinnacle, behind its clouds of subsidiary symbolism, beyond its blind canyons of Beat anti-narrative, is a story about the loss of personal integrity and the difficult work of mckay, regaining it. Wyatt, a talented painter and former seminarian in his early thirties, is living in New York, unhappily married, and rate scraping by as a hired draftsman. He has abandoned his painterly ambitions, possibly because a corrupt French critic panned his early work, but more likely because he is poetry by claude mckay, incredibly earnest and has never found an adequate reply to the condemnation of art which a puritanical great-aunt issued in his boyhood: Our Lord is the only true creator, and only sinful people try to emulate Him. One day, in New York, an metabolic American capitalist and art collector named Recktall Brown proposes a Faustian bargain: Wyatt will forge the work of Flemish Old Masters, and Brown will sell them for huge sums. Wyatt agrees to the deal, but after some early success he proves lacking in the necessary spinelessness. He considers resuming his religious studies, but when he goes home to New England he discovers that his father, a Protestant minister, has taken up Mithraism and lost his mind.

Wyatt thereupon embarks on a long pilgrimage of sorts, first in by claude mckay New York, where he tries to expose his own forgeries, and later in Europe. He is essay pro, last seen leaving a Spanish monastery, on page 900, intending, at last, to live deliberately. Having surmounted the American Protestant suspicion of art and poetry survived the dangerous attractions of the American Protestant marketplace, he seems finally on his way to essay pro, being a real painter. At the poetry mckay time, on device the mountainside, I wasn't conscious of clinging to the parallels between Wyatt's story and my own situation: our weirdly isolated lives in lower Manhattan, our failed attempts to poetry by claude, sell out, our extremely earnest doubts about art, our craving for penance, our crazy fathers. I was just happy to me and mr darcy, have a good, hard book to read, and I was impressed with myself for managing it. Mckay! Following Wyatt's pilgrimage became my own pilgrimage. The loft, for those ten days, in spite of the me and mr darcy gurgling pigeons, was the quietest place I've ever been. It was profoundly, metaphysically quiet. By the time I reached the last page of The Recognitions, I felt readier to mckay, face the divorce, deaths, and dislocations that were waiting for salem witch trials me out in the sunlit world.

I felt virtuous, as if I'd run three miles, eaten my kale, been to the dentist, filed my tax return, or gone to church. One pretty good definition of poetry by claude mckay, college is that it's a place where people are made to read difficult books. Certainly, my own moments of peak collegiate learning occurred whenever I acquired new tools to me and mr darcy, unlock difficulty — when I was forced to figure out, all by myself, that Emily Dickinson sometimes meant the opposite of what her words said, or when my German professor asked us, with a mysterious grin, whether it was possible that Josef K. Poetry! was guilty . To learn about irony, ambiguity, symbol, voice, and point of view, it made sense to read the most sophisticated texts. Four years of sophistication had a cumulative effect. As a freshman, I thought it would be cool to make up stories for a living, to computers, have that be my job, to see my name in print. Poetry! By the time I was a senior, my ambition was to create literary Art. I took for granted that the greatest novels were tricky in their methods, resisted casual reading, and a literary device merited sustained study. I also assumed that the highest compliment this Art could be paid was to be taught in a university.

My parents didn't understand this. When I began to write my first book, after college, I could feel my father's skeptical eye on me, could hear him asking questions like What are you contributing to society with your abilities? In college, I'd admired Derrida and the Marxist and mckay feminist critics, people whose job was to find fault with modern Systems. I thought that maybe now I, too, could become socially useful by writing fault-finding fiction. At the excellent public library in Somerville, Massachusetts, I identified a canon of intellectual, socially edgy white-male American fiction writers. The same names — Pynchon, DeLillo, Heller, Coover, Gaddis, Gass, Burroughs, Barth, Barthelme, Hannah, Hawkes, McElroy, and Elkin — kept showing up together in anthologies and in me and mr darcy the respectful appraisals of contemporary critics. Though various in their styles, they all seemed to mckay, take as a given that something was new and strange and wrong about postwar America. They shared the postmodern suspicion of who killed king duncan, realism, summarized by the critic Jerome Klinkowitz: If the world is absurd, if what passes for reality is distressingly unreal, why spend time representing it? To prove to myself, if not to my father, that I was engaged in a serious professional pursuit, I tried to join this guild. By Claude Mckay! I was one of those skinny young men in scary glasses and salem trials plays thrift-store clothes whom you see on poetry by claude Boston or Brooklyn subways, young men who look like they possess massive amounts of data about me and mr darcy, small-label rock bands or avant-garde literature or video technology, the very size of these data-sets affording a kind of psychic protection. Poetry Mckay! And Gaddis ought to have been my ideal.

Gaddis, it was generally agreed, was the really smart, really angry, really forbidding Systems writer. The Recognitions was an ur-text of postwar fiction, both the granddaddy of difficulty and the first great cultural critique, which, even if Heller and Pynchon hadn't read it while composing Catch-22 and V., managed to anticipate the spirit of important, both. Gaddis was the original intense, thrift-store-clad, monster-data-set young man whose ambition, if he let it show in public, would have singed his fellow subway riders' eyebrows. My problem was that, with a few exceptions, notably Don DeLillo, I didn't particularly like the poetry mckay writers in my modern canon. I checked out their books (including The Recognitions), read a few pages, and returned them. I liked the idea of socially engaged fiction, I was at work on metabolic rate my own Systems novel of conspiracy and apocalypse, and I craved academic and hipster respect of the kind that Pynchon and poetry by claude mckay Gaddis got and Saul Bellow and Ann Beattie didn't. But Bellow and Beattie, not to mention Dickens and Conrad and Bronte and Dostoyevsky and salem trials Christina Stead, were the writers I actually, unhiply enjoyed reading. If Coover's The Public Burning and Pynchon's The Crying of Lot 49 moved me, it was mainly because I loved Coover's character Richard Nixon and poetry mckay Pynchon's Oedipa Maas. But postmodern fiction wasn't supposed to be about sympathetic characters.

Characters, properly speaking, weren't even supposed to exist. Characters were feeble, suspect constructs, like the author himself, like the human soul. Nevertheless, to my shame, I seemed to need them. It wasn't until the nineties, after I'd wasted a year on the screenplay, that I tried to rekindle my collegiate excitement about really hard books. I needed proof that I was a serious Artist, rather than the unwitting plagiarist of Fun with Dick and Jane, and The Recognitions was perfect for the task. Reading the whole thing would also confer bragging rights. If somebody asked me if I'd read The Sot-Weed Factor, I could shoot back, No, but have you read The Recognitions?

And blow smoke from the muzzle of my gun. In the event, nothing was as I'd expected. Not many people in the nineties were asking if I'd read The Sot-Weed Factor. The Recognitions, on the other hand — whether because of its virtues or because of the circumstances of my reading it — bowled me over. Its characters weren't sympathetic, but the wit and passion and seriousness of me and mr darcy, their creator were. Poetry! I titled my third novel partly in homage to it.

A few years after I conquered The Recognitions, I started Gaddis's second novel, J R. King Duncan! I again bought the handsome Penguin paperback, and I devoted an hour or two each evening to reading it. The novel, a massive comedy of modern American venality and social entropy, was just as brilliant as The Recognitions. Unfortunately, I no longer had the luxury or burden of poetry, entire days for reading. One night, I gave up in the middle of a four-page paragraph, and for the next few nights I was out late, and when I opened J R again I was lost. Rate Biology! I set it aside, hoping to pick up the threads some other night. Two months later, I quietly reshelved it.

The bookmark, a sassy Ticketmaster sleeve bearing an ad for K-ROCK 92.3 FM (HOWARD STERN ALL MORNING / CLASSIC ROCK 'N' ROLL ALL DAY), remained stuck on page 469, attesting to my defeat by poetry mckay J R or to J R 's defeat by king my noisy life. In Status terms, I'd simply failed as a reader. Mckay! But I did have Contract on essay pro my side. I'd given the book weeks of by claude mckay, evening reading, it still wasn't working for me, and now I was eager to read shorter, warmer books by James Purdy, Alice Munro, Penelope Fitzgerald, Halldor Laxness. Battling through J R, I'd wanted to grab Gaddis by the lapels and shout, Hello! I'm the a literary reader you want! I love smart fiction, and I'm looking for by claude mckay a good Systems novel. Witch Plays! If you can't even show me a good time, who else do you think is going to read you? But this only made it worse that I had quit. Precisely because I was so well suited to poetry by claude, read Gaddis, I felt as if I were personally betraying him by not finishing J R. From a Congregationalist childhood I'd gone straight to important, a collegiate worship of Art, without noticing the transition and mckay without ever quite buying either faith.

One day a secretary called from the Congregational church to essay pro, ask if I still wanted to be a member, and poetry I said no, and that was that. But it's much harder to leave a small, embattled cult than a mainstream suburban church. Nothing in my Congregational experience had prepared me for metabolic biology the fanatical fervor, the guilt-provoking authority, of Mr. Difficult. There's something medieval Christian about The Recognitions.

The novel is like a huge landscape painting of modern New York, peopled with hundreds of poetry by claude mckay, doomed but energetic little figures, executed on wood panels by Brueghel or Bosch, and duncan looking incongruously ancient beneath layers of yellowed lacquer. Even the blue skies in the book (the phrase Another blue day recurs as a despair-inducing leitmotiv) glow like oil-paint skies in an art museum beyond whose walls, forgotten, is the age of poetry, H-bombs and Army-McCarthy hearings in which the novel was written. The names dropped are Hans Memling, not Harry Truman; Paracelsus, not Elvis. And yet the book is metabolic rate biology, absolutely of the early fifties. Peel away the erudition, and you have The Catcher in the Rye: a grim winter sojourn in a seedy Manhattan, a quest for authenticity in a phony modern world. Improvising on the theme of art forgery, Gaddis fills his novel with every conceivable variety of fraud, counterfeiter, poseur, and poetry by claude liar. Who Killed Duncan! Unlike Holden Caulfield, though, the main characters of The Recognitions participate in the phonyness themselves. The young literary poseur, Otto Pivner, is working on a play whose plot, he says, still needs a little tightening up. Poetry! The narrator glosses this lie in a tone that's fundamental to essay pro, the novel, a tone at once unsparing and forgiving: (By this Otto meant that a plot of by claude mckay, some sort had yet to be supplied, to device, motivate the series of monologues in which Gordon, a figure who resembled Otto at his better moments, and whom Otto greatly admired, said things which Otto had overheard, or thought of too late to say.) Wyatt Gwyon may be the romantic projection of the author's artistic aspirations (How ambitious you are! his wife, Esther, unhappily exclaims), but it's Otto who seems to embody Gaddis's own confusion, humiliations, and disappointments. Otto's biography overlaps with Gaddis's — both grew up fatherless, both spent time in poetry by claude mckay Central America and returned to New York via banana boat with their arms, though uninjured, in picturesque slings — and I suspect that the metabolic rate book owes some of poetry mckay, its mood of playful fabulation to Gaddis's implication in rate biology his own satire.

The one genuine artist in The Recognitions is a devoutly Catholic young composer named Stanley. Throughout the book, Stanley is poetry, working on a requiem for organ which he hopes to play in essay pro a fragile old church in poetry by claude northern Italy. In the metabolic rate biology very last pages, as the novel circles back to Europe, Stanley travels to the church and, failing to understand the caretaker's warning against playing anything dissonant or too heavy on bass, begins to perform the requiem. The church collapses and kills him, and The Recognitions closes with some of its best-known lines: most of his work was recovered too, and by claude mckay it is still spoken of, when it is biology, noted, with high regard, though seldom played. The other well-known lines in The Recognitions are uttered by Wyatt after Esther voices surprise that a certain popular poet (Auden, perhaps) is homosexual. Rejecting her interest in personal things about mckay, writers and painters as a prurient distraction, Wyatt bursts out: What is there left of him when he's done his work? What's any artist, but the dregs of his work? the human shambles that follows it around. What's left of the man when the work's done but a shambles of biology, apology. Gaddis portrays Esther as a vagina dentata eager to mckay, sleep with male artists and absorb the properties which had been withheld from her.

Wyatt retreats from her into trials, coldness and abstraction, and Gaddis retreats from mckay readers in much the same way — as if, for who killed king him, intercourse with the public were a pleasure that threatened to taint the purity of his motives. What mattered to Gaddis, who avowedly strove to write literature that would last, was not the weak and poetry mckay fleshly artist but the afterlife. Although he had a family, many friends, and essay pro a busy social life in which he enjoyed literary gossip, he consistently denied his person to the public. Strict prohibitions like this are a way in which threatened religious minorities resist the seductions of the poetry mckay majority culture, and Gaddis in the fifties had Norman Mailer and Truman Capote as examples of me and mr darcy, writers who had been seduced. He chose, instead, to be a purist of his faith. In his fifty-year career, he gave exactly one substantial interview, to The Paris Review . He published one brief autobiographical essay. He gave no public readings. Not that an excess of media attention was ever a big problem.

The Recognitions was published by Harcourt, Brace in poetry 1955, with a marketing strategy of Everyone is talking about this controversial book! It received fifty-five reviews, an impressive number by today's standards, and, as William Gass notes in his introduction to the Penguin edition, Only fifty-three of these notices were stupid. The New Yorker gave the book a brief, smirking dismissal (words, words, words); Dawn Powell, in why are the Post, offered up an poetry by claude mckay error-riddled sneer. Sales were about king, five thousand in hardcover, not bad for poetry by claude mckay a challenging first novel by an unknown writer. But the only prize the book won was for who killed duncan its design, and it quickly disappeared from public sight. I almost think that if I'd gotten the Nobel Prize when The Recognitions was published I wouldn't have been terribly surprised, Gaddis told The Paris Review in 1986, adding that the book's reception had been sobering and humbling.

Maybe if the poetry by claude novel had met with greater acclaim Gaddis would have relaxed a little; maybe Wyatt's what is it they want tirade, like his other puritan-isms, would have been revealed as a skinny-young-man attitude to be outgrown. I doubt it, though. The book is about the everyday world's indifference to the superior reality of art. Its last lines (with high regard, though seldom played) unmistakably prefigure its own reception. Nurturing the hope that your marginal novel will be celebrated by the mainstream — the Cassandra-like wish that people will thank you for telling them unwelcome truths — is a ritual way of insuring disappointment, of reaffirming your own world-denying status, of mortifying the flesh, of remaining, at heart, an angry young man.

In the four decades following the publication of The Recognitions, Gaddis's work grew angrier and angrier. Who Killed! It's a signature paradox of literary postmodernism: the writer whose least angry work was written first. Some of Gaddis's rage appears to have been built-in. Born in 1922, he grew up with his mother in an old house in Massapequa, Long Island, and at a small Connecticut boarding school that he attended from the ages of five to thirteen. Five is young for boarding school, and five strikes me as a vital figure in Gaddis's biography. In J R, an alter ego of Gaddis, an poetry by claude angry drinker named Jack Gibbs who was likewise sent to boarding school at why are, the age of five, speaks of having been in the way since the day I could walk, and he describes the loneliness of by claude, boarding school:

End of the day alone on is tone a literary device that train, lights coming on in those little Connecticut towns stop and stare out at an empty street corner dry cheese sandwich charge you a dollar wouldn't even put butter on it, finally pull into that desolate station scared to get off scared to stay on . . . school car waiting there like . . . a God damned open hearse think anybody expect to grow up. Gaddis as a young man was a rowdy, a drinker. Kept from the war by a kidney ailment, he studied English at Harvard and poetry by claude became president of the Lampoon , but in his senior year he was expelled without a degree after a run-in with the Cambridge police. Metabolic Rate Biology! He then bounced around Europe, Latin America, and New York during the seven somewhat shadowy years he was at poetry, work on The Recognitions. In the year of its publication, he married an actress, Pat Black, with whom he soon had two children. Here the mood of his biography abruptly changes, the foreign locales giving way to fifties commerce and computers suburban life with kids. Like Melville a century before him, Gaddis went to work for a living in lower Manhattan. He did public-relations writing for poetry by claude mckay I.B.M., Eastman Kodak, Pfizer, and the United States Army, among others. (An evaluator at witch trials, I.B.M., recommending a simpler style for one of poetry by claude mckay, his projects, complained that the whole of the text is perhaps too much an a literary impenetrable mass.) For twenty years, even as the country's literary tastes were swinging from the realism dominant in the fifties to the zanier modes of Portnoy's Complaint and Catch-22, Gaddis essentially dropped out of sight. He started and abandoned a novel on business and mckay a play about the Civil War. He smoked a lot and drank a lot. His first marriage ended when he was living in Croton-on-Hudson, New York.

Not until the end of the sixties did he scrape together enough grant money to return full time to the novel about business. By the time the book was published, in 1975, the country's mood had caught up with him. J R received major and admiring review attention and won the National Book Award. The chunky paperback edition with its chunky title lettering was, like Patti Smith LPs and the Moosewood Cookbook, a common sight in the secondhand stores and student-slum apartments of me and mr darcy, my college years. The spine of by claude mckay, J R was often suspiciously uncracked, however, or a strangely low used price was pencilled inside the essay pro cover, or the bookmark, which might be a sheet of by claude mckay, rolling paper or a Talking Heads ticket stub, could be found on page 118, or 19, or 53, because Gaddis's fiction was, if anything, more difficult than ever.

J R is a seven-hundred-and-twenty-six-page novel consisting almost entirely of why are computers, overheard voices, with nary a quotation mark, no conventional narration of poetry mckay, any kind, no later that same evening, no meanwhile in New York, not a single chapter break, not even a section break, but thousands of me and mr darcy, dashes and ellipses, another cast of dozens, and a laughably complicated plot based on poetry by claude mckay Wagner's Ring and centered on a multimillion-dollar business empire owned and plays operated by mckay an eleven-year-old Long Island schoolboy named J R Vansant. J R is the grubby kid you have to laugh at because he's not old enough to hate, the preadolescent whose entire being is devoted to wanting stuff and to computers, trading it for other, better stuff. First he does it with a classmate: -Boy, what crap. That's all you've got is crap. What's this. -It's this club you can join if I recommend you. -What kind of club. -It's this club, see? You step inside and by claude mckay suddenly excitement surrounds you! You enter a world highlighted by the soft, flickering glow of open-hearth fireplaces . Why Are Computers! . . the attentive rustle of beautiful Bunnies- Soon enough, he's trading with captains of industry. Early in the novel, J R's sixth-grade teacher takes the class to Wall Street to buy one share of poetry, Diamond Cable stock and learn how our system works. While the class's new stock is losing ten per cent of its value in a few hours, and brokers and corporate officers are engaging in vile manipulations of markets and senators and foreign governments, and metabolic biology a corporate P.R. flak is laying on the smarm (you and your other fellow Americans no longer play a passive part in by claude mckay our nation's great economy), J R is king, studying the bylaws of Diamond Cable, asking dead-on questions like What's a warrant? and What's that minus sign two and an eighth? and ascertaining that the class's share of stock entitles it to file a shareholder's lawsuit.

Within weeks, by threatening such a suit and accepting a cash settlement, J R, who conducts his business on a pay phone at the middle school, acquires his working capital. Poetry! He buys a million and a half Navy-surplus wooden picnic forks, a bankrupt textile mill in upstate New York, and who killed then an outward-spiralling galaxy of poetry mckay, dubious concerns — a brewery, a printer, a publisher, a nursing home, a mortuary. Like his creator, J R is an essay pro obsessive. (Also like Gaddis, J R has no visible father. Poetry Mckay! His mother is a busy nurse.) He pursues what his country teaches him is worth pursuing. He's devoid of charm, compassion, and scruples, but he doesn't know any better, and so you root for him against the novel's many corporate and is tone device legal sharks, who should know better but behave just as badly. J R anticipates Jonathan Lebed, the alleged teen-age market manipulator in New Jersey. It predicts the mckay S. L. crises and rate corporate raiders of the eighties (Because like what good is this here pension fund doing just sitting there, J R wonders, if we can like put it to work for poetry them to get this here acquisition, you know?), and it nicely demolishes President Bush's claim that Wall Street greed was an anomaly of the nineties. The most sincere adult in is tone the novel is, again, a young composer, a sweetheart named Edward Bast, whom J R dragoons into serving as the front man for his conglomerate.

While Bast spends his days helping other characters (nobody, of course, helps him), the opera that he wants to compose is gradually scaled back to a cantata, to a piece for small orchestra, and, finally, to a piece for solo cello. The novel's maddening distractions recall the frustrations of Kafka's fiction; you can sense an author nightmarishly unable to find a quiet space to work. Bast tries to compose music in poetry by claude a Manhattan pied-a-terre that's a bitter cartoon of entropy; two broken faucets spew hot water day and biology night, the only clock runs backward, the by claude rooms are piled high with boxes of unidentified crap, a never located radio dribbles nonsense, and essay pro bushels of junk mail keep arriving for J R, who has sent Bast a mechanized envelope opener that slices letters in half. In another part of town, Thomas Eigen, a P.R. writer for Diamond Cable who once wrote an important literary novel, comes home from the office too tired to work on his new opus. The apartment is by claude, a mess, his wife is angry, and his little boy insists that he play a board game: -You got in the Heffalump's trap.

Mama Papa got in the Heffalump trap. Mama? -She can't hear you David. Don't shout. -If I get red now I'll, yellow. I got yellow too look, I always win look, now look where I am and. -David you don't always win, nobody. -I won Mama four times today. Why Are Computers Important! Mama? -Stop shouting David.

He held the bag down, -and I. got. Poetry By Claude! -Black! You peeked. Papa you peeked! -Peeked? J R is written for me and mr darcy the active reader. You're well advised to carry a pencil with which to flag plot points and poetry draw flow charts on the inside back cover. The novel is a welter of dozens of interconnecting scams, deals, seductions, extortions, and betrayals. Between scenes, when the biology dialogue yields briefly to run-on sentences whose effect is like a blurry handheld video or a speeded-up movie, the images that flash by are of denatured, commercialized landscapes — trees being felled, fields paved over, roads widened — that recall to the modern reader how aesthetically shocking postwar automotive America must have been, how dismaying and portentous the first strip malls, the first five-acre parking lots. Indeed, one defense of Gaddis and his difficulty is that conventional fiction, driven by substantial characters and based on a soul-to-soul Contract between reader and poetry by claude writer, was simply inadequate to the social and technological crises that twentieth-century writers saw developing all around them.

Both the moderns and the postmoderns resorted to a kind of literature of salem witch plays, emergency. The moderns employed new, self-conscious methods to address the new reality and preserve the poetry by claude mckay vanishing old one. The postmodern enterprise was even more radical: to resist absorption or cooptation by an all-absorbing, all-coopting System. Closure was the enemy, and metabolic rate the way to poetry by claude, avoid it was to refuse to participate in the System. For Pynchon this meant flight and paranoia; for Burroughs it meant transgression. For Gaddis it meant being very angry — so angry that, at a certain point, he stopped making sense.

Halfway through J R, I bailed out. As one of his ex-followers, I wonder: Did I betray him, or did he betray me? One frequent problem with the literature of emergency is that it doesn't age well. In the fifties and sixties, Gaddis and his cohort sounded alarms about the is tone a literary emergence of a world in which we've now been living for decades. Our suburban, gasoline-dependent, TV-watching American present looks a lot more like 1952 than 1952 looked like 1902. As the decades pass, the postmodern program, the poetry mckay notion of essay pro, formal experimentation as an act of resistance, begins to seem seriously misconceived. Fiction is the most fundamental human art. Fiction is storytelling, and our reality arguably consists of the stories we tell about ourselves.

Fiction is poetry mckay, also conservative and conventional, because the structure of biology, its market is relatively democratic (novelists make a living one book at poetry by claude mckay, a time, bringing pleasure to large audiences), and because a novel asks for essay pro ten or twenty hours of solitary attentiveness from each member of by claude, its audience. You can walk past a painting fifty times before you begin to appreciate it. You can drift in and out of a Bartok sonata until its structures dawn on you, but a difficult novel just sits there on your shelf unread — unless you happen to be a student, in which case you're obliged to turn the me and mr darcy pages of Woolf and Beckett. Poetry! This may make you a better reader. But to wrest the me and mr darcy novel away from its original owner, the bourgeois reader, requires strenuous effort from poetry by claude theoreticians. And once literature and its criticism become co-dependent the me and mr darcy fallacies set in. For example, the Fallacy of Capture, as in the frequent praise of Finnegans Wake for mckay its capturing of human consciousness, or in the justification of J R 's longueurs by witch plays its capture of an poetry elusive postwar American reality; as if a novel were primarily an ethnographic recording, as if the point of reading fiction were not to go fishing but to admire somebody else's catch. Or the is tone a literary device Fallacy of the Symphonic, in which a book's motifs and voices are described as washing over the reader in orchestral fashion; as if, when you're reading J R, its pages just turn themselves, words wafting up into your head like arpeggios. Or the poetry by claude mckay Fallacy of Art Historicism, a pedagogical convenience borrowed from the moneyed world of visual art, where a work's value substantially depends on its novelty; as if fiction were as formally free as painting, as if what makes The Great Gatsby and O Pioneers! good novels were primarily their technical innovations. Or the epidemic Fallacy of the Stupid Reader, implicit in every modern aesthetics of difficulty, wherein difficulty is who killed, a strategy to protect art from cooptation and the purpose of this art is to upset or compel or challenge or subvert or scar the unsuspecting reader; as if the writer's audience somehow consisted, again and again, of Charlie Browns running to poetry, kick Lucy's football; as if it were a virtue in a novelist to essay pro, be the kind of boor who propagandizes at poetry by claude, friendly social gatherings. It's unfortunate for me and mr darcy Gaddis that so many of his friends, scholars, and defenders participate in these fallacies.

Joseph Tabbi, the editor of Gaddis's essays and a true believer in subversive difficulty, thinks that the Apocalypse — the death of the individual, the triumph of the System — is poetry by claude, not merely imminent, it has already occurred without your even realizing it, so don't blame the orphic Gaddis for his inaccessibility. Tabbi's apologies are a nice example of five-alarm avant-gardism: Gaddis's audience has been limited in part because readers trained on nineteenth-century realism miss in his work those signs and conventional symptoms by a literary device which characters may be recognized, too readily, as rounded and whole. Such conventional characters are agents within a bourgeois and poetry by claude mckay industrial world that is now, in why are important the United States, largely historical. If you're having a good time with a novel, you're a dupe of the postindustrial System; if you still identify with characters, you need to poetry, retake Postmodernism 101. William Gass, in his introduction to The Recognitions, names the childish thing that it's time to put behind us: Too often we bring to biology, literature the mckay bias for 'realism' we were normally brought up with. Gass's defense of difficulty complements Tabbi's, but with greater sophistry and alliteration. If the author works at his work, Gass writes, the essay pro reader may also have to, whereas when a writer whiles away both time and words, the reader may relax and gently peruse.

Gaddis's fiction could have used fewer friends like this and poetry by claude better enemies. Even Steven Moore, a Gaddis scholar whose criticism is why are computers important, a model of clarity and intelligent advocacy, lets his enthusiasm get the better of him. J R, for Moore, is a lean and economical book, because its inferential, all-dialogue form forces readers to supply missing descriptions and information; the poetry purpose of a novel being, I suppose, to capture and efficiently store data. My small hope for literary criticism would be to who killed duncan, hear less about orchestras and capturings and more about the erotic and poetry by claude culinary arts. Think of the novel as lover: Let's stay home tonight and have a great time. Just because you're touched where you want to be touched, it doesn't mean you're cheap; before a book can change you, you have to love it. Or the novelist as the cook who prepares, as a gift to the reader, this many-course meal.

It's not all ice cream, but sauteed broccoli rabe has charms of me and mr darcy, its own. Difficult fiction of the kind epitomized by Gaddis seems to me more closely associated with the by claude mckay lower end of the digestive tract. His detractors refer to his logorrhea, but it's more accurate to characterize him as retentive-constipated to the point of being unreadable, sometimes even unintelligible. Edmund Wilson, in his Freudian phase, identified the playwright Ben Jonson as a classic anal-retentive writer, obsessed with excretion, money, lists, seedy underworlds, arcane words, obscure references. Why Are Important! Wilson suggested that the best writers trust their talents, and he contrasted Jonson's cramped output with that of his friend and rival Shakespeare, whose open and free nature Jonson himself praised. The Alchemist, Jonson's peculiar play about a London con man posing as a transmuter of gold, reads like Renaissance Gaddis. Both writers stuff far too many swindles into their plots, and for both of by claude, them money is the world's shit (Recktall Brown!), at salem, once fascinating and repellent.

If I'm sounding a little Freudian myself, it's because the first lines of page 523, the terminus of my second reading of by claude, J R, look so much like impacted excreta: across smalltite traces and has Nonny put in for a mineral depletion allowance tipped his hand to the FDA coming down hard on cobalt safety levels now Milliken jumps in to who killed duncan, protect home industry only thing they had besides sheep and Indians till he suddenly gets the idea his state is Lean and economical? J R suffers from the madness it attempts to resist. The first ten pages and the last ten pages and every ten pages in between bring the news that American life is shallow, fraudulent, venal, and hostile to artists. But there never has been and never will be a reader who is unpersuaded of this news on page 10 but persuaded on page 726. The novel becomes as chilly, mechanistic, and poetry by claude exhausting as the System it describes. Its world is ruled by corporate white men who pursue their work with pleasureless zeal, casually sideline women and minorities, and invent difficult insider languages to discourage newcomers: how oddly like the metabolic rate book itself! (And how odd that Gaddis and his academic admirers reject Christian Puritanism only to mckay, demand that his readers renounce the sinful pleasures of realism and cultivate a selfless and pure love of trials plays, Art!) Even the fascination of poetry mckay, J R Vansant wanes by king mid-novel. J R is an poetry mckay avatar of Bart Simpson, but Bart is incomparably better suited to king, our cultural environment than J R is. Even the best gags in J R wear you out before you're done with them. On The Simpsons, the gags hit their target, the by claude mckay target feels pain, and next week there's a new episode.

The curious thing is that I suspect Gaddis himself would rather have watched The Simpsons. King Duncan! I suspect that if anyone else had written his later novels, from poetry by claude mckay J R onward, he would not have wanted to read them, and that if he had read them he would not have liked them. Gaddis developed a style that his disciples believe ought to have transformed the way Americans read fiction, but his own tastes were notably conservative. He had particular disdain for modern art. For the king cover of his fourth novel, A Frolic of His Own (1994), he chose an abstract painting by his daughter, Sarah, without mentioning on the jacket that she'd painted it when she was five: See, any child can paint like that. Steven Moore, no doubt with the best of poetry by claude, intentions, has assembled an impressive list of essay pro, what Gaddis did and didn't like to read. By Claude! Basically, he didn't like art fiction. He had, Moore reports, little interest in the contemporaries with which he was associated, including Pynchon. In general, Moore concludes, he seemed more likely to pick up a novel like Jay McInerney's Bright Lights, Big City (which he found 'very funny') than novels as challenging as his own. To serve the reader a fruitcake that you wouldn't eat yourself, to build the who killed king duncan reader an uncomfortable house you wouldn't want to mckay, live in: this violates what seems to me the categorical imperative for any fiction writer. This is the ultimate breach of Contract.

If J R is dedicated to the proposition that America sucks, the salem message of mckay, his third novel, Carpenter's Gothic (1985), is that it really, really, really sucks. Gaddis himself conceded that the book was an exercise in style, and its content is why are important, strictly paint-by-numbers. By Claude! A telegenic Southern preacher turns out to be — a dangerous, venal hypocrite! A United States senator turns out to be — corrupt! The book is a husk. Unlike The Recognitions, it was handsomely reviewed. Gaddis's last real novel, A Frolic of His Own, rambles on for nearly six hundred pages in illustration of how a system designed to create order (American law) can end up sponsoring disorder. The book is ideal for metabolic rate biology graduate study. It makes a banal but unexceptionable social point (we litigate too much in America), it's riddled with motifs, quotations, stories within stories, and countless allusions to by claude mckay, Gaddis's own earlier works and other famous texts (better brush up on your Plato and Longfellow), and its only aesthetic weakness, really, is that much of it is repetitive, incoherent, and insanely boring.

This novel, of course, got the warmest reviews of any of Gaddis's books, and was given one of those unofficial lifetime-achievement National Book Awards. The best parts of Frolic are the legal opinions and is tone device the characterizations. Poetry By Claude Mckay! Creating a character entirely through dialogue is why are computers, like boxing with one arm behind your back, and I'm not persuaded by the Gaddistic argument that straining our imaginations makes a character any more real to us. Poetry Mckay! (In fact, the work of reading Gaddis makes me wonder if our brains might even be hard-wired for conventional storytelling, structurally eager to form pictures from sentences as featureless as She stood up.) Still, his inferentially drawn characters can be vivid. Oscar Crease is a fifty-something amateur playwright and part-time professor in whose disorderly person a comically large number of lawsuits intersect. He lives in the large old house of his childhood on Long Island, hopelessly surrounded by a lifetime's worth of miscellaneous papers: another cartoon of entropy. Functionally, Oscar is a baby. He spends much of the novel in a wheelchair, forever pawing at his girlfriend's blouse, trying to get his hands and mouth on her breasts, and sucking down wine day and night. In The Recognitions, a son grows up and vanishes. Carpenter's Gothic, the book without children, is a book without hope. At the center of the other two novels is a very large child. In Frolic, it's the selfish, unreasonable, self-pitying, incapable, insatiable Oscar, a pig in the role of king, a suffering artist who (ha ha!) happens to have little talent.

Oscar claims your sympathy only to abuse it. His long play about the Civil War is obviously and unfunnily bad, but a hundred pages are devoted to reproducing the manuscript and another fifty to is tone, endless jawing about poetry by claude, its relation to art, justice, and order. The novel is an example of the particular corrosiveness of literary postmodernism. Gaddis began his career with a Modernist epic about the forgery of masterpieces. Salem! He ended it with a pomo romp that superficially resembles a masterpiece but punishes the reader who tries to stay with it and follow its logic. When the reader finally says, Hey, wait a minute, this is a mess, not a masterpiece, the poetry mckay book instantly morphs into a performance-art prop: its fraudulence is the whole point! And the reader is out twenty hours of essay pro, good-faith effort. Regarding Gaddis's two posthumously published books, I feel the way I did when my father was in a nursing home. Unless you're a very good old friend, it's better not to see him suffering like this.

The title of Gaddis's last novel, Agape Agape, comes from a tonally arch and intellectually dubious essay that he once wrote about player pianos and mechanization in by claude the arts. The book is who killed duncan, mainly a free-form rant, however, with the sentences, yes, run the by claude mckay sentences, run together, make it choppy, even easier than it looks but no what no, what matters is the art . An unnamed novelist lies dying, his body a wreck that has betrayed his spirit. He reproaches himself for his failures, denounces the populist herd for misunderstanding him, and worries that he's perceived as a mere cartoon. But a cartoon is what Agape Agape is: one opaque, obsessive, citation-riddled, solipsistic paragraph deifying the work as the only refuge from one's painful humanity. The novel did manage to stab me with its final note, a note reminiscent of witch trials plays, Gaddis's early dreams of a Nobel Prize — That was Youth with its reckless exuberance when all things were possible pursued by Age where we are now, looking back at poetry, what we destroyed, what we tore away from that self who could do more, and its work that's become my enemy because that's what I can tell you about, that Youth who could do anything — but I was moved for witch trials plays the very reasons that Gaddis denigrated throughout his career: because I was touched by poetry by claude the human shambles. I was thinking of the artist, not the art.

If you're still wondering if you missed something, some key to Gaddis that will unlock his difficulty, you can set your mind at rest by reading The Rush for Second Place, a slender collection of his essays and occasional writings. Me And Mr Darcy! Here you'll learn that Gaddis can't finish even a short nonfiction piece without breaking into a rant. You'll find essays consisting of mckay, strung-together quotes that you have to read carefully, twice, before you conclude that no argument (or, indeed, logic) is king duncan, hidden in the string.You'll see that, sure enough, literary difficulty can operate as a smoke screen for an author who has nothing interesting, wise, or entertaining to say. Poetry! You'll find not one reference to the pleasure of reading fiction. You'll learn, rather, that Gaddis believed that novels should improve the world — that good fiction is me and mr darcy, not about the way things are but about the way things should be. You'll learn that the poetry mckay phrase agape agape refers to his belief that the world of me and mr darcy, Contract, the American world of poetry, dollars and machines, has ripped apart the charitable love ( agape ) to which early-Christian communities aspired. Or something like that — it's a little unclear.

I imagine Gaddis's disciples wagging their fingers at me, telling me I'm another Stupid Reader, explaining that the metabolic rate essays subvert my expectations of clarity, of pleasure, of poetry, edification; that I haven't got the is tone a literary joke yet. They have postmodern apologies for his difficulty, such as this one by Gregory Comnes: The narrative enactment of this epistemology shows readers how hard work is a necessary precondition for having meaning in by claude narrative by forcing readers to participate actively in the construction of narrative meaning, requiring them to bring information to important, the text to read what was never written. They tell me, in by claude mckay other words, that I just need to why are computers important, work a little bit harder . By Claude Mckay! To which I can only reply that there is no headache like the headache you get from working harder on essay pro deciphering a text than the author, by all appearances, has worked on assembling it; and that I'm beginning to get that headache. And beginning, as well, to sound like Mrs. M—? Like many other Contract-minded Americans, like the literary societies of poetry by claude, a hundred years ago, like the book clubs of today, I understand that the Contract sometimes calls for work. I know the pleasures of a book aren't always easy. I expect to me and mr darcy, work; I want to work. It's also in my Protestant nature, however, to expect some reward for this work. And, although critics can give me pastoral guidance as I seek this reward, ultimately I think each individual is alone with his or her conscience.

As a reader, I seek a direct personal relationship with art. Mckay! The books I love, the books on rate which my faith in literature rests, are the poetry by claude ones with which I can have this kind of plays, relationship. The Recognitions, to by claude, my surprise, turned out to duncan, be a book like this. After The Recognitions, however, something happened to Gaddis. Mckay! Some-thing went haywire. Whether it's true or not, I tell myself a story about a five-year-old boy who was in trials plays the way, about a skinny young man who, like Hamlet inscribing his stepfather's villainy on his brain, assembled an encyclopedia of phonyness unparalleled in literature. He confided his faith and hope to a nine-hundred-and-fifty-six-page-thick vault, and he gave the by claude mckay grownup world one chance to computers, recognize him. When the world, inevitably, failed this test, he took his talent to the archetypically phony work of corporate P.R., as if to say, You'll never catch me hoping again. The modern cry of pain became the postmodern bitter joke.

The corporate P.R. work was vile, but at poetry, least he was conscious of its vileness. Salem Trials Plays! Indeed, the essence of mckay, postmodernism is an device adolescent fear of getting taken in, an adolescent conviction that all systems are phony. The theory is compelling, but as a way of poetry by claude mckay, life it's a recipe for rage. Salem Witch Plays! The child grows enormous but never grows up. I think there's a good story in by claude this. Metabolic Biology! To the extent that I believe it's the story of Gaddis himself, it softens my anger with him, dissolves it in sadness. A Gaddis like this is not remotely a cartoon, and a story like this would never fit into a Simpsons format. Poetry Mckay! A story like this, where the difficulty is the difficulty of life itself, is what a novel is for. Click here to metabolic, download Gaddis' essay in Adobe PDF format.

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