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• W1558383549 abstract "Let no corrupt communication proceed out of your mouth, but that which is good to use of edifying, that it may minister grace unto hearers. (Ephesians 4:29) William Gaddis's four novels of uprooted voices harken to very etymology of satire: verse medley has become, novels like JR and Carpenter's Gothic, an altogether motley (and Rabelaisian) assortment of verbal exchanges. Unlike relatively pleasant and even idyllic voyages representational novels of satire like Huckleberry Finn, Gaddis's journey into consciousness of America through its ear is a rough ride. Noise, bemoans one character JR, you'll hide noise any chance you get ... (52). Gaddis has tried to complicate dynamic of simply ironic and undercut narrators (the trademark of Swiftian satire) by multiplying, uprooting, and fragmenting narrative voices, and by inserting a of indeterminate distance between expressions of those voices and identities of their owners. J R's muffled calls (like someone talking under a pillow [229]) represent a parody of fiction writer's method, but--to borrow one of Gaddis's innocuous-sounding but highly charged turns of phrase--the way behaves makes all difference (234). When Patrick O'Donnell considers that the agencies of transmission--telephones, televisions, tape recorders--have--in a sense, taken over discourse and of JR (155), his qualifying in a sense betrays underestimation. The integrity of text will not hold--the reader turning pages finds that sequential thaw technique (JR 673) leads to explosions of shards of language--and neither, naturally, will center (moral or authorial). Gaddis does not mimetically write ring of telephone, and yet it is always there, registered by its disruptive impact upon regularly failing continuity of speech and slippery instances of narrative description alike. McLuhan recognizes as demanding complete participation, unlike written and printed page (267) that it all of visual privacy prized by man (272). (1) These claims could be summed up simply as a basis for (believing in) authority. The reader of a text projects a writer and divides up between him-or herself and this writer an investment of authority (I deliberately use here a rhetorical trope suitable to JR). Gibbs gives this formulation his usual blunt and desperate edge: Pay attention here bring something to it take something away (JR 289). The ignores these private claims, for, as Avital Ronell's Book points out, [t]he notion of a 'phony' originates phone's call, designating predicament of a suppositious subject, on both ends (45). (2) Like any empire, J R's is based upon situation of an authorial nucleus, a situation which is as an enterprise as any that it is free for exploitation, and this much boy understands: just scribbled this here name which it's nobody's down at bottom where it says arthurized by, I mean you think goes around asking everybody is this here your signature? (JR 185). The signature is a touchstone for McLuhan's literate man, and telephone company (the characterization is delightfully anonymous) by its very nature has no interest such a thing: (3) Author might as well be Arthur. Gaddis's fascination with authenticity and its discontents intersects with Walter Benjamin's: both observe red-shift of a receding original concurrent with mechanical propagation of echoes. The novel of voices that Bakhtin has deftly analyzed is not exactly right vehicle for Gaddis's articulation of phenomenon of phony, and he adjusts form to mimic electronic discourse: he echoes echoes. And just as each subsequent echo invariably distorts information of its predecessor, principle of game of Broken Telephone or simply Telephone, Norbert Wiener's realization of struggle between information and entropy is itself a echoed JR,; or a call transferred from Gaddis to Gibbs: more complicated message God damned chance for errors (JR 403). …" @default.
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• W1558383549 date "2003-12-22" @default.
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• W1558383549 title "William Gaddis Calling: Telephonic Satire and the Disconnection of Authority" @default.
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