William Gaddis’s cut-and-paste notes toward composing his novel J R. Check out more of Gaddis’s notes for J R at the Modern Literature Collection at Washington University. (They also have a really cool new YouTube channel).
Gaddis’s cut-and-paste technique evinces in J R, particularly in the authorial stand-in Jack Gibbs, who muddles about with scraps of ideas in his pockets—scraps that perhaps eventually become (a version of) Gaddis’s last novel Agapē Agape.
I wrote about Agapē Agape here and a recent rereading of J R here.
An intelligence without integrity (a condition so often found in people of public life) is likely to succumb to the blandishments of ideology; otherwise, the mind’s inherent skepticism will guarantee its safety from superstition and other forms of sugary conjecture. Socrates knew nothing really awful could happen to him if he kept his mind free of unwarranted opinions. True strength, throughout its spectrum, shows itself through unflustered gentleness and forbearance, since only such strength has nothing to fear. The con man succeeds by exploiting the greed of his marks and is often reluctantly admired because wit is on his side, as well as discipline. His cynicism is just good sense and his nose for moral weakness is like the dowser’s wand for water. Similarly, when ill-formed or palpably false ideas make their way through the multitude, it is because the comforts they bring are so ardently desired.If you enjoy the opinions you possess, if they give you a glow, be suspicious. They may be possessing you. An opinion should be treated like a guest who is likely to stay too late and drink all the whiskey.
Plato treated poetic inspiration as a case of such irrational infection: The gods bypass sober skill to make the pen prophetic so that the resulting poem, recited by a rhapsode similarly tranced, becomes an incitement to the mob. Or an unconscious wish, sneaky as an odor, enters the author’s awareness disguised as its opposite, and arranges the stage for a coup d’éclat. Thus the magnetic coil is closed: muse to poet, poet to page, page to performer, and performer to audience, whose applause pleases the muse, encourages the poet, and grants his forbidden desire: to rule.
From William H. Gass’s essay influence. Collected in A Temple of Texts.
Biblioklept 