Although published many decades ago, William Gaddis's The Recognitions is only now beginning to receive the critical attention it deserves. Carnival of Repetition, the first full-length study of the novel, is a sophisticated analysis that places it in a new literary and cultural context . This novel of the 1950 s is unlike anything else from that decade. It harks back to the works of high modernism (exemplified by Joyce's Ulysses) and looks forward to postmodern fiction (especially as practiced by Barth, Pynchon, and DeLillo). Imitation is its major theme, one that Gaddis pursues on many levels, across several continents, into mazes of arcane knowledge and bogus scholarship, and even into the novel's structure through the repetition of prior texts and the interplay between literal and disguised quotation. Through an endless play of repetition, Gaddis con­founds the reader's recognition of similarity and difference. Johnston uses the theories of Bakhtin and Deleuze (and others, such as Julia Kristeva) to map out a context for this most unusual and difficult work. From Bakhtin, he appropriates the concepts of "carnivalesque" fiction and dialogism (or a plurality of independent voices, no one more important than another). From Deleuze, he borrows the idea of the simulacrum, a copy that presupposes no original and that becomes meaningful through a process of infinite repetition. With these instruments, Johnston analyzes the labyrinth of copy and counterfeit that Gaddis constructs in his novel.

This beautifully illustrated volume features work by leading writers and experts on carnival from around the world, and includes two stunning photo essays by acclaimed photographers Pablo Delano and Jeffrey Chock. Editor Milla Cozart Riggio presents a body of work that takes the reader on a fascinating journey exploring the various aspects of carnival - its traditions, its history, its music, its politics - and prefaces each section with an illuminating essay. Traditional carnival theory, based mainly on the work of Mikhail Bakhtin and Victor Turner, has long defined carnival as inversive or subversive. The essays in this groundbreaking anthology collectively reverse that trend, offering a re-definition of 'carnival' that focuses not on the hierarchy it temporarily displaces or negates, but a one that is rooted in the actual festival event. Carnival details its new theory in terms of a carnival that is at once representative and distinctive: The Carnival of Trinidad - the most copied yet least studied major carnival in the world.

A postmodern masterpiece about fraud and forgery by one of the most distinctive, accomplished novelists of the last century. The Recognitions is a sweeping depiction of a world in which everything that anyone recognizes as beautiful or true or good emerges as anything but: our world. The book is a masquerade, moving from New England to New York to Madrid, from the art world to the underworld, but it centers on the story of Wyatt Gwyon, the son of a New England minister, who forsakes religion to devote himself to painting, only to despair of his inspiration. In expiation, he will paint nothing but flawless copies of his revered old masters—copies, however, that find their way into the hands of a sinister financial wizard by the name of Recktall Brown, who of course sells them as the real thing. Dismissed uncomprehendingly by reviewers on publication in 1955 and ignored by the literary world for decades after, The Recognitions is now established as one of the great American novels, immensely ambitious and entirely unique, a book of wild, Boschian inspiration and outrageous comedy that is also profoundly serious and sad.

In 2002, following the posthumous publication of William Gaddis' collected nonfiction, his final novel, and Jonathan Franzen's lengthy attack on him in The New Yorker, a number of partisan articles appeared in support of Gaddis' legacy. In a review in The London Review of Books, critic Hal Foster suggested a reason for disparate responses to Gaddis' reputation: Gaddis' unique hybridity, his ability to write in the gap between two dispensations, between science and literature, theory and narrative, and different orders of linguistic imagination. Gaddis (1922-1998) is often cited as the link between literary modernism and postmodernism in the United States. His novels - The Recognitions, JR, Carpenter's Gothic, and A Frolic of His Own - are notable in the ways that they often restrict themselves to the language and communication systems of the worlds he portrays.

How are we to think of satire if it has ceased to exist as a discrete genre? This study proposes a novel solution, understanding the satiric in the postwar era as a set of writing practices: figures of inversion, myth-making, and citation. By showing how writers and theorists alike deploy these devices in new contexts, this book reexamines the link between German postwar writing and the history of satire, and between literature and theory.

An important collection of essays which treats Bakhtin as a provocative theorist whose work must be tested, explored and compared with the work of others. Contributors assess Bakhtin's contribution to difficult issues of colonialism, feminism, reception theory and theories of the body, amongst others. New articles explore the origins, previously unacknowledged, of Bakhtin's theory of language and provide a vivid account of the dramatic scandal surrounding Bakhtin's thesis on Rabelais. Contains dramatic new material, drawn from post-perestroika sources, which demythologizes the image of this important writer. A new bibliographical essay and introduction bring the English-language reader up-to-date with the progress of Bakhtin studies in Russia.

An IndieBound Bestseller • An Amazon Best Book of the Year • A 2022 Kirkus Best Children's Book ★ "A rewarding choice for young readers."—Booklist, starred review ★"Cornbread and Poppy are endearing characters, poised to join the ranks of other memorable early reader sets of best friends old and new, including James Marshall's George and Martha."—Bookpage, starred review ★ "Delightful."—Kirkus, starred review ​ Caldecott medalist Matthew Cordell debuts his first early reader series about two best friends who are as different from each other as can be. Cornbread LOVES planning. Poppy does not. Cornbread ADORES preparing. Poppy does not. Cornbread IS ready for winter. Poppy...is not. But Cornbread and Poppy are the best of friends, so when Poppy is left without any food for the long winter, Cornbread volunteers to help her out. Their search leads them up, up, up Holler Mountain, where these mice might find a new friend...and an old one. Celebrating both partnership and the value of what makes us individuals, young readers will find this classic odd-couple irresistible as they encounter relatable issues with humor and heart. Publishing simultaneously in hardcover and paperback.