confused accumulation of mind fantastic; for instance, that he can find Spengler as quickly and cleverly (but never cleverness for its own sake) as this: [“]Spengler, whose method is to set up a metaphor and then proceed to argue from it as if it were a law based on observed phenomena . . .[”] And since I feel the verge of fatal enthusiasm, I do not want to say more of this work, it has been so busy teaching me, articulating so many things that I have been suspecting and almost thought.
Your saying that you are investigating writing among young people and students brings a question to my mind: I am exceedingly curious about how much of the influence of the NewYorker you are finding. You know, there are a lot of people in NewYork who have a war with that magasine finally that they simply live on the bitterness their experiences with it has engendered. They are older ones, but I know so many younger who have lived under its shadow for years; and I speak for myself, because from my college work on it was there. And since I do not want to waste any of my energy in bitterness, what greater waste, I have drawn a line through it. But I do think about it, remember how much time I spent assaulting it. After college I worked there for something over a year, and when I quit it was with the sole idea of selling them something written. Starting with a tragedy of youth, an exhaustive history of the Player Piano, which I still have and treasure as I am told mothers do their strangely-shaped children which the world derides. But the influence on those trying to write fiction. One thing: certainly the NewYorker does not ask it of anyone; simply there it is and if anyone wants to waste his life trying to sell them something he may, that is not their concern. Is it because there are so few places that publish good fiction and pay well? I wonder that I have never seen anything of yours in that magasine, I wonder if it is simply by chance or if you have dark reasons too. The point is that their influence seems so horribly disproportionate; have you found it so?
For magasines, I see your name on the prospectus of something called the Hudson Review. I gather that the magasine itself is out by now, someone sent me this prospectus months ago, and I sent them a story which was returned with a very kind letter, I don’t care it was a good story, it will be re-written.
But is the magasine as good as it sounds it could be? “. . . will not open its pages to those whose only merits lie in their anguish, their fervour, and their experimentation,” how wonderful to read that. (And I find the comments highly entertaining: yours is fine, Mr Blackmur’s ‘It looks like the place where one can put one’s work’ makes me burst out in laughter: who is this ‘one’? I love that.) It sounds like a very positive step for our side.
The revolution here has been over for some time. I got up here in time to get out to Cartago, and be there fighting in the fighting. There is too much to say to chatter here. But of the disinterestedness of all of the people, the almost entire absence of grasping, of self-promotion. It was a real people’s revolution; and now I have a great admiration for the CostaRicans; you cannot imagine the kindness they have showed me. But still the self-sufficience: that they were pleased that I should come and volunteer with them, but you know still they did not need me, and in the kindest most genuine ways they showed this. Because CostaRica is still traditional—and largely I suppose due to the hold of the Church—and the family is still family, and it is splendid and interesting to see the hospitality that such a traditional society can afford, as to one rootless, which our (eastern) society cannot because it is rootless itself. And it brings more and more of questions: is it presumptuous to fight in other people’s revolutions? &c &c.
And so I wait for a boat; it is a very peaceful feeling. I cannot work on US boats because I am not Union, God knows how one gets into the Union, it is very strong; and so hope to get a CostaRican, they run small banana boats up to Tampa and I think it can be managed. Meanwhile the girl who has been cleaning my floor with half a cocoanut has finished telling me a long story, it was highly adventuresome but I am not sure what about since it was in Spanish, I think it was about a flood, it started out with the news that once recently it rained here day and night for a month; she is very cheering. And from Mr Eliot, —It won’t be minutes but hours, it won’t be hours but . . . days? years? I don’t remember.
Sincerely, my best regards to you,
William Gaddis
the postman always rings twice: title of the crime novel by James M. Cain (1934), as well as its first English-language screen adaptation (1946), dating from the days when mailmen rang one’s doorbell when making a delivery.
Maugham [...] Sadie Thompson: see 9 March 1947.
Razor Edge: Maugham’s philosophical novel The Razor’s Edge (1944) concerns a young World War I aviator who rejects Western values and travels to India to search for new ones. It’s mentioned in passing in R (638).
Sonia and Raskolnikov: in Dostoyevsky’s Crime and Punishment.
‘idiot’, Dostoevski’s greatest attempt: The Idiot (1868–69) is quoted on pp. 937–38 of R.
Tolstoy’s Power of Darkness: an 1886 play, quoted on p. 640 of R.
Bunyan’s Pilgrim: the protagonist of the English preacher’s Pilgrim’s Progress (1678).
Silone: Ignazio Silone (1900–78); Bread and Wine (1937) is his most best-known novel, and And He Hid Himself (1945) is a play about a leftist agitator who rediscovers his religious belief and dies like a Christ figure. It is mentioned on pp. 590–91 of R.
West [...] Miss Lonelihearts: Nathanael West (1903–40); A Cool Million (1934) is a parody of the Horatio Alger paradigm, and Miss Lonelyhearts (1933) is about a desperate advice columnist. Although the quotation sounds like something from the Christ-ridden novella, it doesn’t appear there. Perhaps WG was thinking of Sherwood Anderson’s Winesburg, Ohio (1919): “everyone in the world is Christ and they are all crucified” (end of “The Philosopher”).
Spengler: Oswald Spengler (1880–1936), whose Decline of the West (1918–22) argues that every culture grows, peaks, then declines like a living organism, and that the West had reached the point of decline. WG quotes from p. 248 of Toynbee’s book.
history of the Player Piano: see headnote to 29 May 1950.
Blackmur: R. P. Blackmur (1904–65), American critic and poet.
It won’t be minutes: “For it won’t be minutes but hours / For it won’t be hours but years”—from the “Fragment of an Agon” portion of Sweeney Agonistes.
To Edith Gaddis
Puerto Limón, Costa Rica
[May 1948—same day as previous letter]
dear Mother.
[...] In about 8days another boat is due here, a boat to take a load of of wood for plywood to Charleston SC, I have met the plywood man here who is cheerfully drunk most of the time, consequently amiable and says I can probably get on his wood boat if I can’t get a banana boat, the sea outside is furious and the prospect of wandering 1500miles out on it is rather disconcerting.
The morning I blew 30¢ at a peluqueria, that is a barber shop, I think it was well-spent. I eat regularly though the fare here recalls a poem I never learned which starts —Nothing to do but work, nothing to eat but food; Nothing to wear but clothes to keep from going nude. [...]
You may gather this is not an intellectual centre, and so there is no problem about what book to read because there just aren’t any unless you have some you are carting around yourself, I am still carting around Mr Toynbee, and perhaps this happens for good reason because when I want to read I read Mr Toynbee again and it is a worthy task. Or if I do not read then I have bundles of papers which I have maligned all over with my own words, and they must be gone over and are being gone over; best though I have got to working again, I mean writing, it is not good yet but it is writing again and that is the only good feeling that makes any