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By William Gaddis

The booklet Jonathan Franzen dubbed the "ur-text of postwar fiction" and the "first nice cultural critique, which, no matter if Heller and Pynchon hadn't learn it whereas composing "Catch-22" and "V.," controlled to count on the spirit of both"--"The Recognitions" is a masterwork approximately paintings and forgery, and the more and more skinny line among the counterfeit and the faux. Gaddis anticipates via nearly part a century the drawback of truth that we at present face, the place the true and the digital are combining in alarming methods, and the resources of legitimacy and gear are frequently imprecise to us.

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The taxi driving force had checked out him questioningly, now disdainfully, and drove after the bus. The downtown bus he boarded a 15 minutes later was once pushed by means of a mustached guy in a leather-based jacket, whose swashbuckling motions recalled the devil-may-care bomber pilots of the motion-picture monitor. His cap, its twine body got rid of, clung rakishly to the again of his oily head, as he guided his large desktop down the runway for one more takeoff.

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