from hate to indifference

take a quantity of critics insults       chop off qualifying & balancing
clauses—often designed to strengthen insults (by pretending objec-
tivity) not mitigate them       cut out somewhat, almost, rather, seems,
sometimes, at times, a certain amount, in other phases, in some
respects      the recognitions, then, is appalling, awkward, arrogant, no
work of art       it is baffling, and a Bore      confused & confusing.
cruel, claustrophobic, a literary curiosity      dont buy it—its debasing,
demoralizing, diabolical, has no decency      or if this excites your
lower nature, its also dull difficult dreary—& disgusting      evil, but
exasperating       a fatuous foul-mouthed formless failure!      inchoate,
incoherent, shows immaturity & lacks imagination      & kindness.
murky muddy monstrous      nihilistic      an overwritten oddity, obscene
& obscure       profane & pretentious      repulsive or repelling      scur-
rilous-scatological, sneering-snarling-sprawling-squalling, says north of
the ny world telegram & sun      and adds, has no trace of sincerity.
an uncontrolled exhibition       no vision      wearisome 1

as for gaddis personally, he "lacks judgment" & his self-love is "embar-
rassingly apparent"       hes a cynic with a narrow jaundiced view and a
depraved mind2

just some words of welcome to americas best writer      where does all
this hate come from       everybody knows, for centuries its been said a
critics an envious man       theyre always supposed to have got over it
a generation ago but they never do      critics only concern with im-
mortality, if he was immortal he too could write a great novel someday.
if a million critics were strumming on a million typewriters...

how is hate hidden       anger shades down to contempt, contempt to
condescension & innuendo, then "balanced" with a little sting left, then
complete indifference       which toward greatness, is not unlike hate

1 key numbers 40-4-53&63-4 8-56 82-55 84-4-54&63 35-35-53-53 75-55-9-
35&53 53-53&63&66 46-53-63-3&28&30&62 46-62-3-4 53 85-8&50-55&63
46 6&53-36-35-50&55&63 53-9&21&38&74 53-84 all 53 53 63 4 35      see
bibliography for reviews #s refer to (Back)

2 key #s 35-53 17&18&35&69-63-53 (Back)