论威廉· 加迪斯小说的失败主题
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摘要
美国当代作家威廉·加迪斯虽然曾先后两次荣获美国国家图书奖,以独特的对话体叙述独步美国文坛,然而他的作品既未在普通读者群中引起多大反响,也未获得批评家们的广泛关注。加迪斯不仅事业受挫,家庭生活亦变故不断,促使失败主题成为贯穿其数十年创作生涯的一条主线。不过,尽管“失败”是其作品的核心主题之一,但学界并无多少相关著述。本文通过对《小大亨》、《木匠的哥特式古屋》和《诉讼游戏》三部小说失败主题的探讨,就失败的形式、成因、影响等方面,剖析了加迪斯笔下的失败及其在不同时期的变化,勾勒出三部小说之于失败主题的结构性关联,指出作家创作情绪上日益沉重的走势。
三部小说构成了加迪斯刻画失败主题的三个时间维度。《小大亨》昭示了失败的社会性远景。其间,个体拟像源自作家生平与小说情节的对映,将读者的阅读重心引导至失败主题上来,展现出作者本人对于失败后重生的一番期许；社会拟像则基于后现代镜像化转型,暗示社会价值的虚无化是个体失败的内在根源。《木匠的哥特式古屋》呈现了主体历史意识羁绊下的个体失败。小说中,各类历史元素异化呈现,历史文本与小说文本叠加共存。个体失败总是伴随着历史意识的羁绊,即失败的痛苦源自对文化历史的感知,抛弃传统则无所谓失败。《诉讼游戏》描绘了失败之于当下的存在方式。失败的日常话语对人际交往的正常维系提出了质疑,专业话语的崩塌拷问着法律公义的实存,反映出作者将失败视作根植于当下存在的必然要素。
对于加迪斯三部作品中所描绘的失败主题的分析表明：作家笔下的种种失败,形式上,早期侧重于单一的意图失败,后期则富含生理、心理与意图三种失败；结构上,《小大亨》、《木匠的哥特式古屋》与《诉讼游戏》构成了失败的未来、过去与现在的立体维度,暗示作者对于克服失败并无信心；内涵上,失败不仅指涉独立的个体挫折,更表现为群体共享情感。基于失败母题的累年创作,实则是作家传递其因小说未获认可而日益滋长的愤懑情绪的表达方式。
本论文采用了主题研究的方法,以后现代文艺理论为观照,以整体的眼光把握作品,具体章节分别采纳拟像问题研究、历史意识问题研究、话语问题研究,对加迪斯的失败主题做出深入探讨。论文对于加迪斯小说中失败的理解,拓展了已有加迪斯研究的深度,有助于推动针对该作家写作意图的研究的发展。
Despite unique narration in the form of dialogue and winning The National BookAward twice, William Gaddis neither aroused interest from common readers norattracted due attention in critical circles. His frustrated writing career and family lifeinduced the failure theme to be one of the most important threads of his novels. Evenso, there is few discussion of the subject. This dissertation, on the basis of its analysisof the category, genesis and impact of failures in J R, C，arpenters Gothic, and AFrolic of His Own, aims to study Gaddis’ depiction of fictional failures and theirvariation in different periods, outline the structural correlation among theabove-mentioned novels, and indicate Gaddis' gradually heavier and more pessimistictendency in his creational pathos.
The three novels forge a chronological trinity of Gaddis’ ifctional failure. J Rexemplifies a social vista of failures. Individual simulacrum correlates biographicaldetails with fictional plots, attracting the reader's attention to various frustratedattempts and revealing the author's expectation of aspired valour in the face ofsetback. Social simulacrum implies that individual failures intrinsically grow from thenihility of social values which are attributed to postmodern simulative transformation.Carpenter’s Gothic exhibits the individual failures under the curb of subjectivehistorical consciousness. In the novel，historic elements are invariably presented inalienated ways while fictional texts coexist with historical ones. It is asserted thatfailures always accompany an overloaded awareness of historical past，or in otherwords the agony of failure derives from the perception of cultural historicity whilerenouncing tradition equals abandoning failure. A Frolic of His Own acknowledgesfailure as the fundamental means of existence. Common communication in brokenfragments question the normal sustaining of interpersonal interaction and the collapseof professional discourse interrogates the subsistence of legal justice, the combinationof which suggest Gaddis considers failure as an indispensible element of presence.
It is observed that failure for Gaddis assumes at earlier stage the form of intentional breakdown while the theme later includes physical, psychic andintentional frustration. The three novels constitute a tridimension of failure in theaspect of the future, the past and the past, implying that the author holds noconfidence in overcoming failures. And failure does not only mean a personal setbackbut also a shared aesthetics. It is from the author's inner embitterment out of theunder-recognition of his literary creation that the years-long obsession with failurebursts out.
This dissertation adopts a thematic approach to analyze the change of Gaddis,concerns for failures from a postmodern perspective. Literary theories such as studieson simulacrum, historical consciousness, and discourse are applied to conductanalysis in certain parts of the dissertation which enriches studies on William Gaddisand his works, enhancing the understanding of his authorial intention of writing.
三部小说构成了加迪斯刻画失败主题的三个时间维度。《小大亨》昭示了失败的社会性远景。其间,个体拟像源自作家生平与小说情节的对映,将读者的阅读重心引导至失败主题上来,展现出作者本人对于失败后重生的一番期许；社会拟像则基于后现代镜像化转型,暗示社会价值的虚无化是个体失败的内在根源。《木匠的哥特式古屋》呈现了主体历史意识羁绊下的个体失败。小说中,各类历史元素异化呈现,历史文本与小说文本叠加共存。个体失败总是伴随着历史意识的羁绊,即失败的痛苦源自对文化历史的感知,抛弃传统则无所谓失败。《诉讼游戏》描绘了失败之于当下的存在方式。失败的日常话语对人际交往的正常维系提出了质疑,专业话语的崩塌拷问着法律公义的实存,反映出作者将失败视作根植于当下存在的必然要素。
对于加迪斯三部作品中所描绘的失败主题的分析表明：作家笔下的种种失败,形式上,早期侧重于单一的意图失败,后期则富含生理、心理与意图三种失败；结构上,《小大亨》、《木匠的哥特式古屋》与《诉讼游戏》构成了失败的未来、过去与现在的立体维度,暗示作者对于克服失败并无信心；内涵上,失败不仅指涉独立的个体挫折,更表现为群体共享情感。基于失败母题的累年创作,实则是作家传递其因小说未获认可而日益滋长的愤懑情绪的表达方式。
本论文采用了主题研究的方法,以后现代文艺理论为观照,以整体的眼光把握作品,具体章节分别采纳拟像问题研究、历史意识问题研究、话语问题研究,对加迪斯的失败主题做出深入探讨。论文对于加迪斯小说中失败的理解,拓展了已有加迪斯研究的深度,有助于推动针对该作家写作意图的研究的发展。
Despite unique narration in the form of dialogue and winning The National BookAward twice, William Gaddis neither aroused interest from common readers norattracted due attention in critical circles. His frustrated writing career and family lifeinduced the failure theme to be one of the most important threads of his novels. Evenso, there is few discussion of the subject. This dissertation, on the basis of its analysisof the category, genesis and impact of failures in J R, C，arpenters Gothic, and AFrolic of His Own, aims to study Gaddis’ depiction of fictional failures and theirvariation in different periods, outline the structural correlation among theabove-mentioned novels, and indicate Gaddis' gradually heavier and more pessimistictendency in his creational pathos.
The three novels forge a chronological trinity of Gaddis’ ifctional failure. J Rexemplifies a social vista of failures. Individual simulacrum correlates biographicaldetails with fictional plots, attracting the reader's attention to various frustratedattempts and revealing the author's expectation of aspired valour in the face ofsetback. Social simulacrum implies that individual failures intrinsically grow from thenihility of social values which are attributed to postmodern simulative transformation.Carpenter’s Gothic exhibits the individual failures under the curb of subjectivehistorical consciousness. In the novel，historic elements are invariably presented inalienated ways while fictional texts coexist with historical ones. It is asserted thatfailures always accompany an overloaded awareness of historical past，or in otherwords the agony of failure derives from the perception of cultural historicity whilerenouncing tradition equals abandoning failure. A Frolic of His Own acknowledgesfailure as the fundamental means of existence. Common communication in brokenfragments question the normal sustaining of interpersonal interaction and the collapseof professional discourse interrogates the subsistence of legal justice, the combinationof which suggest Gaddis considers failure as an indispensible element of presence.
It is observed that failure for Gaddis assumes at earlier stage the form of intentional breakdown while the theme later includes physical, psychic andintentional frustration. The three novels constitute a tridimension of failure in theaspect of the future, the past and the past, implying that the author holds noconfidence in overcoming failures. And failure does not only mean a personal setbackbut also a shared aesthetics. It is from the author's inner embitterment out of theunder-recognition of his literary creation that the years-long obsession with failurebursts out.
This dissertation adopts a thematic approach to analyze the change of Gaddis,concerns for failures from a postmodern perspective. Literary theories such as studieson simulacrum, historical consciousness, and discourse are applied to conductanalysis in certain parts of the dissertation which enriches studies on William Gaddisand his works, enhancing the understanding of his authorial intention of writing.
引文
1William H. Gass and Mary McCarthy as the judges selected J R over Bellow's H'umboldt's Gift, NabokobsTyrants Destroyed and Other Stories, Calisher's Collected Stories, Kaplan's Other P'eoples Lives, andWoiwode's Beyond the Bedroom Wall.(Kuehl and Moore,1984:15).
2 For instance,4To Soar in Atonement: Art as Expiaiton in Gaddis' The Recognitions" by Joseph S. Salemi wasifrst published in NOVEL: A Forum on Fiction (1977Vol.10，No.2，127-136), then selected in In Recognitionof William Gaddis (1984，46-57)，and repirnted in William Gaddis (ed. Harold Bloom,2004，3-16). Similararitcles include “Disclosing Time: William Gaddis'Ji?"，For a Very Small Audience: The Ficiton of William
Gaddis","No More Sea Changes: Hawkes, Pynchon, Gaddis, and Barth", and etc.3 Since knowing very little about Gaddis，profile as an immediate consequent of cirtical neglect and his ownreclusiveness, we still do not have adequate informaiton of the author, needless to say a complete biography(Tabachnick,1981:41). Till now, there is no amendment in this respect. The following biographicalinformation about William Gaddis mainly comes rfom Carol Iannone's "Gaddis Recognized"(1985) and，Steven Moore's "William Gaddis: The Nobility of Failure"(2010).
4The asseriton comes rfom Steven Moore's Ph.D. dissertaiton William Gaddis and the Alchemy of Art: TheIntellectual Tradition behind His Novels which traces and interprets4tthe various intellectual tradiitons Gaddisdraws on"(1988: ii). Seemingly, Mr. Moore takes more pains to evacuate the bibliographic source from whichGaddis developed his literary ideas.
5Supporitng evidence of scarce definiiton may include, but not be conifned to，'The Failure Story t A Study ofContemporary Pessimism" by Thomas Munro,'The Failure Story： A Study of Contemporary Pessimism" byMatthew Corirgan,"Responsibility and Failure" by John Maritn Fischer and numerous others.
6The asseriton is made based on the fact that Modern English literature is deeply imbued with failure theme and""wirters abject the undesirable, unsuccessful side of themselves as authors by imagining failures"(Fackler，2007:11). Moreover, there is a tradiiton that writers create failure characters so as to protect their own privilegeas novelists: Humbert in Lolita and Kinbote in Pale Fire are subject to cruel reproach and punishment whileMuriel Spark's figures in The Comfort'ers and in The Driver s Seat are punished for their aritsticpretenitousness. The narrator in The Sacred Fount contains some of the qualiites James despised and feared
(Fackler,2007:9-12). Their failures are not calculated on or measured against the physical or psychical failure,but instead deifned and measured against by the failure of purpose.7A healthy body can neither be taken away from a self-conscious mind, nor rfom the psychic essences whichbridge the other sides. Similarly, psychic failure from a morale disturbance can also result in physicalbreakdown. Illness may minimize emoitonal acitveness and decrease the competence to contemplate. And thefailure of purpose may first be perceived in the form of a physical dysfunciton or emotional inertness
(Desmond,1988:293).
8For instance, Middle English poet Layamon acknowledged that his Brut grew from Historia Regum Britarmiaeand Le roman de Brut, while The Canterbury Tales absorbed vairous resources stretching rfom Roman dela rose. The Decameron to De Canaria which also imitated The Aeneid by Publius V. Maro Veigilius.
9Namely,"Our invenitons are wont to be pretty toys, which distract our atteniton from serious things... We arein great haste to construct a magnetic telegraph form Maine to Texas; but Maine and Texas，it may be，havenothing important to communicate"(Thoreau,2004:50).
10 N11amely,"of its own kind/genus" or4tunique in its characteristics"
11Namely, the Lord "did let none of his words fall to the ground"(Samuel1:3).
12 The Episcopal Church has sued Pepsico Inc. for trademark inrfingement and "libelous intent to disparage andmake a mockery of plaintiff'1s good name."
3 About a drown boy who died accidentally in Ude's baptism which ifrst appears in C'arpenters Gothic.
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2 For instance,4To Soar in Atonement: Art as Expiaiton in Gaddis' The Recognitions" by Joseph S. Salemi wasifrst published in NOVEL: A Forum on Fiction (1977Vol.10，No.2，127-136), then selected in In Recognitionof William Gaddis (1984，46-57)，and repirnted in William Gaddis (ed. Harold Bloom,2004，3-16). Similararitcles include “Disclosing Time: William Gaddis'Ji?"，For a Very Small Audience: The Ficiton of William
Gaddis","No More Sea Changes: Hawkes, Pynchon, Gaddis, and Barth", and etc.3 Since knowing very little about Gaddis，profile as an immediate consequent of cirtical neglect and his ownreclusiveness, we still do not have adequate informaiton of the author, needless to say a complete biography(Tabachnick,1981:41). Till now, there is no amendment in this respect. The following biographicalinformation about William Gaddis mainly comes rfom Carol Iannone's "Gaddis Recognized"(1985) and，Steven Moore's "William Gaddis: The Nobility of Failure"(2010).
4The asseriton comes rfom Steven Moore's Ph.D. dissertaiton William Gaddis and the Alchemy of Art: TheIntellectual Tradition behind His Novels which traces and interprets4tthe various intellectual tradiitons Gaddisdraws on"(1988: ii). Seemingly, Mr. Moore takes more pains to evacuate the bibliographic source from whichGaddis developed his literary ideas.
5Supporitng evidence of scarce definiiton may include, but not be conifned to，'The Failure Story t A Study ofContemporary Pessimism" by Thomas Munro,'The Failure Story： A Study of Contemporary Pessimism" byMatthew Corirgan,"Responsibility and Failure" by John Maritn Fischer and numerous others.
6The asseriton is made based on the fact that Modern English literature is deeply imbued with failure theme and""wirters abject the undesirable, unsuccessful side of themselves as authors by imagining failures"(Fackler，2007:11). Moreover, there is a tradiiton that writers create failure characters so as to protect their own privilegeas novelists: Humbert in Lolita and Kinbote in Pale Fire are subject to cruel reproach and punishment whileMuriel Spark's figures in The Comfort'ers and in The Driver s Seat are punished for their aritsticpretenitousness. The narrator in The Sacred Fount contains some of the qualiites James despised and feared
(Fackler,2007:9-12). Their failures are not calculated on or measured against the physical or psychical failure,but instead deifned and measured against by the failure of purpose.7A healthy body can neither be taken away from a self-conscious mind, nor rfom the psychic essences whichbridge the other sides. Similarly, psychic failure from a morale disturbance can also result in physicalbreakdown. Illness may minimize emoitonal acitveness and decrease the competence to contemplate. And thefailure of purpose may first be perceived in the form of a physical dysfunciton or emotional inertness
(Desmond,1988:293).
8For instance, Middle English poet Layamon acknowledged that his Brut grew from Historia Regum Britarmiaeand Le roman de Brut, while The Canterbury Tales absorbed vairous resources stretching rfom Roman dela rose. The Decameron to De Canaria which also imitated The Aeneid by Publius V. Maro Veigilius.
9Namely,"Our invenitons are wont to be pretty toys, which distract our atteniton from serious things... We arein great haste to construct a magnetic telegraph form Maine to Texas; but Maine and Texas，it may be，havenothing important to communicate"(Thoreau,2004:50).
10 N11amely,"of its own kind/genus" or4tunique in its characteristics"
11Namely, the Lord "did let none of his words fall to the ground"(Samuel1:3).
12 The Episcopal Church has sued Pepsico Inc. for trademark inrfingement and "libelous intent to disparage andmake a mockery of plaintiff'1s good name."
3 About a drown boy who died accidentally in Ude's baptism which ifrst appears in C'arpenters Gothic.
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