Scenes 31 - 40 | pages 194 - 251
Annotations by Steven Moore except as [noted].

< scenes 21--30 | pp. 149 - 194   $   scenes 41--50 | pp. 251--352 >

annotations with scene outline
scenes 1 - 10 | pp. 3 - 59    
 scenes 11 - 20 | pp. 59 - 149   
scenes 21 - 30 | pp. 149 - 194
scenes 31--40 | pp. 194 - 251
scenes 41--50 | pp. 251--352
scenes 51 - 60 | pp. 352 - 449
scenes 61 - 70 | pp. 449 - 580
scenes 71 - 83 | pp. 580 - 726
scene outline only

Scene 31 (194.5-197.7)
Typhon International
Amy confers reluctantly with Davidoff, wishing to see the lawyer Beaton instead.  

194.6] The Light Cavalry Overture: from the 1866 operetta Die leichte Kavallerie by Austrian composer Franz Suppé (1819-95).

194.22] The Peanut Vendor: words by L. Wolfe Gilbert and Marion Sunshine, music adapted by Moises Simons from the popular Latin American song “El Mansiero” (1931). Popularized in this country by Paul Whiteman, Guy Lombardo, and Xavier Cugat and their orchestras.

194.29] a demented Virgil for the amorphous Dante: Virgil leads Dante through the underworld in the latter’s Inferno.

Scene 32 (197.8-206.42)
Crawley & Bro.
Crawley confers with Bast on his aunts’ stock and reviews the contents of J R’s portfolio; Crawley commissions Bast to write some “zebra music” for a film he has produced, then phones Beaton.

205.20] A Moveable Feast left opened to page 190: on which page F. Scott Fitzgerald reveals to Ernest Hemingway his suspicion of being underendowed. Crawley later uses Bast’s “coronal extension measuring tape” as a bookmark for this page. Fitzgerald died in 1940; Hemingway’s Parisian memoir was published posthumously in 1964.

Scene 33 (206.43-217.17)
Typhon International
Beaton answers Crawley’s call, then returns to his discussion with Amy; afterwards, Amy again confers reluctantly with Davidoff.

214.33] Chile regarding Kennecott: in October 1972 the Kennecott Copper Corporation reported a huge loss due to the write-off of its equity interest of $50.4-million in El Teniente Mining Company after Chile nationalized it (New York Times, 25 October 1972, 63). Kennecott made front-page news a month later when they were accused by the Federal Trade Commission “of violating the law that bans the same individual from being on the boards of directors of large, competing corporations” (New York Times, 25 November 1972, 1).

216.26] TDY ... CIPAP ... GS sixteen: = Temporary Duty.  CIPAP = Change In Plans Authorized Personnel. [Kenneth Colgan and MR] GS sixteen" is a rating on a salary pay scale.

Scene 34 (217.18-219.44)
Typhon to Massapequa
Hyde listens to Davidoff over intercom, drives back to Massapequa (his watch ripped from his wrist at a stoplight, his car nearly vandalized as he works on it).

218.25] Don’t Fence Me In: words and music by Cole Porter (1944), popularized by Roy Rogers.

Scene 35 (220.1-228.35)
Principal’s office
Hyde joins a budget conference with Whiteback, District Superintendent Vern Teakell, later diCephalis; Whiteback bumps into J R outside his office; a student steals Hyde’s car.

222.29] Saul on the road to Damascus: signifies a complete change of heart; see Acts 9.

Scene 36 (228.36-229.35)
J R and the Hyde boy talk, then J R calls Bast residence, reaching Anne.

Scene 37 (229.23-235.35)
Bast home
Anne hangs up on J R, and discusses family matters with her sister; several days pass.

[235.1] I was thinking of Homer, Louise Homer…" American contralto (1871-1947), a notable Orfeo in Toscanini’s 1909 revival of Gluck’s opera.

235.2] Gluck’s Orfeo:
Christoph Gluck’s (1714-87) opera Orfeo ed Euridice (1762).

transition (235.35-236.5)
Brief travelogue.

236.2] White Christmas: words and music by Irving Berlin (1942), introduced by Bing Crosby in the movie Holiday Inn. 

Scene 38 (236.6-241.38)
Principal’s office
Whiteback speaks to one of Bast’s aunts on the phone, then talks with Amy, later Gibbs. Learns that diCephalis and Hyde were in a car accident together with the student who stole Hyde’s car.

236.27] Maude Adams: American actress (1872-1953), famous for her starring role in Peter Pan (1906-7).

Scene 39 (241.39-250.12)
Massapequa to New York
Gibbs talks to Ann diCephalis on the way to the train station; talks with Amy on train ride.

242.40] Ja, ich bin es, beide Hälften, nicht? [...] das Hintertail nicht vergessen: Ger.: “Yes, I am it, both halves, isn’t that so? ... For the head, yes? ... Ah, the newspaper? ... American art, right? Black art, horrible ... the blood! the war! ... Sexual intercourse! Shitty! ... For the lower body ... don’t forget the rear end, eh? ... thank you, thank you.”

244.17] the destructive element: in chap. 20 of Joseph Conrad’s novel Lord Jim (1900), the trader Stein equates an ideal with what he calls “the destructive element”:

“A man that is born falls into a dream like a man who falls into the sea. If he tries to climb out into the air as inexperienced people endeavor to do, he drowns—nicht wahr? . . . No! I tell you! The way is to the destructive element submit yourself, and with the exertions of your hands and feet in the water make the deep, deep sea keep you up. So if you ask me—how to be? . . . I will tell you! . . . In the destructive element immerse.”

See also Stephen Spender’s critical study The Destructive Element (1935).

247.21] Schramm: cf Ger. Schramme: scar, abrasion.

248.30] pick up his bed and walk like the good book says: from John 5:8.

248.36] Tolstoy’s something terribly lacking between what I felt and what I could do: from Fedya’s discussion with Prince Sergius in Tolstoy’s drama Redemption (1900), 1.4. (First used in Gaddis’s Recognitions: 606.31.) 

Scene 40 (250.13-251.45)
Penn Station, then Automat
Gibbs calls ex-wife, then tries to call Bast (reaches his “secretary” in the next booth), then calls Eigen.

Abbreviated Bibliography
A.  Gaddis' Books
CG: Carpenter’s Gothic.
1985. New York: Penguin, 1999.
FHO: A Frolic of His Own.
New York: Poseidon, 1994.
1975. New York: Penguin, 1993.
R: The Recognitions.
1955. New York: Penguin, 1993.

B.  Gaddis’s Sources
EB: Encyclopædia Britannica.
14th  ed., 1929.
ODQ: The Oxford Dictionary of 
1st ed., 6th impression (London: Oxford University Press, 1949). Gaddis owned this particular impression, given to him by Ormande de Kay in Paris in 1950.

C.  Gaddis Criticism
Knight, Christopher, Hints and Guesses:  William Gaddis and the Fiction of Longing, Madison: Univ. of Wisconsin Press, 1997.
Wolfe, Peter, A Vision of His Own: The Mind and Art of William Gaddis, Madison & Teaneck, NJ: Fairleigh Dickinson Univ. Press, 1997.

annotations with scene outline
scenes 1 - 10 | pp. 3 - 59    
 scenes 11 - 20 | pp. 59 - 149   
scenes 21 - 30 | pp. 149 - 194
scenes 31--40 | pp. 194 - 251
scenes 41--50 | pp. 251--352
scenes 51 - 60 | pp. 352 - 449
scenes 61 - 70 | pp. 449 - 580
scenes 71 - 83 | pp. 580 - 726
scene outline only