![]() In this little scene she moves from arrangement by color to arrangement by size. ![]() Their compass was as casual as books left behind in a rooming house and this book of stories by Stevenson, with no idea where she’d got it, she hadn’t looked into it for years, now could not put it down, and to her now it was the only book she owned.Įsme’s bookshelving is purely aesthetic, and the aesthetic seems arbitrary (and likely temporary). ![]() There was, really, little else their small ranks held in common (except color of the bindings, and so they had been arranged, and so too the reason often enough she’d bought them). The episode eventually reveals Esme as one of the heroes of The Recognitions. It begins with Esme cloistering herself, pinning a sign to her door that reads: “Do Not Disturb Me I Am Working Esme.” She begins her “work” in a manic blur, “delighted to be alone.” As her energy shifts, she sews for a bit, before finally switching to attend to her small library:īut before that sewing was done she was up, rearranging her books with no concern but for size. An intriguing and confounding section of Chapter 1 of Part II of William Gaddis’s 1955 novel The Recognitions focuses heavily on Esme, the poet who models for Wyatt Gwyon as he paints his forgeries. ![]()
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