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Word Count: 2,206
Gaddis Agape Agape Dead Man Micturates onto Masses Delight The publication posthumous of Agape Agape by the estate of William Gaddis gave closure to - if one believe in phantoms and shadows bumping in the night - an obsession by Gaddis of some half-century with the idea of writing a social history of the player piano or pianola by which term it shall be mentioned in this paper and expanded when he found a voice in the mouth of a dying fragile emphyzemic man The novel is written in the form of an exhaustive bombardment of images sentences lasting for pages a lack of a single paragraph break and centered upon an obsessive repetition that the soul also called a doppelganger detachable self or belly-talker has been killed Essentially Gaddis asserts that technology built for the masses mindless enjoyment - such as the pianola and television - leads to the deterioration of truly brilliant minds and magnificent souls such as Wagner and Tolstoy culminating in a collapse of everything of meaning of language of values of art disorder and dislocation wherever you look and that the only chance for puropose that a sane man or woman - the artist - possesses is to separate his or her self from the masses and to allow this belly-talker to compose of its own accord The pianola the advent of which was perceived as the cause of so much misery to Gaddis narrator was perfected into the form by which it became popular by Edwin Votey of Detroit in 1896 Though it is not relevant to make a detailed explanation of its machinations the device is powered by suction and the operator can attain the illusion of playing skillfuully by applying pressure to the foot-pedals He or she may also add notes to the piece with the conventional keyboard Because Gaddis never states that his objection is to the availability of music to the greater populace
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