Abstract
The twenty-year division separating William Gaddis's first encyclopedic fiction, The Recognitions (1955), and his subsequent novel, JR (1975), did little to diminish the writer's concern with the depiction of fragmented literary figures as representations for a prevailing human loss of self. But the experimental form of JR foregrounds fragmentation as a method of narrative discourse, making the novel's characters appear more severely dislocated than even The Recognitions's partial selves. As postmodern technique, however, Gaddis appropriates fragmentation in JR for an underlying neohumanistic purpose: to satirize the members of a corporate society proves the best means to their potential redemption, or at least returned wholeness.
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