In Gaddis' as well as Heller's and Pynchon's novels there is always apparent an ominous vertical structure of society, which finally appears to leave the individual completely at the mercy of its manipulative powers and with no human in control. But Gaddis, it seems, is much more of a Romantic than either Heller or Pynchon: there is individual triumph, and the inherent possibility of it, though necessarily of a very localized nature. Wyatt Gwyon in The Recognitions does reject finally the superficial and impersonal determinants of society, just as Edward Bast in JR rejects J R—the sixth grader who becomes a corporation tycoon—and his tyrannical financial manipulations; Bast goes off to write his opera unmindful of his material well-being. It is as though Gaddis shows us the primacy of "counterforce," whereas Pynchon wants to establish an inevitable transformation of "counterforce" into "Counterforce" into "They."
Moreover, Gaddis believes, like William James, that the world is essentially chaotic and furthermore that there is no ontological hierarchy. He sees that the multiple imposition of formal structures upon the chaos results finally in chaos, too. (pp. 153-54)
