When one stands back to consider the shape of John Gardner's works as a whole, certain recurring "obsessive metaphors" or polysemous "figures" (in the terminology of Charles Mauron and the Russian Formalists) force themselves upon the imagination. One of the most resonant of these figures is the magician as artist or criminal. The figure involves the idea of a shaper—part magician, part storyteller—who purposely manipulates reality and therefore may either enhance or violate it.
If the shaper's medium is verbal, he becomes a fabulist, liar, or poetic visionary. The seer Agathon, with his queerly sunlit eyes, Taggert Hodge the Sunlight Man, and Jonathan Upchurch, glib Yankee fan of magicians, are compulsive talkers. They are also in several ways fictional analogues of the artist as writer (talker) and seer. Ordinary people in Gardner's books are likely to fly off the verbal handle as well, becoming temporary sybils or ranters. One thinks of James Chandler philosophizing, and of John Horne in the same book; of the shaper-skald and Grendel; of Henry Soames and Fred Clumly, whose novel resolves itself in his public speech. As the 107-year-old poetess Miss Woodworth remarks irritably in The Sunlight Dialogues, "yakety yakety yakety." (p. 114)
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