David Auerbach on Thomas M. Disch:
Look at the big social novels of the 1960s. You find conspiracy theories in Pynchon and Mailer, suburban hells in Cheever and Yates and (in its apotheosis) Heller, solipsistic nihilism and self-indulgence in Barth and Wurlitzer, beatnik dropout fantasies in countless other authors. Even Gore Vidal was writing historical novels rather than anything set in the present day.And some of what got left on the cutting room floor...
Disch, though, was ahead of his time. The American heartland of his novels, contemporary or future, now seems eerily prescient. It’s not that these trends weren’t visible in the 60s and 70s, but Disch foresaw their eventual impact in the post-Cold War age that his peers mostly did not. Frequently evoking the American grotesques of Poe and Lovecraft, he brought out the ghastly ignorance that increasingly defines American political life. He exaggerates, but the uncanny familiarity of the caricature is scary.
I rate Disch above the suburban disenchantments of Yates, Cheever, and Updike because their work was so ineffective as cultural commmentary. It showed no engagement with the greater meaning of these enclaves in the American political environment of the Cold War. Likewise, the capitalist critiques of Gaddis seem way off the mark because they assume a certain amount of rational action on the part of the characters. Who is closer to Ken Lay, J.R. or Grandison Whiting? The best American authors have, I think, understood that America does not lend itself to highbrow cultural theorizing in the way that Germany does, and so inhabit the more gothic and grotesque modes.