The book Jonathan Franzen dubbed the “ur-text of postwar ?ction” and the “?rst great cultural critique, which, even if Heller and Pynchon hadn't read it while composing <em>Catch-22</em> and <em>V.</em>, managed to anticipate the spirit of both”—<em>The Recognitions</em> is a masterwork about art and forgery, and the increasingly thin line between the counterfeit and the fake. Gaddis anticipates by almost half a century the crisis of reality that we currently face, where the real and the virtual are combining in alarming ways, and the sources of legitimacy and power are often obscure to us.