Little Casino, a novel of skewed beauty, featured similar episodes, these about Brooklyn Days—from Bay Ridge love to Coney Island lust—each followed by a brief paragraph of commentary. Abyss marks a return to endnotes, which isolate lines of body text to remark on them after the body itself has concluded. The anecdote provides the fiction, while the commentary provides the awareness that fiction is being perpetrated. Here, then, is metafiction's most winnowed form, and such posthumous commentary—half Talmudic gloss, half peanut gallery punchline—is Abyss's deftest gesture and Sorrentino's …" /> Little Casino, a novel of skewed beauty, featured similar episodes, these about Brooklyn Days—from Bay Ridge love to Coney Island lust—each followed by a brief paragraph of commentary. Abyss marks a return to endnotes, which isolate lines of body text to remark on them after the body itself has concluded. The anecdote provides the fiction, while the commentary provides the awareness that fiction is being perpetrated. Here, then, is metafiction's most winnowed form, and such posthumous commentary—half Talmudic gloss, half peanut gallery punchline—is Abyss's deftest gesture and Sorrentino's …" /> Little Casino, a novel of skewed beauty, featured similar episodes, these about Brooklyn Days—from Bay Ridge love to Coney Island lust—each followed by a brief paragraph of commentary. Abyss marks a return to endnotes, which isolate lines of body text to remark on them after the body itself has concluded. The anecdote provides the fiction, while the commentary provides the awareness that fiction is being perpetrated. Here, then, is metafiction's most winnowed form, and such posthumous commentary—half Talmudic gloss, half peanut gallery punchline—is Abyss's deftest gesture and Sorrentino's …" />