In particular this set of points hits J.R.'s relevance to modern america (https://biblioklept.org/2012/01/23/i-riff-on-william-gaddiss...):

3. What is J R about? Money. Capitalism. Art. Education. Desperate people. America.

4. The question posed in #3 is a fair question, but probably not the right question, or at least not the right first question about J R. Instead—What is the form of J R—How is J R?

5. A simple answer is that the novel is almost entirely dialog, usually unattributed (although made clear once one learns the reading rules for J R). These episodes of dialogue are couched in brief, pristine, precise, concrete—yet poetic—descriptions of setting. Otherwise, no exposition. Reminiscent of a movie script, almost.

6. A more complex answer: J R, overstuffed with voices, characters (shadows and doubles), and motifs, is an opera, or a riff on an opera, at least.

7. A few of the motifs in J R: paper, shoes, opera, T.V. equipment, entropy, chaos, novels, failure, frustration, mechanization, noise, hunting, war, music, commercials, trains, eruptions of nonconformity, advertising, the rotten shallowness of modern life . . .

8. Okay, so maybe that list of motifs dipped into themes. It’s certainly incomplete (but my reading of J R is incomplete, so . . .)

9. Well hang on so what’s it about? What happens?—This is a hard question to answer even though there are plenty of concrete answers. A little more riffage then—

10. Our eponymous hero, snot-nosed JR (of the sixth grade) amasses a paper fortune by trading cheap stocks. He does this from a payphone (that he engineers to have installed!) in school.

11. JR’s unwilling agent—his emissary into the adult world—is Edward Bast, a struggling young composer who is fired from his teaching position at JR’s school after going (quite literally) off script during a lesson.

12. Echoes of Bast: Thomas Eigen, struggling writer. Jack Gibbs, struggling writer human. Gibbs, a frustrated, exasperated, alcoholic intellectual is perhaps the soul of the book. (Or at least my favorite character).

13. Characters in J R tend to be frustrated or oblivious. The oblivious characters tend to be rich and powerful; the frustrated tend to be artistic and intellectual.

14. Hence, satire: J R is very, very funny.

15. J R was published over 35 years ago, but its take on Wall Street, greed, the mechanization of education, the marginalization of art in society, and the increasing anti-intellectualism in America is more relevant than ever.

16. So, even when J R is funny, it’s also deeply sad.

18. Young JR is a fascinating study, an innocent of sorts who attempts to navigate the ridiculous rules of his society. He is immature; he lacks human experience (he’s only 11, after all), and, like most young children, lacks empathy or foresight. He’s the perfect predatory capitalist.

19. All the love (whether familial or romantic or sexual) in J R (thus far, anyway) is frustrated, blocked, barred, delayed, interrupted . . .

20. I’m particularly fascinated by the scenes in JR’s school, particularly the ones involving Principal Whiteback, who, in addition to his educational duties, is also president of a local bank. Whiteback is a consummate yes man; he babbles out in an unending stammer of doubletalk; he’s a fount of delicious ironic humor. Sadly though, he’s also absolutely real, the kind of educational administrator who thinks a school should be run like a corporation.