In saul bellow's novella, Seize the Day, Tommy Wilhelm, a preposterously superfluous, suffering man, articulates a belief in truth that postmodern literary and cultural critics generally disavow. Wilhelm conceives of truth as a vaguely reified “Something” - an object of size, located in space, and accessible to the human gaze. Throughout his fateful day of reckoning, Wilhelm hotly pursues this oxymoronic reification, following small and seemingly foolish signs, like a man's hat bobbing up in a crowd, until at last he discovers the ultimate reality he has been seeking - truth simultaneously embodied and disembodied by death. This ambiguous representation affects Wilhelm profoundly, consummating “his heart's ultimate need” but sundering his physical being. His vulnerable creaturely body convulses and seems to come apart, its disjunct segments independently bending, bowing, twisting, shaking, crippling, swelling, nodding, being clutched. These bodily contortions apparently signify Wilhelm's deliverance from this world to another, a higher, freer, world of “happy oblivion” where he can forget his earthly troubles. In the novella's final tableau, an ecstatically sobbing Wilhelm enters this transcendent realm in his own perverse way: instead of rising to its heights, he sinks. Thus he completes the drowning action with which the novella begins by losing — and finding — himself in undefinable depths. There, murkily, mortality evokes self-love as the essence of truth.