1. Despite never writing about it directly, explicitly—the way he wrote about cruise ships or Roger Federer or the eating of lobsters—David Foster Wallace had a keen and lifelong interest in the brain. There was an obvious personal reason for this: on most of the days of his life, he consumed brain-altering chemicals as a way to stave off suicidal depression. His first published short story is essentially an extended musing on the connections between chemicals, the brain, and subjective wellbeing. These interests continue to animate his early works; both The Broom of the System (1987) and Girl with Curious Hair (1989) are peppered with offhand but learned references to neuroanatomy. Paul D. MacLean’s once-popular triune brain theory appears in Infinite Jest, and there are also quieter references to Gilbert Ryle and Julian Jaynes—two other well-known theorists of the relations between neurology and the mind. As Wallace scholar Stephen J. Burn has put it, analyzing The Pale King (2011), Wallace nurtured a “career-long fascination with consciousness.” His 2004 short-story collection Oblivion has always been a somewhat confusing book: dense, obtuse, cold, fragmented, a little cruel. However, while penning a PhD thesis on the intersections between neuroscience, theories of consciousness, and modern Anglo-American literature—a Wallacian labyrinth of thought if ever there was one—I think I have come to understand Oblivion for what it really is: A work of horror fiction, whose unique brand of horror is rooted in Wallace's reading about the brain. In the eight years between Infinite Jest and Oblivion, Wallace's reading in neuroscience and consciousness studies intensified. His essay “Consider the Lobster,” published almost in tandem with Oblivion, displays a sophistication of engagement with neuroscience that outstrips any of his previous work, referencing nociceptors and prostaglandins and endorphins and enkephalins. The more precise direction of Wallace's reading is indicated by two books found in his personal library (preserved today at the Harry Ransom Centre at UT in Austin): the Danish popular science writer Tor Nørretranders’s The User Illusion, and Timothy D. Wilson’s Strangers to Ourselves. Wallace read both of these works of popular consciousness studies closely, and what he took from them is revealed by his annotations. In Nørretranders's The User Illusion, Wallace has heavily underlined a section where Nørretranders writes “Consciousness is a fraud.” On another page Nørretranders has written “Most of what we experience, we can never tell each other about—we can share the experience that through language we are unable to share most of what we experience.” In his copy, Wallace has underlined this paragraph, and written, at the top of the page, “Loneliness—Can't Talk About It.” In Wilson's Strangers to Ourselves, alongside Wilson's remark that “Freud's vision of the unconscious was far too limited,” Wallace's scribbled note reads “omniscient not on conscious thought but on unconscious drives” [sic]. Most of what we think of as self-directed behavior, explains Wilson, may well be actually “non-conscious intention.” These quotes give you a sense of these two books, both of which build on what Alan Richardson calls “one of the great lessons of the cognitive revolution”: “just how much of mental life remains closed to introspection.” As a brief summation, the unified thesis of Nørretranders's and Wilson's works looks something like this: We are not really in control. Not only are we not in control, but we are not even aware of the things of which we are not in control. Our ability to judge anything with any accuracy is a lie, as is our ability to perceive these lies as lies. Consciousness masquerades as awareness and agency, but the sense of self it conjures is an illusion. We are stranded in the great opaque secret of our biology, and what we call subjectivity is a powerless epiphenomenon, sort of like a helpless rider on the back of a galloping horse—the view is great, but pulling on the reins does nothing. If this description of reality feels familiar to you, it's because such a neuroscientifically inspired pessimism is a quiet but powerful strain of modern thinking. It lurks in the shadows of the breezy materialism professed by science popularizers such as Richard Dawkins and Neil deGrasse Tyson—who tend to shroud the meaninglessness behind a smokescreen of excitable awe. Raymond Tallis calls the worldview conjured by works such as Nørretranders's and Wilson's “biologic pessimism.” In its broad strokes, the shadow of biologic pessimism is what dismayed a young William James. Today, it informs the work of the philosopher John Gray, and has found its most popular advocate in the character of Matthew McConaughey’s Rust Cohle, in HBO's True Detective. When Cohle explains to Woody Harrelson’s character that he thinks “human consciousness is a tragic misstep in evolution,” and that “we are things that labor under the illusion of having a self,” what sounds like poseurish gloom is actually an entirely rational, reasonable interpretation of the modern scientific paradigm. As Wallace himself put it elsewhere, in his not-so-compact history of infinity, what science tells us is that “our love for our children is evolutionarily preprogrammed” and “our thoughts and feelings are really just chemical transfers in 2.8 pounds of electrified pâté.” The character of Rust Cohle in True Detective links nearly back to Wallace's Oblivion by virtue of the fact that the character of Rust Cohle was based to an almost plagiaristic degree on the nonfictional musings of another American fiction author: Thomas Ligotti. Ligotti, probably the finest living American horror writer, has built a whole fictional style upon the same pessimistic interpretation of the brain sciences that Wallace himself appears to have arrived at independently. And though Wallace, unlike Ligotti, is not known first and foremost as a horror author, he was in fact a lifelong fan of the genre. His teaching syllabi included Stephen King, he adored the work of Thomas Harris (particularly Red Dragon), and he praised Cormac McCarthy’s Blood Meridian as “probably the most horrifying book of this century.” Wallace was also a “fanatical” David Lynch fan, and wrote a long piece praising his work for being “not about monsters...but about hauntings, about evil as environment, possibility, force.” For Lynch, Wallace wrote, “Darkness is in everything, all the time—not 'lurking below' or 'lying in wait' or 'hovering on the horizon': evil is here, right now.” As it turns out, Wallace's assessment of the special atmosphere of Lynch's horror (published in 1996) functions as an uncannily accurate description of his own Oblivion (published in 2004). Oblivion was a strange collection that quietly baffled many readers, both when it was first published and to this day. But when you understand that the whole collection is about the horror of consciousness, what first appears as a fragmented piece of work achieves cohesion. With Oblivion, these two deep-set interests—the brain, and dispiriting interpretations of its nature and relationship to our subjective lives; and horror—collide. [millions_ad] “Mr. Squishy,” Oblivion’s opening piece, is infused with an air of subjectivity as helpless, capricious, and buffeted by winds of influence over which it has no control. The pitiable protagonist, Terry Schmidt, is tortured by his lust for a co-worker, and is driven to masturbation “without feeling as if he could help himself.” In his imaginings he cuts a pathetic figure, and he is troubled by “his apparent inability to enforce his preferences even in fantasy.” The state of affairs, we learn, “made Schmidt wonder if he even had what convention called a Free Will, deep down.” (Readers may know of Benjamin Libet’s famous experiments, often taken as strong neuroscientific evidence of the non-existence of free will.) Schmidt has “had several years of psychotherapy,” but remains helpless. So total is his isolation of self, that Schmidt is on the verge of “making a dark difference with a hypo and eight cc's of castor bean distillate”—that is, committing mass murder via mass-poisoned commercial confectionary. In “The Soul Is Not a Smithy,” a ranging recollection of a day in the childhood of an unnamed adult narrator, filters through the claustrophobia of an anxious mind a pitch of ascending dread and doom, the presence of violent insanity, and a lethal culmination. Evoking directly Wallace's neuroscientific reading, the narrator muses that “that the most vivid and enduring occurrences in our lives are often those that occur at the periphery of our awareness.” The big cruel joke of “The Soul Is Not a Smithy” is that the narrator's consciousness is so capricious and fickle that it has missed absorbing “the most dramatic and exciting event I would ever be involved in in my life.” The entire story is the narrator's attempt to learn about an event that he rather ludicrously has no real first hand knowledge of because of his inadequate brain. The flash fictional “Incarnations of Burned Children” seems to darkly riff upon this chronic mind-scatteredness which blights so many of Oblivion’s cast, by having the awful events of the story render the father's “mind empty of everything but purpose”—a state the narrators of the rest of the collection could never hope to achieve. Only under such awful extreme duress, it suggests, might consciousness reach something like an unfiltered, directional tone. “Another Pioneer” has at its heart the horror of (brain-based) self-consciousness: Within the nested story, doom for the jungle village follows the moment when the child messiah's “cognitive powers [bent] back in on themselves and transformed him from messianic to monstrous,” powers “whose lethal involution resonates with malignant self-consciousness”—a self-consciousness that was a constant theme of Wallace's work, and which the story declares can be found “in everything from Genesis 3:7 to the self-devouring Kirttimukha of the Skanda Purana to the Medousa’s reflective demise to Gödelian metalogic.” This crushing weight of self-consciousness is at the heart of Oblivion’s most famous story, “Good Old Neon,” which n+1 called the collection's “one indisputable masterpiece.” The pseudo-narrator of “Good Old Neon," Neal, has spent his life tortured by “the fraudulence paradox”: “the more time and effort you put into trying to appear impressive or attractive to other people, the less impressive or attractive you felt inside—you were a fraud.” The pressure eventually becomes so great that Neal kills himself. The crucial point is that all of Neal's extensive and extensively described suffering can be located in the makeup and character of the human brain, not society or culture. By the end of the story the strong impression is that Neal's condition is but a particularly acute version of a basic human predicament. As he puts it, it's “not as if this is an incredibly rare or obscure type of personality.” In the modern neuroscientific paradigm, Neal's suspicion that “in reality I actually seemed to have no true inner self” is absolutely correct. There is really nothing outlandish about Neal's fears; within Oblivion’s neuropessimism, they are simple truisms. We do experience time poorly; language is in many ways a weak tool. The same goes for his fear that he is “unable to love:” from a hard Darwinian viewpoint, we are all unable to love, really—or more accurately, what we think we are doing when we love is actually not loving at all as we understand that word. Neal recognizes this himself: “we are all basically just instruments or expressions of our evolutionary drives, which are themselves the expressions of forces that are infinitely larger and more important than we are.” In the title story, “Oblivion,” the protagonist and his wife are so incapable of accurately telling perception from reality that one or both of them can't tell when they are awake and when they are asleep. The narrator's “seven months of severe sleep disturbance” have made for a “neural protest” of symptoms that underpin the story's oppressive, nervous atmosphere. This atmosphere achieves full bloom in Oblivion’s closing novella, “The Suffering Channel,” which features the story's eponymous production company and their “registered motto” “CONSCIOUSNESS IS NATURE'S NIGHTMARE.” (A quotation from the famous pessimist philosopher Emil Cioran, who wrote books with such cheery titles as The Trouble with Being Born.) “The Suffering Channel” features various lonely people failing to connect via their “tiny keyholes” of self. The story's focus on defecating is really an extended metaphor for the interior, the private–that which is common to all, but which is very rarely (to contaminate the metaphor) pushed through the keyhole. Our inability or social aversion to share with one another the deepest workings of our large intestines mirrors our inability to share the deepest workings of our minds. What we have is scatological representation of what philosophers call the Hard Problem. All of the characters of “The Suffering Channel” labor under “the conflict between the subjective centrality of our own lives versus our awareness of its objective insignificance”—in and of itself the overarching tragedy of the whole of Oblivion. 2. Ultimately, just as Wallace wrote that David Lynch's movies were about “not about monsters...but about hauntings, about evil as environment, possibility, force;” that for Lynch “Darkness is in everything, all the time—not 'lurking below' or 'lying in wait' or 'hovering on the horizon': evil is here, right now”–Oblivion is a collection about horror as the basic state of existence. The darkness and dread and horror of Oblivion is not in monsters or evil people; it is in the environment, in all of us, in our neurology and fraught consciousness and ill-evolved minds. Ligotti has written that all real horror writing, from Ann Radcliffe through to H.P. Lovecraft, is motivated by the specter of “the universe itself as centerless and our species as only a smudge of organic materials at the mercy of forces that know us not.” By these standards, Wallace, driven by his voluminous reading in the brain sciences, joins the club. In my thesis—academia being a world where the coining of neologisms is a mark of one's stunningly original thinking—I refer to this style of existential horror, rooted in an interpretation of modern neuroscience, as neurohorror. If there is a chink of philosophical sunlight, it is that Wallace may not have totally believed in the worldview of biologic pessimism. Oblivion and Wallace's final, tortuously produced, unfinished novel The Pale King were heavily intertwined. Wallace used the same notebooks for each, and funneled sections of one into the other as he went. Many critics think that the unrelenting misery of Oblivion was supposed to find its relief and counterpoint in its novelistic partner. As Wallace's biographer D.T. Max puts it, “while Oblivion was descriptive, The Pale King was supposed to be prescriptive. It had to convince the reader that there was a way out of the bind. It had to have a commitment to a solution that Oblivion lacked.” The neurohorror of Oblivion may have represented a flexing of Wallace's pessimist muscles, in advance of an attempt to overpower them. As Wallace himself said in an interview, “any possible human redemption requires us first to face what’s dreadful, what we want to deny.” I mentioned that the biologic pessimism that caught Wallace's attention mirrored that which preoccupied William James a century prior. Wallace's potential solution or counterargument also mirrored James's. Indeed, in the very same books that inspired Wallace's neuropessimism, we find him searching for a more sanguine and more Jamesian reading. On page 129 of Nørretranders, Wallace underlined “You can direct your attention where you like.” On 133, he has underlined “the headiness of attaining high, clear awareness,” and under a section explaining the cortex he wrote “change in attention cause activity change in cortex” (sic). The brain might be the problem, but it appears that within these books Wallace was searching for a way for the brain to also become part of the solution. Underneath a quoted passage from William James, he wrote “Able to Choose Focus of Attention.” This would become the backbone to the hard-won optimism of “This is Water.”As David H. Evans has written, James put “activity rather than passivity at the core of our relation to the world” by affirming the subjective power of “the possibility of choice”–choice in terms of, to quote “This is Water,” “some control over how and what you think” over “what you pay attention to...how you construct meaning from experience.” This basic stance can also be observed in other thought systems Wallace was drawn to during his life, notably Buddhism. The most pessimistic reading of all, though, must draw attention to the biographical elephant in the room: Wallace's suicide. In the end, it was his brain—suffering with terrible withdrawal after years of being awash in the chemical mix of Nardil—that killed him. He couldn't think his way out, couldn't “construct meaning from experience” in a way that made something other than suicide the best option. It's possible to see this as a cruel and tragic vindication of the neuro-determinism which colors Oblivion. He completed Oblivion, but wasn't able to finish its optimistic companion The Pale King, despite years of trying—there is a sort of horrible literary mirror of Wallace's own inner life there. Unlike in fiction—where, despite it all, at the end of HBO's True Detective, Rust Cohle is able to remark hopefully that “the light’s winning”—we don't choose our endings. Wallace dug deeply and unflinchingly into the real challenges of modern existence; he made us “face what’s dreadful, what we want to deny.” It remains with the rest of us to figure out how to live with it. Image Credit: Pixabay.
Several years ago, I spent a summer traveling back and forth between Baltimore and Washington, D.C., to visit the Ralph Ellison papers stored at the Library of Congress. I had long been enthralled by Invisible Man, Ellison’s seminal 1952 novel of race and identity in the waning years of Jim Crow. But I wasn’t taking the train into the nation’s capital twice a week because of anything he had published during his lifetime. I was there to immerse myself in the26 folders containing the thousands of pages of drafts and notes for a second novel Ellison had spent 40 years writing but never completed. Ellison began work on the untitled novel (long excerpts of which were published in 2010 as Three Days Before the Shooting . . .) less than a year after the publication of Invisible Man. He had envisioned it as a sweeping tragedy of race in America centered on the story of a boy named Bliss, whose skin appears white but whose parentage is ambiguous. Adopted by a former black jazz trombonist turned preacher named Alonzo Hickman, Bliss would eventually discover the protean power of racial ambiguity and reinvent himself as a white, race-baiting United States Senator from Massachusetts. Years after his ascent to political prominence, he would deliver an improvised speech on the Senate floor that would be cut short when his estranged son attempted to assassinate him from the balcony. After being shuttled to a local hospital, Bliss would confront his own tragic past alongside the man who had raised him. Shortly after Ellison died in 1994, his wife, Fanny, implored Ellison’s literary executor, John Callahan, to tell her whether her late husband’s second novel had a beginning, a middle, and an end. As Callahan sifted through the reams of writing that filled Ellison’s home office, he found only fragments, some of which were virtually novels unto themselves. As I sat in the Library of Congress’s reading room poring over drafts swamped with marginalia, paragraphs for episodes that never materialized, and ephemera scribbled on the backs of grocery store receipts and old envelopes, I was alternately entranced and dismayed. Amidst this thicket of sentences and ideas, I had hoped to discover a plan, an ending, or—better yet—an explanation for why this writer of the first order hadn’t completed what he was certain would be his magnum opus. I never found any of these. Instead, I was given an inside view of artistic struggle stretched across decades that had resulted not in the conquest of an author over form but in a sprawling curiosity cabinet of literary possibilities. The duration and singular focus of Ellison’s work on his second novel seemed to me without parallel in literary history. Even Robert Musil, who had spent two decades laboring over The Man Without Qualities (still only half the time Ellison spent), managed to publish two volumes of the work during his lifetime. Ellison’s failure to finish his novel struck me as something for the record books, unintentional though it may have been. The thrill I felt in living in Ellison’s unfinished world—where a scrawled note or a stray revision could shuttle me down a new intellectual rabbit hole—was distinct from my experience with completed novels. It was more collaborative, more free-wheeling, more alive with—for lack of a better word—novelty. And it led me to wonder if unfinished novels constituted a genre of their own and, assuming they did, whether it would be possible to assemble a canon of literary catastrophes. After scouring archives and bibliographies in search of this canon, it became clear that not all unfinished novels are unfinished in the same way. The most familiar type, I discovered, were those left unfinished at an author’s death that would have almost certainly been completed had the author lived a year or two longer. This is especially true of unfinished novels from the Victorian era, a period known for prolific writing. Charles Dickens’s The Mystery of Edwin Drood, Wilkie Collins’s Blind Love, and Elizabeth Gaskell’s Wives and Daughters are just a few examples. Later in the 19th century, Gustave Flaubert died while writing Bouvard et Pécuchet. And more recently, the Chilean novelist Roberto Bolaño managed to produce a fair-copy manuscript of his masterpiece, 2666, before he died of liver failure in 2003 at the age of 50. Some novels left unfinished by authorial death are also haunted by mortality, which makes their unfinishedness feel more fitting. Jane Austen’s unfinished novel Sanditon, about a group of hypochondriacs languishing at an English health resort, is such a novel. Its obsession with illness infects the narrative, enervating the central courtship plot. According to the critic D.A. Miller, the novel’s prose is similarly depleted, which led him to quip that Sanditon is the sole Austen novel to feature a death, that of the author as inimitable stylist. There are occasions, too, when an author, anxious about the fate of their unfinished work, seeks to destroy it before it can be made public, incineration being the preferred method. Franz Kafka asked this of Max Brod in the 1920s and Vladimir Nabokov of his wife and son in the 1970s. Nikolai Gogol took it upon himself to burn most of the second part of Dead Souls shortly before he died in 1852. In 2016, the late fantasy writer Terry Pratchett told his friend Neil Gaiman—in what I take to be a wry commentary on this trope of literary obliteration—that he wanted all his unfinished projects “to be put in the middle of the road and for a steamroller to steamroll over them all.” This request was executed last fall in Salisbury, England, by a steamroller named Lord Jericho. But the most interesting unfinished novels, to my mind, are those whose authors strived tirelessly to complete them but who, finally, couldn’t. The term we often hear used to describe this vague condition is “writer’s block.” This pseudo-psychological diagnosis is so common as to be immune from critique. Yet it profoundly mischaracterizes the turmoil and energy that are elemental to literary failure. It implies immobility and obstruction when, in fact, unfinishedness is often a consequence of overflow and excess. Mark Twain wrote multiple iterations of his unfinished novel The Mysterious Stranger, Nathaniel Hawthorne aborted three romances in as many years at the end of his life, and David Foster Wallace generated heaps of prose for The Pale King before he committed suicide in 2008. A more accurate term, I think, is “agony.” Although the word now denotes intense mental suffering, the Greek word agonia originally meant a “struggle for victory,” and the combatant who did the struggling was called an agonist. The agony of authors like Ellison, Twain, and Wallace, along with others like Truman Capote, combined these senses. In their unfinished novels, we bear witness to a contest between an author and their work beneath which flows a current of psychological anguish. This palpable sense of friction is one of the chief beauties of unfinished novels. Ralph Ellison’s agony was visible in the ebb and flow of his writing process. Periods of concentrated forward momentum were followed by periods of furious revision and, occasionally, of inertia. What he produced is a work that stretches both up (via his obsessive rewriting of episodes) and out (the sequences he wrote in his later were sometimes hundreds of pages long) as he ceaselessly searched for a coherence that ultimately evaded him. Although Ellison continued to assure even his closest confidantes that he would complete his novel, certain episodes he composed late in life betray his own suspicions that the work might, perhaps, be unfinishable. In a particularly poignant sequence from the 1980s, the elderly preacher Hickman spies a tapestry depicting Pieter Bruegel the Elder’s painting "Landscape with the Fall of Icarus" in the lobby of a Washington, D.C., hotel. Breughel’s original painting imagined the grand tragedy of Icarus’s hubristic flight to the sun within a medieval world whose daily rhythms of commerce and labor reduce the boy’s fall to insignificance. The painting is so alive with the mundane activities of normal folk that Icarus is but a dot in the distance, unacknowledged by the painting’s occupants and barely visible to the viewer. As Hickman ponders the tapestry and teases out its many meanings, Ellison seems also to be reflecting on how his own novel had become a picture frozen in time, its central tragedy overwhelmed by the elaborate world he had built around it. [millions_ad] Although Ellison never capitalized on this insight into his own work, one can hypothesize an alternate universe in which he had embraced the unfinishability of his novel and published it as a fragmentary narrative without conclusion. Such a decision wouldn’t have been without precedence either. In my ambles through the history of literary failure, I discovered that not every unfinishable novel is as tortured as Ellison’s was. Indeed, many embrace unfinishability as an aesthetic virtue. This is certainly true of postmodern novels like Italo Calvino’s If on a Winter’s Night a Traveler, which revel in their potential endlessness, but earlier centuries had their partisans of the unfinished, too. Herman Melville concludes a chapter of Moby-Dick, for instance, with the declaration, "God keep me from ever completing anything. This whole book is but a draught—nay, but the draught of a draught.” One of the most famous examples of this kind of work is also among the earliest. Laurence Sterne’s rollicking 18th-century comic novel, The Life and Opinions of Tristram Shandy, begins with its titular narrator declaring his intention to relate the story of his life only to get hopelessly lost in digressions that derail any narrative momentum. Like Scheherazade in A Thousand and One Nights, he writes to defer death, every digressive thread extending his life by a few pages. Sterne published the novel in parts between 1759 and 1767 (about two volumes every two years) with the hope that he would never stop. “The whole machine,” observes Tristram, “shall be kept a going [for] forty years.” The fact that the ninth and final volume ends four years before its narrator’s birth proves just how long Sterne could have kept this up. He died in 1768. Ellison never wrote an ending to his second novel. In the four decades he worked on it, he jotted only a few scattered notes hinting at the aftermath of his tragic hero’s death. As it stands, the novel abruptly ends in a small hospital room in Washington, D.C., with the old preacher resting beside the nearly lifeless body of his adopted son as the latter prepares to draw his last breath. That he never does leaves readers on a narrative precipice with neither catharsis nor resolution to comfort them. That Ellison never finished his novel does not diminish his achievement, but it does alter our view of it. Unfinished novels prod us to relinquish conventional approaches to reading and to seek literary pleasure elsewhere than narrative unity. They demand that we attend to dead ends as well as to false starts, to charged silences as well as to verbal excesses. They ask us to see what meanings can be gleaned from a process that has not yet hardened into product. Though their plots may be arrested, this fact does not make them any less arresting. Image Credit: LPW.
It isn’t hard to see the appeal of tennis to the writer. It’s a solitary endeavor (singles at least) in which success rests on personal agency. There’s the aesthetic aspect -- the spectacle at its highest level of lithe athleticism and impudent finesse. And it does convenient duty as literary device; an arena for mano-a-mano character study and conflict in which how one plays offers a window into personality. This is how tennis is characteristically treated in literature. In The Information, Martin Amis, devout hacker himself, pits rivalrous writers against one another inside the lines -- the supple but showy virtuosity of Richard Tull versus the point-grubbing retrieving of Gwynn Barry. It’s also the premise of perhaps the finest work on the subject, Levels of the Game, in which John McPhee freights a play-by-play of the 1968 U.S. Open semi-final between Arthur Ashe and Clark Graebner with an examination of the nation’s sociopolitical fault lines, as crystallized by the players' contrasting styles. Besides Amis, literary fans include Vladimir Nabokov (almost as adroit with racket as butterfly net), Anne Lamott, ardent Federerphile, J.M. Coetzee, Ellen Gilchrist, Abraham Verghese, and dedicated court cruiser Geoff Dyer. All of this to say that David Foster Wallace has good company in being seduced by tennis. But he is perhaps the only author of serious literary repute to have himself wielded a racket in semi-serious competition. Back when he looked upon reading novels chiefly as a fun way to ingest facts, Wallace was, in his own words, “a near great junior tennis player,” with a dour, attritional style that took him, at 14, to 17th in the U.S. Tennis Association’s Midwestern rankings for his age bracket. Here, he stalled out amid delayed puberty and salubrious country club courts that quashed his competitive advantage: a mastery of the elements on the wind-strafed municipal courts on which lowlier tournaments are typically contested. But tennis remained a lifelong passion; a personal touchstone that, most prominently among the references to it in his fiction, supplied a backdrop for Infinite Jest. It was a topic he also returned to repeatedly in his non-fiction. Across his career, it was perhaps “his most consistent theme at the surface level,” notes John Jeremiah Sullivan in his introduction to String Theory, the new collection of Wallace’s essays on tennis issued by the Library of America. Wallace knew his Levels of the Game -- a marked-up copy is among the personal effects in his archive at the University of Texas at Austin -- and he’s known to have esteemed McPhee as a writer. But his approach to the sport is altogether more technical, not to mention rambunctious and free-wheeling. These proclivities are evident from the title of String Theory's strongest piece, published in 1996 in Esquire, “Tennis Player Michael Joyce’s Professional Artistry as a Paradigm of Certain Stuff About Choice, Freedom, Limitation, Joy, Grotesquerie, and Human Completeness.” And they are on display in that essay’s opening, which, as Sullivan notes, emulates McPhee’s limpid first lines in Levels -- “Arthur Ashe, his feet apart, his knees slightly bent, lifts a tennis ball into the air...” -- but layers on the “thick” description: When Michael Joyce of Los Angeles serves, when he tosses the ball and his face rises to track it, it looks like he’s smiling, but he’s not really smiling -- his face’s circumoral muscles are straining with the rest of his body to reach the top of the ball at the top of the toss’s rise. Joyce is not a member of the game’s elite a la Ashe en route to the U.S. Open title, but “the 79th best tennis player on planet earth” toiling in the pre-tournament qualifying rounds of U.S. Open warm-up event, the Canadian Open. Like McPhee, Wallace is interested in those levels of the game, but, more literally, as in the mountains beyond mountains of tennis’s pecking order. The ex-junior standout Wallace remains an avid player. He packs his racket for Montreal, fancying he can hold his own on the practice court with some “hot young U.S pros,” then documents his “awe and sad surprise” at beholding Joyce in action: “This is a man who, at full run, can hit a fast-moving tennis ball into a one-foot square area 78 feet away over a yard-high net, hard. He can do this something like 90% of the time.” The difference of degree is such that it is a difference of kind. “I do not play and never have played the same game as these low-ranked pros.” Still, even this altitudinous level is a foothill compared to the game’s summit. Wallace documents the small deficits that add up to a gulf between Joyce (who made it to the second round of the main draw in Montreal and topped out as world number 62 a few months later) and then-top-ranked male Andre Agassi -- the fleetness of foot that is a half-step slower, the timing a hair off, the kink in his backhand versus Agassi’s fluid stroke. Wallace’s deploys his full shot-making repertoire throughout the piece. The expression of forbearance Joyce wears waiting out the tantrum of a player he is soundly beating reminds him of “Vegas dealers...when a gambler they’re cleaning out is rude or abusive.” He discerns an “abacus of sweat” on another player’s brow and evokes the odd grace of tennis’s rites: “ball-boys move for the ball and reconfigure complexly...” He’s particularly inspired on the idiosyncrasies of former great players -- “the odd Tourettic way [Vitas] Gerulaitis used to whip his head from side to side while bouncing the ball before his toss...,” and the resemblance of John McEnroe, at serve, to “a figure on an Egyptian frieze” (anyone doubting the acuity of these observations can verify them here and here). He’s also satirical; mock-swooning over Joyce -- “you can just tell by looking at him out there that he’s totally likeable and cool” -- and almost epigrammatic: “the realities of the men’s professional tennis tour bear about as much resemblance to the lush finals you see on TV as a slaughter house does to a well-presented cut of sirloin.” But, finally, he is exercised by the grandeur and “grotesquery” of Joyce: ...[T]he radical compression of his attention and self has allowed him to become a transcendent practitioner of an art -- something few of us get to be. It’s allowed him to visit and test parts of his psyche that most of us do not even know for sure we have, to manifest in concrete form virtues like courage, persistence in the face of pain of exhaustion, performance under wilting scrutiny and pressure. The collection’s best-known piece “Federer Both Flesh and Not” (published in 2006 in The New York Times) opens with Wallace’s fanboy rapture at various sublime passages of play (“Federer Moments”) conjured by the Swiss maestro, and then considers the disruptive effect of the equipment arms race widely held to have reduced tennis to brutal slugfest. How then to explain the black swan of Roger Federer -- his sovereignty atop modern muscular tennis with a supposedly atavistic game founded on elegance and artistry? Foremost among the capabilities conferred by larger, lighter rackets is the ability to whip them though the air more vigorously to impart ball-blurring spin, notes Wallace. This permits superior power -- by lacing the ball with vicious topspin so it describes a sharper parabola over the net, players can strike the ball harder while landing it within the lines. But there are other dividends: the ability to find oblique angles -- previously only possible at net -- from the baseline. Federer, trafficking in power, spin, and angle, is tapping the full arsenal of possibilities opened up by advances in racket technology. He is a one-man insurgency, revolutionizing the sport “from within the modern game...showing that the speed and strength of today’s pro game are merely its skeleton, not its flesh.” Stated thus, it sounds like a narrowly technical essay. But Wallace is collecting string for a wider point about the transfiguring effect of outsize achievement in any realm. Browsing Wimbledon’s junior tournament he observes a “variegated ballet...[d]rop shots and mixed spins, off-speed serves, gambits planned three points ahead.” “Genius is not replicable,” he concludes. “Inspiration, though, is contagious and multiform -- and even just to see, close up, power and aggression made vulnerable to beauty is to feel inspired and (in a fleeting, mortal way) reconciled.” In Federer himself, Wallace seems less interested. Throughout this collection he gravitates to more relatable figures -- the also-ran Joyce and, in the book’s most poignant essay, “the first real child star in women’s tennis,” Tracy Austin. Wallace’s review of Austin’s Beyond Center Court: My Story appears at first blush a mismatch as he skewers the fluffy inanities of a standard-issue, ghost-written ex-athlete’s autobiography. But he’s driving toward something deeper. Austin was U.S. Open champion at 16, world number one at 17, then her body rebelled. Chronically injured, she effectively retired at 21 before attempting a comeback five years later that ended before it began after a van broadsided her car smashing her knee. “The facts of Tracy Austin’s life and its trajectory are almost classically tragic,” writes Wallace. [Her] most conspicuous virtue, a relentless workaholic perfectionism that combined with raw talent to make her such a prodigious success turned out to be also her flaw and bane...The only thing Tracy Austin had ever known how to do, her art...was removed from her at an age when most of us are just starting to think seriously about committing ourselves to some pursuit... This was a sports autobiography that, because of the “transcendently interesting...career” of its subject, could have lived up to its dust jacket billing, delivering a “truly inspirational” tale about adversity and the human spirit. But Wallace delves beyond the book’s platitudes -- what if Austin’s anodyne account penetrates to the “essence” of great athletes; how they can “simply and superbly act” in the clutch? What if, when Tracy Austin writes that after her 1989 car crash, ‘I quickly accepted that there was nothing I could do about it,’ the statement is not only true but exhaustively descriptive of the entire acceptance process she went through? Is someone stupid or shallow because she can say to herself that there’s nothing she can do about something bad and so she’d better accept it, and thereupon simply accept it with no more interior struggle? Or is that person maybe somehow natively wise and profound…? “[T]he only certainty seems to be that such a person does not produce very good prose memoir,” he concludes. This was not a problem with the thought-addled Wallace. He doesn’t wear a game face in these pieces. The sense one gets reading them is of a discovery process, the author stumbling sentence-by-sentence toward understanding -- a task to which he wholly devotes his profane, fucked-up, intellectually omnivorous self. A collection of discretely commissioned pieces for assorted magazines marshalled over 15 years might feel disjointed. But String Theory is remarkable for its cohesiveness and seamlessness with the preoccupations of Wallace’s fiction. The idea of submission to boredom as a portal to enlightenment is a keynote of Wallace’s final, uncompleted work The Pale King, his biographer D.T. Max has written. Prefiguring this by more than a decade, in the first piece in this collection from 1991, Wallace writes of the benediction he and his playing partner experience following a particularly grueling on-court workout and the impulse behind his native love for tennis: We were both in the fugue-state that exhaustion through repetition brings on, a fugue-state I’ve decided that my whole time playing tennis was spent chasing...a mental state at once flat and lush, numbing and yet exquisitely felt. Wallace played the game with all of his person. The same intellectually questing, sensorily hungry spirit is present in his writing about it. The result is a terrific book about a human activity and life outside the lines that trammel it.
Of all of the wonderfully insightful Charlie Rose segments on books and writing, the one that sticks with me the most is the contentious 1996 debate between David Foster Wallace, Jonathan Franzen, and Mark Leyner about the current state of literature in America. Wallace was on the heels of Infinite Jest and Franzen was building up to his perfected synergy of the Midwestern America family after two well-received warmups that underperformed commercially. Leyner had a novel and a collection to his name, both of which were highly satirical while maintaining an aura of symbiotic self-consciousness. Wallace was on the cusp of canonization, a distinction Franzen would reach with his 2001 novel, The Corrections; Leyner continued to produce a steady stream of fictional and nonfictional oddities, like his collaboration with Dr. Billy Goldberg, Why Do Men Have Nipples?. And so while Franzen and Wallace need no introduction, Mark Leyner, a man who has spent a career experimenting with style, structure, and genre, seems comparatively under-loved. As Leyner himself bitterly points out in his latest novel, Gone with the Mind, he’s not included in Philip Roth’s “formidable postwar writers” in Roth’s 2014 interview The New York Times. As it happens, Gone with the Mind, is both the perfect introduction to Leyner’s work and demonstrative of the reasons it has languished in relative obscurity. Many readers feel a certain trepidation when they read fiction infused with factual anecdotes from an author’s life; these anxieties amplify when the writer literally injects his or her namesake into their fiction. This has been the central device of Mark Leyner’s writing throughout his 25-year career. His 1992 debut novel, Et Tu Babe, follows the life of the famous novelist, Mark Leyner. His sophomore romp, The Tetherballs of Bougainville depicts a lauded teenage screenwriter with the same name. For a writer who has made a career out of wry quips and flares of reality mixed with the imagined, Gone with the Mind is a culmination of these tendencies, more a gesticulation of satiric irony than cohesive narrative. Like all of Leyner’s categorical fiction, his latest book isn’t entirely upfront with its distinctions, either as a thinly veiled fiction or an elaborate farce. In his latest, Mark Leyner the character is the guest speaker at the “Nonfiction at the Food Court Reading Series.” The event is coordinated by his mother, who provides a lengthy introduction for her son at the beginning of the novel. He is there to read from his autobiography -- a project that began as a first-person video game wherein the objective is to return to his mother’s womb -- to a crowd of two: a Panda Express and Sbarro employee. The narrative is, ultimately, a novel-length speech. While at times it is focused, it frequently rambles on the composition of the fake book inside the metafiction. My experience reading the novel spawned an array of adjectives, often in the span of a few seconds. Absurd, juvenile, sophisticated, selfless, masturbatory, profound. That’s Mark Leyner, and he knows it: We (the Imaginary Intern and I) used to talk a lot about an olfactory art, some kind of postlinguistic, pheromonal medium that would be infinitely more nuanced than language (and without language’s representational deficiencies), a purely molecular syntax freed from all the associative patterns and encoded, ideological biases of language, that could produce the revelatory sensations of art by exciting chemosensory neurons instead of the 'mind,' that could jettison all the incumbent imperial narratives and finally get to something really nonfictional. Authors frequently insert themselves into their own novels, but they work in ways that keep the end product undeniably fiction. Philip Roth embodied his child self in The Plot Against America, but the premise of Charles Lindbergh defeating Franklin D. Roosevelt in the 1940 presidential election is purely fantasy. Ben Marcus rewound to his childhood in Notable American Women, which centers around behavioral modification and mind control. Other examples stray closer to the real. Jonathan Safran Foer (real) traveled to the Ukraine alongside American pop culture enthusiast Alexander Perchov (make-believe) in Everything is Illuminated. The voice, age, and background of Foer in his 2002 novel are largely synchronized with the author himself. The Pale King turned David Foster Wallace writer to David Wallace, one-time IRS agent. Douglas Coupland took the rare route of becoming a villain in JPod. Perhaps the most common insertion tactic for fiction writers is to portray fiction writers. Paul Auster the detective has his identity stolen by Daniel Quinn, the fictitious mystery writer and protagonist of The New York Trilogy. Joshua Cohen is hired by tech billionaire Joshua Cohen to ghostwrite his autobiography in Book of Numbers by Joshua Cohen. Martin Amis is hired to rewrite a fledgling film in Money. After spending decades toiling with his mammoth fantasy series, The Dark Tower, one cannot fault Stephen King for actually acknowledging himself as the writer of epic series. King’s character literally embodies the struggles he had with bringing the series to an end, and Roland Deschain hypnotizes him in Song of Susannah in order to move the story forward. Leyner mirrors King in terms of breaking the proverbial fourth wall, as Leyner’s character often addresses the audience about his difficulties with finishing his autobiography: If I were asked by some young, sensitive writer just starting out, what key lesson I’ve learned in life (which I’ll never be), I’d probably say that there is no aperture of egress, however tiny and exquisitely sensitive, that can’t be turned into an aperture of ingress. If these writers-as-characters serve as a means for propelling their respective narratives forward, Mark Leyner’s layered self in Gone with the Mind is there for the sake of holding back; the work is an attempt to reinvent the conventions of novel structure. Written in a stream-of-consciousness style reminiscent of Dave Eggers’s A Heartbreaking Work of Staggering Genius, Gone with the Mind plays with the characteristics of a novel in much of the same way that Eggers does with memoir form in his 2001 breakout. Where they differ is in cadence; rhythmically, AHWOSG is very much focused on the delivery of story via written exposition, while Leyner’s clear intent is orality. Eggers dressed up his postmodern memoir with fiction; Leyner dances around truths in a novel. Sheila Heti’s How Should a Person Be? likewise commented on the divide between fiction and autobiography. Calling it “a work of constructed reality,” Heti’s hybrid book shares a trait with Leyner’s. She built “A Novel from Life” from the framework of conversations with close friends. Leyner substitutes close friends with mainly his mother, and a smattering of other friends and relatives as he sorts through, and attempts to make sense of, his own life experience: And it’s only much later in life that we try to retrospectively map out, to plot all the traumas and the triumphs, the lucky breaks and lost opportunities, all the decisions and their ramifying consequences. And I tend to believe that this inclination to look back on one’s life and superimpose a teleological narrative of cause and effect is probably itself a symptom of incipient dementia, caused by some prion disease or the clumping of beta-amyloid plaques. Leyner, in an effort to subvert the reader from digesting the tale like a conventional novel, introduces the Imaginary Intern, a quasi-intuitive, philosophical entity surmised from a craquelure in the food court bathroom tiles. As bizarre as it sounds, the Imaginary Intern serves as the vessel -- a foil for Mark Leyner the character. One can see the Imaginary Intern as the motivations behind writers including themselves in their fictions. In essence, it is the trial and error of entering and wading through the falsehoods of fiction as a living, breathing person in an effort to create a fresh version of oneself: And this was something the Imaginary Intern and I used to always talk about trying to do in Gone with the Mind, trying somehow to express the chord of how one feels at a single given moment, in this transient, phantom world, standing in the center of a food court at a mall with your mom, but in the arpeggiated exploded diagram of an autobiography. There comes a point in the novel when readers are likely to go, Okay, yeah, but what’s the point? For me, it was during one of the many dialogues between Mark and the Imaginary Intern. Cheekily, Leyner lets his mother anticipate and defend him from his reader’s complaints. “I’d say, that’s the great thing about literature. Everyone’s entitled to his or her own interpretation. That’s what I’d say to that.” In that great Charlie Rose segment, much of the conversation is about books competing with visual media. Leyner, Wallace, and Franzen discuss their concerns about the crowded entertainment market vying for our time. At one point Leyner says, “I have to somehow devote my work to people who may not be great readers anymore.” This statement resonates even more 20 years later, with the advent of social media, the rise of video games, Netflix, YouTube channels, Twitter. If Leyner’s goals were honest, Gone with the Mind is the product of two decades of searching for the correct formula for the not-great readers, somehow producing one of the most compulsively readable literary novels I’ve read in years. I read it cover to cover in one sitting. This is Mark Leyner commenting on fiction in a way that only he can; he admirably dissects the problems with modern readers while simultaneously building a bridge to new readership. Within the many digressions and the back-and-forth with the Imaginary Intern, Leyner sporadically muses on the human condition and effectively broadens the scope of his narrative: And I still believe that there are two basic kinds of people—people who cultivate the narcissistic delusion of being watched at all times through the viewfinder of a camera, and people who cultivate the paranoid delusion of being watched at all times through the high-powered optics of a sniper’s rifle, and I think I fall—and have always fallen—into this latter category. Mark Leyner has spent his career carving his niche and discovering his singular voice. This declarative voice bellows from the food court podium in Gone with the Mind, demanding our undivided attention. Gone with the Mind isn’t the first novel that fictionalizes its author, and it won’t be the last, but it is absolutely one of the most inventive displays of this delicate sort of fictional act. Leyner is an oddity in American literature, a writer of virtuoso talent who chooses to spin genre-defying stories instead of capitalizing on what readers of literature have come to expect from the novel form. I concede that some readers may never get past yeah, but what’s the point? But in the author’s own words, “Even those who consider all this total bullshit have to concede that it's upscale, artisanal bullshit of the highest order.”
On Thursday, The New York Times published an op-ed defense of prolific writers by one of the modern era’s most prolific writers himself, Stephen King. It was a timely bit of writing for me, a non-prolific writer with a first book deal in the works, for whom the question of appropriate literary output is often debated. In King’s take, which is certainly worth a read, he basically argues two things. One, that there are great works buried in the overwhelming bibliographies of some writers. (i.e. “Alexandre Dumas wrote ‘The Count of Monte Cristo’ and ‘The Three Musketeers’ -- and some 250 other novels.”) And two, that for some authors, like him and Joyce Carol Oates, “prolificacy is sometimes inevitable.” He describes the crazy-making clamor of the voices in his head since his youth, all the stories crying out to be written. The potential for those unwritten works is an interesting point of entry. Like most everyone, I’ve always found a particular romance in the notion of lost works of literature. There are so many different kinds, aside from those that never manage to be written. There are the truly lost, like William Shakespeare’s missing play The History of Cardenio. The nearly lost, like the poems of Emily Dickinson. There are the mostly-lost works that could have died with their authors but were published anyway, like Vladimir Nabakov’s The Original of Laura or David Foster Wallace’s The Pale King. But lately I’ve been struck by the notion that there might be no books more lost than those buried in the overwhelming bibliographies of authors who have simply published too damn much. What’s your opinion, for instance, of the William Faulkner novel Pylon? How about Joyce Carol Oates’s Solstice? Larry McMurtry’s incredible doorstop of a novel Moving On? Or the only book in which Philip Roth wrote of a female protagonist, When She Was Good? Any non-John Updike scholars out there recall A Month of Sundays? No? Well, who can blame you? Faulkner wrote 19 novels. You could hardly be expected to read them all. Larry McMurtry has written over 45 books. Roth, nearly 30 novels and novellas. Updike, more than 20 novels and almost as many short story collections. Joyce Carol Oates, as King points out is “the author of more than 50 novels (not counting the 11 written under the pseudonyms Rosamond Smith and Lauren Kelly).” But that’s just the novels. I stopped counting the short story collections listed on her Wikipedia bibliography entry after 20 -- which just brought me to the early 1990s. Oh, and that entry is listed as “incomplete.” Wikipedia would be grateful for your help in expanding it, though it’s unlikely you could do so faster than Oates herself. Seeing a bibliography like that I can only wonder, isn’t it possible -- even likely, perhaps -- that Oates’s best novel is some forgotten, out-of-print book she wrote in, say, 1982, maybe one that hasn’t even landed on that incomplete bibliography yet? If so, most of us will never know it, because her massive output has built a body so forbidding that it deprives us of the experience of her books. This kind of output isn’t limited to the literary scene, as King’s piece clearly illustrates. In fact, things only get really wild when you start talking about genre. There’s King himself, of course, who is at around 70 books all told. Agatha Christie who, as he points out, published 91 novels. Isaac Asimov, who, King says “hammered out more than 500 books and revolutionized science fiction.” James Patterson -- also name-checked by King -- has produced (mostly co-authored) nearly 150 books. He released about 15 in 2014 alone. And where would Modern Culture be without Nora Roberts, who has written more than 200 romance novels? Maybe King is right that this kind of output is a good thing. But something about it still makes me uneasy. Maybe it’s because, upon discovering a book I love, I invariably feel compelled to track down and devour everything else by the same author. With some it’s simple. Flannery O’Connor’s entire bibliography basically consists of four books, A Good Man is Hard to Find, Wise Blood, The Violent Bear it Away, and Everything That Rises Must Converge. Then, if you’re really hungry, there are her letters, interviews, whatever remains of her collected “uncollected” marginalia, and, most recently, a prayer journal. Finish those, and you’ve done it. You know Flannery all the way from “The Geranium” to “Judgment Day,” and whatever else she thought, wondered, or murmured to the heavens. There’s something wonderful about having seen all that an author has to offer, following the progression of her skill, obsessions, the recurring tropes and themes, the trails of subconscious leakage. The problem comes when I happen upon an author, like one of the above -- King included -- whose body of work defies, by its sheer heft, that kind of close study without lavishing a truly abnormal amount of time and devotion upon it. It’s not as if reading a novel is the same as watching a movie or viewing a piece of art. After all, one could see all of Vincent Van Gogh’s 860 oil paintings in a few days if they were physically available. And a cursory appreciation of Johannes Vermeer’s 34 mightn’t take longer than an hour. Stanley Kubrick’s filmography amounts to 13 feature films I could watch in a few of days if I felt like a binge. But it’s not so simple for writers, unless I want this to become my own personal Year of John Updike, Two Years of Philip Roth, or Decade of Joyce Carol Oates. King concludes his op-ed by saying that he’s glad Ms. Oates continues to write new books “because,” he says, “I want to read them.” I wonder if he really has. If anyone has read them all. Or truly does anxiously await the next one’s arrival. Whoever has or does is in possession of far more free time than I. If we were immortal, if our time on the planet was infinite, I’m sure I’d feel differently, but as King wisely points out in his own piece, “life is short.” And let’s say I wasn’t an obsessive completionist. When considering huge bodies of work, there’s still the uncertainty about where to enter and where to go next once you’ve found a way in. If I wish to dig into the oeuvre of Oates, McMurtry, Updike, Roth, or even James Patterson, I’m forced to either choose at random or rely on others to tell me which work is most important and worthy. Which might be fine if the people on whom I were relying had read all of the work themselves, but of course they haven’t -- with the exception perhaps of King’s devoted fan base. I experienced a similar anxiety many years ago at a record store. I had gone there determined to finally delve into Frank Zappa’s music. Unfortunately, it was quite a good record store, and they stocked most of his 100 albums. Finally, after trying to make a decision based on the album art, I gave up and decided to get into punk instead, a lot of short-lived bands that self-destructed after just an album or two, tidy discographies I could learn by heart. Of course there were probably some truly great albums buried in Zappa’s discography, as in the Grateful Dead’s 144-plus record output. But I’ll never know. The volume of work becomes a barricade, a wall that one cannot reasonably scale even if one wishes to. So it is with novels. It’s true that telling Oates, et al., not to write so much might deprive us of great works, but the net effect is the same either way. Each new book is, for me anyway, another lost in the flood. Image Credit: Flickr/library_mistress.
1. Little, Brown’s The David Foster Wallace Reader is, for my money, a total Gift, an appropriate word considering that Wallace believed that all True Art takes the form of a Gift (see Lewis Hyde’s The Gift for more on that). For those unfamiliar with Wallace, the Reader will hopefully spark enough interest in his work to help some readers get over just how damned intimidating his writing can be. Judged purely from the outside, the lengthy parade (especially since his death) of critics and writers extolling Wallace’s genius plus the sheer girth of his books could easily sway casual readers away. It’s a shame, and if this Reader accomplishes anything, it would be wonderful if some new Wallace fans emerged from its publication. For Wallace fans, however, TDFWR is a chance to go back and read some of his most inventive and brilliant pieces, but more than that it’s an opportunity to reassess Wallace’s work, to judge it chronologically and thus progressively, and by doing so reacquaint one’s self to this incredible writer and thinker and person. And this is what I’d like to do now: use this beautiful new volume as a means of dissecting DFW’s entire oeuvre and trying to make some claims about his work as a whole. To wit: STRAIGHTFORWARD, NO-BULLSHIT THESIS FOR WHOLE ARTICLE The David Foster Wallace Reader features excerpts from all three of his novels –– The Broom of the System, Infinite Jest, and The Pale King –– as well as a sampling of his short stories – taken from the collections Girl with Curious Hair, Brief Interviews with Hideous Men, Oblivion –– and his essays––taken from A Supposedly Fun Thing I’ll Never Do Again, Consider the Lobster, and Both Flesh and Not –– and finally some examples of teaching materials Wallace used over his many years as a college professor at Emerson, Illinois State, and Pomona College. Viewed together, it’s impossible for me not to draw certain conclusions about the way Wallace wrote and the tools his used to meet his ends, and for me to lay all this out requires that we investigate his work through the lens of his nonfiction, at the center of which I believe we’ll find a key to Wallace’s technique and his philosophical goals, w/r/t literature and its purpose in the universe. The argument here is going to be that David Foster Wallace not only wrote about literature, lobsters, cruises, David Lynch, Roger Federer, grammar and John McCain, but he also wrote about writing about literature, lobster, cruises, etc. In nearly every published essay, Wallace first established the parameters of his project, the limitations of his assignment and even the crass, subtextual thesis of all book reviews. He dissected the very idea of reviewing a book, or covering a festival, or interviewing a radio host. In other words, Wallace wrote metanonfiction. Moreover, Wallace's complex mind and neurotic tendencies found their most successful (i.e. accessible and popular) outlet in nonfiction, and that although history may remember his novels and stories as his most important contributions to literature, his nonfiction is more successful in doing what he aimed to do with literature and more representative of who he was as a person and a writer. BRIEF INTERPOLATION VIS A VIS WALLACE'S FICTION I love Wallace's novels and short stories. For my money, Infinite Jest is a masterpiece, one that changed my perception of what fiction can do. "Good Old Neon" and "Forever Overhead" are two of the best short stories I've ever read. And The Pale King, I'll argue a little later, contained a mixture of Wallace's nonfiction style within it, an exciting yet sad revelation considering that it's the last of his fiction. I just wanted to make clear that I am not here to say that his fiction was difficult and therefore unredeemable. Rather, my contention here is that Wallace was not unlike an inventor who creates a new tool to assist in the creation of his latest device but whose tool sells better than his invention. 2. Basically, by the time of the publication of Signifying Rappers in 1989 (a book not excerpted in TDFWR), Wallace had already established certain tropes he would reuse and refine over the rest of his critical/journalistic career. Beyond mere stylistic elements, the main tropes are the way he employs an Ethical Appeal and how he becomes self-referential (a word he uses to describe rap as a whole) in the process; the other is his transparency w/r/t his approach, i.e., his seemingly involuntary tendency to tell you what he's about to do, essay-wise. Clearly these are postmodern techniques, but when you read this prose, it doesn't come across that way. Because without fiction's distancing Narrator, Wallace's voice seems simply honest and guileless and direct. He isn't trying to trick you into buying his authority; he isn't lying about his credentials; he isn't lying at all. He earnestly wants you to Trust Him, and he does so by explaining exactly what he's about to do. He just wants to be a regular guy, and if he has to destroy many conventions of nonfiction in order to do so, then so be it. A SPECIFIC EXAMPLE OF THE WAYS IN WHICH WALLACE'S POSTMODERN TECHNIQUE WORKS DIFFERENTLY IF NOT CONVERSELY IN FICTION AND NONFICTION, WITH A FURTHER ELABORATION ON ETHICAL APPEALS The main point here is that there is nothing implicit in a David Foster Wallace essay. Or, if anything is implicit, it's related to Wallace's approach, not his theses. In essay after essay, Wallace's directness remains. Just take a look at this passage, from early on in "Authority and American Usage": The occasion for this article is Oxford University Press's recent release of Bryan A. Garner's A Dictionary of Modern American Usage, a book that Oxford is marketing aggressively and that it is my assigned function to review. It turns out to be a complicated assignment. In today's US, a typical book review is driven by market logic and implicitly casts the reader in the role of consumer. Rhetorically, its whole project is informed by a question that's too crass ever to mention upfront: "Should you buy this book?" And because Bryan A. Garner's usage dictionary belongs to a particular subgenre of a reference genre that is itself highly specialized and particular, and because at least a dozen major usage guides have been published in the last couple of years and some of them have been quite good indeed, the central unmentionable question here appends the prepositional comparative "...rather than that book?" to the main clause and so entails a discussion of whether and how ADMAU is different from other recent specialty-products of its kind. The "question that's too crass ever to mention upfront" is, of course, stated here upfront. Wallace established the parameters of his essay directly, explaining not just what he's going to do but also how he's going to do it. In fiction, this kind of technique would certainly be considered postmodern. Think for a moment of the opening sentences of Italo Calvino's If on a Winter's Night a Traveler: "You are about to begin reading Italo Calvino's new novel, If on a winter's night a traveler. Relax. Concentrate. Dispel every other thought." Calvino (or, to be accurate, the Narrator) instructs the reader on how to read the book and what to expect from it. An opening like this in a novel jars a reader. We're reminded of the writer when we're not "supposed" to be, a reason many critics are dismissive of much postmodern fiction. But apply this same technique to an essay, and you get what amounts to a super successful Ethical Appeal, a tactic I want to argue is less postmodern and more sincere. Let's get back to "Authority and American Usage." In dissecting "how ADMAU is different from other specialty-products of its kind," Wallace focuses his attention on Garner's rhetoric. Since most usage guides are basically "preaching to the choir," they rarely include Ethical Appeals, which for Wallace "amounts to...a complex and sophisticated 'Trust me,'" which "requires the rhetor to convince us of his basic decency and fairness and sensitivity to the audience's hopes and fears." What is Wallace doing in the block passage if not establishing those same qualities for himself? It's the regular-guy stance, something Wallace was deliberate about evincing. In David Lipsky's book-length interview with Wallace Although Of Course You End Up Becoming Yourself, Wallace says, "In those essays...there's a certain persona created, that's a little stupider and schmuckier than I am...I treasure my regular-guyness. I've started to think it's my biggest asset as a writer. Is that I'm pretty much like everybody else." Yet Wallace was completely unlike everybody else. He was much, much smarter –– not just what he knew but how he thought –– but his prose glistens with "regular guyness:" his word choice and sentence structure, as well as his approach, which is to state everything upfront and proceed with intellectual caution. In the case of "Authority and American Usage," he does exactly what he's praising Garner for doing. He creates "a certain persona" that allows the reader to trust him: he asks "unmentionable" questions other reviewers would skirt; he establishes his knowledge of the genre (as in, e.g., his long footnote about being a "SNOOT"); and he tackles his subjects under the guise of being honest and direct, even about his biases. One must admit, though, that there's a bit of rhetorical sneakiness going on here. Wallace is brilliant in this way. He knows that he's too smart for most readers and that this intelligence will probably alienate them from his points. But instead of dumbing down his language (who, after all, would consider Wallace's prose to be "regular" in any sense?) or simplifying the subject, he acknowledges the inherent abstruseness or strangeness of the topic at hand. In his most famous essay, the hilarious “A Supposedly Fun Thing I’ll Never Do Again,” he opens by questioning the entire premise of the piece and stating outright this dubiousness w/r/t the magazine he’s writing for: A certain swanky East-Coast magazine approved of the results of sending me to a plain old simple State Fair last year to do a directionless essayish thing. So now I get offered this tropical plum assignment w/ the exact same paucity of direction or angle. But this time there’s this new feeling of pressure: total expenses for the State Fair were $27.00 excluding games of chance. This time Harper’s has shelled out over $3000 U.S. before seeing pithy sensuous description one. They keep saying––on the phone, Ship-to-Shore, very patiently––not to fret about it. They are sort of disingenuous, I believe, these magazine people. They say all they want is a sort of really big experiential postcard –– go, plow the Caribbean in style, come back, say what you’ve seen. By setting himself up as unequipped for the task, Wallace makes each of his numerous observations all the more earnest and agenda-less. He seems like someone a bit over his head trying to do the job he was assigned. But of course we know how the scales were really tipped, as how fair is it, e.g., for someone of Wallace’s intellectual acumen to scrutinize the ad-copy of a cruise ship’s onboard publicity? Moreover, Harper’s had to know that Wallace wouldn’t exactly enjoy himself on such an excursion, since by reading anything he ever wrote one could discern at the very least what I’ll call intense neuroses just utterly emanating from his pages. Put the author of “The Depressed Person” on a 7-day cruise filled with skeetshooting and buffets and conga lines and what he calls Managed Fun? Seems like a perfect combination, right? But somehow none of these obvious motivations for the piece come across in the finished essay. Instead, Wallace’s schmucky, regular-guy rhetoric works like gangbusters and we come to Trust Him wholeheartedly throughout, despite the fact that many of his neurotic tendencies are wholly his and not “like everybody else,” as when he becomes dreadfully afraid that the head Captain is conspiring to eliminate him via the crazy suction of the toilets. He’s neurotic as hell, yet we always grant him Authority. In his fiction, Wallace-as-Narrator is also neurotic as hell, and so are his characters. See Hal Incandenza's ritual of sneaking off by himself through elaborate tunnels to smoke weed; or the narrator of "Good Old Neon," who circularly explains how fraudulent he is, even when he's admitting that he's fraudulent; or the numerous men in the various iterations of "Brief Interviews with Hideous Men." Not all of his characters are neurotic, but most of the protagonists are. Many of his character's neuroses can be summarized by the flash fiction piece that opens BIWHM, entitled "A Radically Condensed History of Postindustrial Life:" When they were introduced, he made a witticism, hoping to be liked. She laughed extremely hard, hoping to be liked. Then each drove home alone, staring straight ahead, with the very same twist to their faces. The man who'd introduced them didn't much like either of them, though he acted as if he did, anxious as he was to preserve good relations at all times. One never knew, after all, now did one now did one now did one. The main point of his little riff is that our desire to "be liked" often gets in the way of real human intimacy. None of the three characters have an honest interaction. All they did was "preserve good relations," which might make a moment less anxiety-inducing but ultimately makes life pretty sad indeed. But the neuroses on display in his stories and novels are decidedly not metafictional. There are exceptions, of course: the terminal novella "Westward the Course of Empire Takes its Way" of Girl with Curious Hair takes place in an MFA writing program and parts of it "are written on the margins of John Barth's Lost in the Funhouse," a seminal work of metafiction; and “Good Old Neon” (the acronym of which would be, if we used the atomic name of neon, “G.O.Ne”) and Infinite Jest employ some autobiographical details but nothing we would go so far as to call meta. Mostly, his fiction is heady, involved, experimental, satirical, and strange –– but not meta. At least not in the same sense his nonfiction is. In fact, Wallace found metafictional techniques to be limited. In an interview with Larry McCaffery (quoted in Zadie Smith's essay on BIWHM), he says: Metafiction...helps reveal fiction as a mediated experience. Plus it reminds us that there's always a recursive component to utterance. This was important, because language's self-consciousness had always been there, but neither writers nor critics nor readers wanted to be reminded of it. But we ended up seeing why recursion's dangerous, and maybe why everybody wanted to keep linguistic self-consciousness out of the show. It gets empty and solipsistic real fast. It spirals on itself. By the mid-seventies, I think, everything useful about the mode had been exhausted…by the eighties, it'd become a god-awful trap. 3. That is, until The Pale King. (The brouhaha over the posthumous publication of this unfinished novel indicates to me what Wallace's legacy will be. A final collection of essays, Both Flesh and Not, was also published after his death, but it was met with much less fanfare.) Much of The Pale King consists of typical Wallace antics: mind-bogglingly longwinded descriptions of people's thoughts (read neuroses); conspiratorial upper-level managers discussing their tactics; long conversations that occur with little narrative description to go alongside them; interviews with the questions redacted to Qs; elaborate investigations into boredom; characters with ambiguous motives; a suggestion of plot rather than a relation, &c. Plus it contains some representative examples of the (oft-unremarked-upon) beauty of Wallace's prose, as in the opening (which is too long to quote here but I sincerely suggest you go check it out; it’s featured in TDFWR and it’s extraordinary). The astonishing power of this opening contains foreshadows for what's to come, but nothing that would indicate how truly radical (for Wallace) the novel would become. In one of the excerpts from TPK featured in TDFWR, we turn to an Author's Foreword, which begins thusly: Author here. Meaning the real author, the living human holding the pencil, not some abstract narrative persona. Granted, there sometimes is such a persona in The Pale King, but that's mainly a pro forma statutory construct, an entity that exists just for legal and commercial purposes, rather like a corporation; it has no direct, provable connection to me as a person. But this right here is me as a real person, David Wallace, age forty, SS no. 975-04-2012, addressing you from my Form 8829-deductible home office at 725 Indian Hill Blvd., Claremont, 91711 CA, on this fifth day of spring, 2005, to inform you of the following: All of this is true. This book is really true. Here, Wallace writes metafiction in the truest sense of the phrase: he literally steps into his own novel. Metafiction can take many forms, and many sophisticated examples don't actually require the novelist to become a character. Awareness of the novel as a text and referenced as such is all that's required of metafiction, but Wallace chooses to go the literal route. Of course, he can't do so without some meta-qualifications. He insists that this is "not some abstract narrative persona," distinguishing his meta-device from past iterations. He gets meta about his meta. What this amounts to is another kind of Ethical Appeal: he's assuring you that he, too, is aware of the metafictional convention but that he not up to those kinds of tricks. The opening of TPK is dense, descriptive and filled with arcane vocabulary. Its sentences are long and its purpose opaque. Whereas the Wallace-as-Narrator's prose moves very directly from the moment it starts. The syntax is simpler, its intention clearer. This is Wallace's nonfiction voice, which he rarely used in his fiction. Wallace believed, according to D.T. Max in his biography of Wallace, that "the novel was the big form, the one that mattered." More than that, Wallace was an unabashed moralist with a deep interest in human relationships (or lack thereof) in contemporary living. It's as if he didn't attribute as much creative importance to journalistic endeavors, despite his mastery of the form. Maybe Wallace would second William H. Gass’s note about his (Gass’s) nonfiction representing a “novelist insufficiently off duty.” At the very least, he kept his voices relatively separate. Allow me, for a brief pause, to back up that last claim, as I suspect many would disagree with the assertion. Here's a passage taken from Infinite Jest, in which Orin Incandenza decides to make the "extremely unlikely defection from college tennis to college football:" The real football reason, in all its inevitable real-reason banality, was that, over the course of weeks of dawns of watching the autosprinklers and the Pep Squad (which really did practice at dawn) practices, Orin had developed a horrible schoolboy-grade crush, complete with dilated pupils and weak knees, for a certain big-haired sophomore baton-twirler he watched twirl and strut from a distance through the diffracted spectrum of the plumed sprinklers, all the way across the field's dewy turf, a twirler who'd attended a few of the All-Athletic-Team mixers Orin and his strabismic B.U. doubles partner had gone to, and who danced the same way she twirled and invoked mass Pep, which is to say in a way that seemed to turn everything solid in Orin's body watery and distant and oddly refracted. Though this is quintessential Wallace, doesn't it sound a bit more like the opening passage of TPK than it does the meta section? A major development of Orin's life is explained here in a single sentence. Wallace in fiction-mode loved these kinds of periodic probing of a character's idiosyncrasies –– IJ is loaded with them. But the Wallace-as-Narrator in TPK uses a different (although undeniably similar) voice: In any event, the point is that I journeyed to Peoria on whatever particular day in May from my family's home in Philo, to which my brief return had been shall we say untriumphant, and where certain members of my family had more or less been looking at their watches impatiently the whole brief time I was home. Without mentioning or identifying anyone in particular, let's just say that the prevailing attitude in my family tended to be “What have you done for me lately?” or, maybe better, “What have you achieved/earned/attained lately that my in some way (imaginary or not) reflect well on us and let us bask in some kind of reflected (real or not) accomplishment?” It was a bit like a for-profit company, my family, in that you were pretty much only as good as your last sales quarter. Although, you know, whatever. (I apologize, by the way, for all the long-winded quotations, but Wallace isn't super-conducive to brevity.) So, there is still the same "regular-guyness" with his usage of colloquialisms like "the point is," "more or less," "pretty much," etc, and his final blasé conclusion: "Although, you know, whatever." But in a deeper way, this clearly is more aligned with the above-quoted passage from "Authority and American Usage" or “A Supposedly Fun Thing...” And that's what made TPK so special and promising and, consequently, so tragic. CONCLUSION –– AT LONG LAST –– IN WHICH WE RETURN TO WALLACE'S NONFICTION AND, PERHAPS, CONCLUDE A THING OR TWO All of which is to say that The David Foster Wallace Reader does a fantastic job of surveying Wallace’s work, and gave this enormous fan a chance to put my complicated thoughts on DFW on paper, to stop them (the thoughts) from swimming in my head like unhappy fish in a bowl and pick them out and set them free. To conclude: I agree with critic Michael Schmidt's assessment of Wallace's essays but not his novels, which Schmidt believes are "uneven." For Schmidt, Wallace "makes watching paint dry an exquisite protraction," and his essays "entail the lecture, the sermon, the review, the manifesto, and other genres." And also: He reinvents the form from within, using its own devices, the footnote and the syllogism in particular, and combining genres, bringing confession and review into play with "impartial" journalism whose evident objectivity yields potent satire. What is this but another way of saying he that he wrote meta-nonfiction? Here's how Wallace himself put it in Quack This Way, a book-length interview he did with Bryan A. Garner (whose usage manual was the subject of Wallace's "Authority and American Usage" essay excerpted above): "Well, but I do very few straight-out argumentative things. The stuff that I do is part narrative, part argumentative, part meditative, part experiential." Wallace dove inside the tropes of the essay and stretched them until they seemed new, like a restored Victorian home updated with every contemporary amenity yet remaining classic and beautiful and timeless. His greatest asset in the essays, though, wasn't his experimentation, his rethinking of the form, but what he described to David Lipsky as his "regular-guyness." Though he used this voice in his fiction, it is employed with much higher success in his nonfiction. But this wouldn't have meant a damn thing if the voice didn't lead to something extraordinary. The voice is the invitation; the actual stuff going on in the essays –– that's the magic. Schmidt characterizes Wallace as "a postmodernist with premodern values," and I think this is key to his writing. Wallace was a polymath, a genius, a postmodern wizard, but at heart he was almost naïvely optimistic, almost sentimental (something particularly clear in his famous Kenyon College commencement speech from 2005, also not included in TDFWR). Wallace accomplished something many critics of postmodernism never believed was possible: he used the "tricks" and "gimmicks" of postmodern technique in the interest of human connection. He did this in his novels, too, but less successfully, maybe in part due to his tendency to "impersonate what he describes, even when the subject is debased, vulgar, boring," as James Wood put it. But his essays were genuine attempts to work through the topic at hand, to explain his thinking process to the reader as thoroughly and truthfully as possible, with limited filters. He earned our Trust through rigorous ethos and followed through with staggering intelligence and wit. As The Pale King shows, he could have used these techniques in fiction to considerable effect, but we'll never know where he would have gone intellectually or creatively. We only have what he left behind. And we also know that he did, at least, achieve what were to him the greatest aims of literature: to connect, to challenge, and to make us feel less alone.
David Foster Wallace lives! How else could one explain the long-distance friendship that grew up between me and a person I have not yet met in person, and would probably never have known existed if it were not for our shared obsession with Wallace’s fiction? I am an anthropologist and filmmaker based at the Goeldi Museum of Belém do Pará in the Amazon region of northern Brazil, and got hooked on Wallace while reading Infinite Jest on the tiny screen of an iPod during an expedition to a Kayapó indigenous village. Caetano Waldrigues Galindo is a James Joyce specialist who teaches linguistics at the Federal University of Paraná in Curitiba, in southern Brazil, and who has just finished translating Infinite Jest into Brazilian Portuguese. Galindo kept a blog about the year-long translation process, a piece of Brazilian Wallaciana that was picked up by the Howling Fantods website and fan list-serve, Wallace-1 -- my haunt and halfway house ever since finishing IJ (though it is apparently not finished with me) -- and...Voilà. Companhia das Letras, Brazil’s premiere publisher of literary fiction and nonfiction, now part of the Penguin/Random House group, is bringing out a luxurious hard copy edition of Graça Infinita, Galindo’s Portuguese translation of Infinite Jest, on November 28. Companhia das Letras first introduced Wallace to Brazilian readers in 2005 with their publication of José Rubens Siqueira’s translation of Brief Interviews with Hideous Men. Galindo has translated more than 30 books in all, including James Joyce, Thomas Pynchon, Tom Stoppard, and Ali Smith, and is now busy on Wallace’s posthumous novel, The Pale King. To celebrate the release of Wallace’s landmark novel in Brazil, I conducted the following interview with Galindo -- still virtually, via email. But I hope to meet him in person, finally, at the official book launch, where I also plan to show a short samizdat-inspired film. David Foster Wallace is still among us, and his singular voice will soon be heard by millions of new readers in Brazil. Glenn H. Shepard: You seem to prefer translating works and authors that are not only essentially "untranslatable," but also notoriously verbose: Joyce, Pynchon, now Wallace. Are you a masochist, or do you just enjoy intense mental activity? Caetano W. Galindo: Well, apart from Ulysses, all I've done is translate what my editors give me to do. Ergo, I cannot be considered a masochist: they're the sadists! But yes, this is the kind of literature I like, and thus what I read -- and "write" -- best. I think my publishers have found this to their liking. And yes, I really do enjoy the acrobatics. It’s kind of like chess: it’s much more fun to play against someone who's better than you are, even though you may end up losing. I like being forced to reach, to face problems I would not have conceived myself. I enjoy trying to recreate puns, acronyms, styles-within-styles, multiple voices: you know, all the hard stuff. What can I say? Back to the masochism hypothesis... GS: How did you first learn about David Foster Wallace's work? What else of his have you read? Why did you decide to start with Infinite Jest? CWG: I got to know about IJ when I was deep in my Ph.D. thesis on Ulysses. It was a time in my life when I thought nothing post-Ulysses was worth the effort: I was a real bore back then! “Badness was badness in the weirdest of all pensible ways,” as good ol' Jim J. would have it. Then I heard about this huge book, and many people I respect said I should check out. And so I did. That was 2005. I got hooked. After that I read pretty much everything Wallace wrote, and everything people were writing about him. When I sat down to translate IJ, I had read the whole book twice, and was deeply familiar with Wallace's voice and “tricks.” As a matter of fact, my fascination with the book was probably what landed me the job as a translator for Companhia das Letras. André Conti, the editor at Companhia das Letras who kinda headhunted me for them, is a big Wallace fan. From the moment I was hired in 2008 we had this dream of publishing IJ in Brazil. GS: How long did the translation take? What was your daily routine? Did you keep your deadline? Did you ever reach a point where you thought you might give up? CWG: It took me one year, which is actually pretty fast, considering [Ulrich Blumenbach spent six years on the German translation]. I was only able to do it so quickly because of my previous familiarity with the book and with Wallace's writing in general. I did not have a daily routine: I'm a college professor, and that takes pretty much all my time. Whenever I could manage to get a few free hours I would go at it for some high intensity translation. During that year my mother also died, after a very long struggle with cancer. Looking back -- what with those final weeks in the hospital with her, and the time it took me to get back to real life afterwards -- I almost don't know when it was that I translated all those hundreds of pages. But then again, one way or another, this is true of every book I have translated. I begin not knowing how I will be able to do it, and end up not knowing how I was able to do it. But I did keep my deadline, with one week to spare. I never thought about giving up. Even in those days after my mother's death, the perspective of having this huge work to go back to was a real incentive. Kind of a reality booster, you know? And something else, as well: a kind of solace, I guess. The book helped me keep going... GS: Very sorry to hear about your mother: that must have been tough. What was the most difficult passage in the book to translate? CWG: Off the top of my head? Kate Gompert. It almost kills you, being inside her head for so long. GS: How did you deal with Wallace's erudite vocabulary? What about all that sketchy French? CWG: Well, I like words. Funny, strange, exotic words. I teach the history of the Portuguese language at the Federal University of Paraná. So I have deep...ish pockets myself in that department. The problem with the French, though...As a French major, I just couldn’t turn a blind eye to all the mistakes. At first I thought I might exert the prerogative Francis Aubert claims for the translator as “final copyeditor.” However, in the end, and after talking to Herr Blumenbach, I decided to leave the mistakes, not knowing what else to do. Was it intentional? Am I to decide? Let the reader sort it out. GS: What did it feel like to spend so much time, so deep inside such a complicated plot, and such a complicated mind? CWG: It was a fascinating process. And in this book in particular, the sensation of being "inside" someone's head (pun intended) is really overwhelming. I love the book even more today, after having unraveled and re-raveled its inner workings. I could feel the plot: I could almost touch it. But you have to remember I was not working on a regular daily schedule. When I could, I clocked 10 hours. But then, the next day, I wouldn’t have time to translate at all, since I would have papers to grade, or other things to write, or students needing help, classes to teach. I think that helped keep me safe. Wallace's (or Incandenza's) mind seems to be exactly what the book is: a beautiful labyrinth. Enchanting. But dangerous... GS: What do you make of IJ's notoriously indeterminate plot? Did your interpretations or understandings affect your translation? CWG: As for the plot: well, I'm a translator. The guy designs a labyrinth. I reproduce the design with my own bricks and mortar. It's not my job to point any ways out, if there are any! As a reader, I do have my interpretation, but that's not what matters. As I tell students all the time, the translator's job is not to find an interpretation, but to try and find all interpretations, and keep these possibilities open for this new reader who's going to have only the translation as a guide. But, back to plot, you basically follow the original steps. No biggie. There's one thing I regret, though. A student of mine, Ana Carolina Werner, pointed it out to me. The final two words of the book, referring to the tide being "way out," also suggest the possibility of exit, escape. But there was no way to keep this double entendre in the Portuguese. GS: How did Wallace's death affect you, and your understanding of his work? What was it like to spend a whole year channeling a wraith? CWG: Well, it was a huge shock, for me and for everybody. It was like Primo Levi, or that moment in Woody Allen's Crimes and Misdemeanors when the subject of the documentary (inspired by Levi) commits suicide. “How can this be?” The only man who seemed to be showing us, through all that was modern and new in his literature, a possibility for an old-fashioned answer to the great existential questions that have guided philosophers and writers for ages. And he kills himself. Probably everyone who reads this interview felt something similar. When I heard the news, I turned off my computer and played the piano for an hour or so, trying to empty my mind, or fill it with something else: I didn't know what to think. But back to the point: it does affect our reading. It would be a lie to say it doesn't. His literature is profoundly human, and profoundly personal, meaning that there is direct one-on-one involvement. You constantly feel like you are dealing with Dave himself, the person. All the scenes with Kate Gompert, the descriptions of pain, depression, pain...The fact of his suicide doesn’t clarify, it only makes it tougher. But it doesn't change the book’s potential. Because, in spite of personal "answerability" (to use Mikhail Bakhtin's word), he is not writing a memoir. He is creating worlds, characters, lives, and all that lives on, independently. It may change how we think of him, and of his relation to his subjects. But the book stands. About "channeling a wraith" -- Yes: a nice way to put it. In fact, it's not an easy expression to translate into Portuguese. But that's really what it was like. It felt very close, as if I were in his head. Or in Hal's, or maybe Jim's, but which were definitely inside his. I kept mourning, lamenting the fact that he was not there for me to write to him during the process. Even though I know he was not that keen on thinking about his translations. But I would have written. I wrote him a long letter once. Before. But I never sent it. GS: An independent Portuguese translation was published in Portugal prior to your own. Have you read it? How different is it from your own? Do you think Brazil warrants its own translation? CWG: I haven't read it, though I have talked to the translators. Very nice folks! A very competent job as far as I can tell -- they most kindly sent me their book. About the two translations: First, there is the problem with rights. You do not buy the rights for the Portuguese language as a whole, only for the country. So, officially I can't buy their translation in Brazil, and vice versa. Second, and perhaps more importantly, Anglophones should be reminded that the gap between European and Brazilian Portuguese is much wider than what you have between British and American English. As a matter of fact, I would be incapable of writing anything (translation or original) that would ever “pass” in Portugal as anything other than Brazilian vernacular Portuguese. Alison Entrekin, for instance, who is the greatest Portuguese-to-English translator alive today, is Australian and works for British and American publishers. I don't know anyone who could do that in both European and Brazilian Portuguese. GS: In the European Portuguese translation, the title is rendered as Piada Infinita, while you translate it as Graça Infinita. Explain. Doesn’t graça have mystical overtones, in the sense of religious grace? CWG: Well, that's the one I was afraid of...So here goes. First, there is the question of Brazilian versus European usage. Both piada and graça refer to jokes, or anything that is funny. But graça also has an extended meaning cognate with English “grace,” both in the sense of religious grace and physical gracefulness. In Brazil we have an expression, ‘não tem graça’, which means both “that’s not funny” but also, “that’s not nice”; there’s also ‘sem graça’ which means “awkward,” or literally “without grace.” Europeans use piada in almost exactly the same expression, não tem piada, “that’s no joke, that’s not nice.” So in Portugal, piada has a more extended range of meanings, somewhat like graça in Brazil, whereas piada in Brazil means only "joke." So we couldn't go there. Second, and perhaps more importantly, the expression "graça infinita" was used by Millôr Fernandes in his Brazilian translation of Hamlet. We were toying with the title Infinda Graça, which uses an older, more archaic word for "infinite," and which sounded good to my ears. But the Hamlet factor was a good argument, and we ended up with Graça Infinita. Finally, you are right, graça does sound religious-y. We didn't have that many choices to begin with, and I don't think this "mystical" undertone is wrong. Is it? There may be no “God” figure central to the novel’s narrative. But, sorry! I really do like this idea that the ineffable, the mystical (as good old Ludwig W. would have it) is always there, always lurking, always tempting. So I stand by our choice! GS: What about Infinite Jest do you think will appeal to Brazilian readers? Is there any Brazilian author who could be considered a "soul-mate" to Wallace, in some sense? Has Wallace exerted a notable influence on Brazilian literature? What Brazilian authors, contemporary or otherwise, would you recommend to Wallace fans? CWG: I think Graça Infinita (let me use my title, now that I’ve justified myself!) is of immense interest to anyone who is thinking about or wants to think about what it means to be a human inhabitant of this particular nook of world history. I hope readers in Brazil can see that, and can find in the book all it wants to communicate to us at this deep, human, level. As for a Brazilian “soul-mate”...well, here in Brazil, we have yet to arrive at such gargantuan hubris! Our best writers, right now, seem to be more concerned with short-ish studies. But we do have a new generation of very promising prose writers. Among them we find lots of readers of Wallace. People like Daniel Galera, Daniel Pellizzari. Wallace’s influence is felt in a number of ways. Wallace is probably the best prose stylist since Pynchon or Don DeLillo. But like both of them, he is also a deep thinker. And what he said, through his fiction and in his essays, is already a big influence on a whole generation of writers, even here. Brazilian authors I’d recommend? Hmm...There’s always the great Machado de Assis (I suggest Epitaph of a Small Winner)...João Guimarães Rosa, most definitely. The João Ubaldo Ribeiro of Viva o povo brasileiro. Someone more contemporary? The André Sant'Anna of O paraíso é bem bacana". Me... :) GS: Have you read translations of IJ into other languages? CWG: No. I'm only human! GS: What's next? Any plans to tackle Roberto Bolaño? CWG: I'm already at work on the musings of our nice friend "Irrelevant" Chris Fogle right now. My translation of The Pale King should be ready next year. But I’ll put that job on hold for the time being, because we want to publish a new translation of Dubliners, together with my own "Guide" to Ulysses for Bloomsday 2015. I may or may not translate Pynchon's most recent novel, Bleeding Edge. If my mentor and hero, the great Paulo Henriques Britto, is too busy, maybe I’ll get it. I'm hoping to do my fourth Ali Smith translation sometime next year. As for Bolaño: No: I don't translate from Spanish!
1. When Gabriel Garcia Marquez died in April, the general flow of eulogy settled on two interpretations of his legacy: in the first, as a titanic but essentially regional author (The Times obituary called One Hundred Years of Solitude “the defining saga of Latin America’s social and political history”); in the second, as a model for the diminishing novelties of subsequent magical realists, like Salman Rushdie and Isabel Allende. Fair enough. Garcia Marquez himself saw his style as fundamentally linked to the politics of his continent in his lifetime. (Correctly -- for example, nothing has ever better captured how important the theft of time must feel in a totalitarian state than the dictator who lives on and on for centuries in The Autumn of the Patriarch.) It’s also true that he gave license to a new kind of fabulism, unique in that it didn’t descend from Swift or Cervantes, and therefore didn’t depend on either satire or comedy to atone for the recklessness of its inventions. Those are narrow channels of influence, however, and there’s a third, untracked, more expansive reading of his work to make. It might go like this: he solved an essential problem of the novel; he arrived at a moment of crisis for the form and offered the warring parties a graceful way out of it; and if there’s a single novel that can claim paternity for the last 20 years of American fiction, it’s probably One Hundred Years of Solitude. 2. That book was published in America in 1972, and it was a sensation, critically and commercially, William Kennedy famously calling it, with un-Albanyish zeal, “the first piece of literature since the Book of Genesis that should be required reading for the entire human race.” (If you somehow haven’t heard of it, One Hundred Years of Solitude is the multi-generational chronicle of a Colombian family called the Buendias.) At the time, there was a battle afoot between two kinds of fiction. Writers like Jean Stafford and Michael Shaara, traditional realists, were winning the Pulitzer Prize, while the National Book Award, inclined toward a more radical approach, went to John Barth and William Gaddis, campus experimentalists grinding out the logical final steps of the project inaugurated by Borges, by Ulysses, Hopscotch, Albert Angelo. Each side loathed the other. Updike’s declaration about Thomas Pynchon -- “I don’t like the funny names” -- might as well stand in for the whole cultural apparatus that was committed to realism; on the other hand Barth’s foundational postmodernist essay “The Literature of Exhaustion” called realism “used up,” and Gaddis said that such writing “never takes your breath away...it’s for people who read with the surface of their minds, people with reading habits that make the smallest demands on them.” The great formal achievement of One Hundred Years of Solitude was that it treated the two positions not as antipodal but as dialectical. It satisfied the modernist commitment to narrative innovation in two ways, first in its compression and dilation of time -- what would become the hallmark of magical realism -- and second in its use of the fantastic, the twins who die at the same instant, the visitation of the ghosts, the glass city, Remedios being sublimated into heaven as she does the laundry. But Garcia Marquez made the ingenious decision to embed those moments of originality within the stubbornly enduring structure of the traditional realist novel, turning his book into a family saga by way of a dream -- Trollope by way of Barthelme. By doing so, he managed to defuse a central tension, one that had divided novelists since Hemingway and Joyce pitched their opposing camps. Of course, there were writers before Garcia Marquez who had blended the magical and the prosaic (Kafka, most famously) but none of them were perhaps as fully committed to narrative as Garcia Marquez seemed -- to story. Meanwhile, other writers across the world had the same impulse, many of them, interestingly, in totalitarian states, including Milan Kundera and Danilo Kis, but their books were being passed around in samizdat, not, as Garcia Marquez’s was, in suburban book clubs and city libraries. What makes One Hundred Years of Solitude a watershed moment of cultural history is that mix of plot, experimentation, acclaim, and popularity. That’s also why its influence has been so subtly pervasive. Many of our heaviest hitters -- Franzen, Wallace, Eisenberg, Tartt, Saunders, Chabon -- were born around 1960, and therefore came of age during the book’s ascendancy. Considered in that light, their debt to it seems plain, whether or not they would acknowledge it, whether or not they found the book stimulating, indeed whether or not they’ve even read it. The reason is that all of them play the same trick, filigreeing traditional realism with enough carefully selective post-modernism to claim its gloss of coolness -- but without the unfortunate consequence of making their work difficult to read. In The Adventures of Kavalier and Clay there’s the Golem of Prague; in The Art of Fielding there’s the self-consciously literary exhumation of the corpse; in The Corrections, there’s the magical device of Correctall, the pill that allows Chip Lambert to forget his anxiety and enter a state of dreamlike euphoria. (It’s a sign of our age how often American magical realism is pharmaceutical, after Franzen’s example -- the decision-making drug in Indecision by Benjamin Kunkel; the test subjects in George Saunders’s magnificent “Escape from Spiderhead.”) Fiction is an essentially conventional art form, most at home in the bourgeoisie, but its practitioners have -- quite rightly! -- never been at ease with that fact. The compromise at which we’ve arrived is that every book now has the credibility of the avant-garde within a Victorian structure. It’s more fun to claim the influence of John Hawkes than John Galsworthy; it’s more fun to read a book whose plot is patterned after Jane Austen than B.S. Johnson. 3. Unsurprisingly, the first American novelist to take the full implications of Garcia Marquez on board may have been our smartest one, Philip Roth. (It’s not a coincidence that he spent the 1970s publishing Eastern European novelists, and, as Roth Unbound described, sneaking money to them via illicit networks -- a fact that ought to shame the Nobel committee members who have claimed that American writers are unworthy of the prize because they’re too inward-looking, too insular.) His books The Counterlife and Operation Shylock were precursors of the great florescence of faux-mo novels in the 2000’s, using false flags and mirrored characters without their pace or urgency. The logical culmination of the trend is probably The Marriage Plot, which states the tension outright, dropping a college student who just wants to read 19th-century novels into the semiotics craze of the 1980s. At their weakest, these post-Garcia Marquez books have been kinetic without moving, emotional without evoking any real sensation, readable without deserving to be read. The novel of this type that comes to mind for me is Absurdistan by the sometimes terrific Gary Shteyngart, a disagreeable blend of absurdism and soft sentimentality. Michael Chabon, Jonathan Lethem, Junot Diaz, Jonathan Safran Foer, and Colson Whitehead can feel similarly limited by their very limitlessness -- their work at times too ironized for readers to treat its narrative seriously, but too committed to narrative to offer the sense of alienation, dread, and obliqueness we feel in, for example, Don DeLillo and William Gibson. The writer for whom cultural critics were so eager to give Garcia Marquez credit, Salman Rushdie, might be the least exciting of the bunch. The Pale King offers a glimpse of what David Foster Wallace’s pushback against his own trend might have looked like -- his reconnection with difficulty as a means of higher artistic consciousness. Recent Pulitzer Prize committees have waded into this fray again; books of high seriousness, eschewing the jokey gloss of the comic book generation, have won the prize, including three lovely but deeply conservative novels, Tinkers by Paul Harding, March by Geraldine Brooks, and Olive Kitteredge by Elizabeth Strout. How much does that matter? The painter Gerhard Richter has spent the last 50 years dissolving what previously seemed like a crucial distinction between figurative and abstract painting; is it possible that novelists, too, no longer need to declare a single allegiance? If so, the books that Garcia Marquez gave a generation permission to write, produced during the truce between fabulism and realism, may begin to look odd: artifacts of the historical moment they thought they were creating. One of the pieces of shallow wisdom people like to repeat is that every great book either creates or dissolves a genre, and sometimes it’s true. One Hundred Years of Solitude, though it hasn’t quite received credit for this, established the school of fiction we currently consider great. It’s up to some other genius to dissolve it.
Tom Nissley’s column A Reader's Book of Days is adapted from his book of the same name. Even before it became officially so in the United States, April has long been the poet's month. "April" (or "Aprill") is the third word of one of the first great poems in the English language, The Canterbury Tales, and the first word in The Waste Land, which does its best to feel like the last great English poem. April -- "spungy," "proud-pied," and "well-apparel'd" April -- is also the most-mentioned month in Shakespeare, along with its springtime neighbor May, and it has given a poetic subject to Dickinson, Larkin, Plath, Glück, and countless others. Why? Do we like its promise of rebirth, its green and messy fecundity? Its hopefulness is easy to celebrate -- and easy to cruelly undercut, if you're T.S. Eliot rooting his lilies in the wasteland of death. Eliot wasn't the only one a little tired of the ease of April's imagery. In 1936 Tennessee Williams received a note from a poetic acquaintance, a high school student named Mary Louise Lange who had recently won "third honorable mention" in a local literary contest. "Yes, I think April is a fine month to write poetry," she mused. "All the little spear-points of green pricking up, all the little beginnings of new poetic thoughts, all the shafts of thoughts that will grow to future loveliness." A few days later, Williams, oppressed by the springtime St. Louis heat, despairing of his own youthful literary prospects, and perhaps distracted by all those "spear-points" and "shafts," confessed to his diary that he was bored and lonely enough to consider calling on her: "Maybe I'll visit that little girl poet but her latest letter sounded a little trite and affectatious -- 'little spear points of green' -- It might be impossible." In our man-made calendars we often celebrate Easter and baseball's Opening Day this month, but the April date most prominent in our lives now is April 15, the American tax day since 1955. Lincoln, who died on that day, had Whitman to mourn him, but Tax Day found few literary chroniclers until David Foster Wallace's last, unfinished novel, The Pale King, which turns the traditional, eternal rhythm of the seasons into the flat, mechanical repetition of bureaucratic boredom. In the IRS's Peoria Regional Examination Center where Wallace's characters toil, the year has no natural center, just a deadline imposed by federal fiat and a daily in-box of Sisyphean tasks, a calendar that in its very featureless tedium provides at least the opportunity to test the human capacity for endurance and even quiet heroism. Here is a selection of recommended April reading, heavy on birth, death, and rebirth, and a little boredom: The Canterbury Tales by Geoffrey Chaucer (late 14th century) When you feel the tender shoots and buds of April quickening again, set out in the company of Chaucer's nine and 20 very worldly devouts, in what has always been the most bawdily approachable of English literature's founding classics. The Confidence-Man by Herman Melville (1857) It's no coincidence that the steamboat in Melville's great, late novel begins its journey down the Mississippi on April Fool's Day: The Confidence-Man is the darkest vision of foolishness and imposture -- and one of the funniest extended jokes -- in American literature. "When Lilacs Last in the Door-yard Bloom'd" by Walt Whitman (1865) and The Waste Land by T.S. Eliot (1922) Whitman's elegy, composed soon after Lincoln's murder and the end of the Civil War, heaps bouquets onto his coffin, and a livelier, more joyful vision of death you're not likely to find. You certainly won't in The Waste Land, written after a war equally bloody and seemingly barren of everything but allusions (to Whitman's funeral lilacs among many others). On the Road: The Original Scroll by Jack Kerouac (1951) The legend of On the Road's frenzied composition is partly true: Kerouac worked on the novel for years, but he really did type a complete, 125,000-word draft on a 120-foot roll of paper in three frenzied weeks in April 1951, a version finally published in 2007. "Letter from Birmingham Jail" by Martin Luther King (1963) and At Canaan's Edge by Taylor Branch (2006) April is both the month that King, jailed in Alabama in 1963, scribbled in the margins of newspapers an open letter to the white moderates of Birmingham who counseled patience toward segregation, and the month of his murder in Memphis five years later, a scene whose seven solemn pages close the final volume of Taylor Branch's 3,000-page trilogy, America in the King Years. Desert Solitaire by Edward Abbey (1968) Outfitted with trailer, truck, ranger shirt, tin badge, and 500 gallons of water, Abbey began his first workday, April 1, watching the sun rise over the canyonlands of Arches National Monument, the first moment recorded in this cantankerous appreciation of the wild inhumanity of nature. Slouching Toward Bethlehem by Joan Didion In the "cold late spring of 1967," Didion took her notebook and her eye for entropy to meet some of the young people gathering in San Francisco, where she diagnosed the end of the Summer of Love before it had even begun. Love Medicine by Louise Erdrich April in Erdrich's North Dakota is cold enough for the sudden blizzard that opens Love Medicine and buries June Kashpaw, who had stepped out into the snow in search of a man who could be different from all the rest. The Sportswriter by Richard Ford (1986) Beginning with a Good Friday reunion with his ex-wife on the anniversary of their son's death, Ford's indelible ex-sportswriter Frank Bascombe reckons with balancing the small, heart-lifting pleasures of everydayness with the possibilities of disappointment and tragedy that gape underneath them. The Age of Grief by Jane Smiley (1987) Smiley's early novella is still her masterpiece, a story of a family laid out by flu and a young marriage struggling to survive the end of its springtime that's as close to an American version of "The Dead" as anyone has written. My Garden (Book) by Jamaica Kincaid (1999) "How vexed I often am when I am in the garden, and how happy I am to be so vexed." Midway through life, Kincaid started planting in her yard in most "ungardenlike" ways, and her garden book is willful and lovely, made of notes in which she cultivates her hatreds as passionately as her affections. The Likeness by Tana French (2008) Ireland's French crafted an intrigue with equal elements of the Troubles and The Secret History in her second novel, in which Detective Cassie Maddox is seduced by the mid-April murder of a student who had been playing with an identity disturbingly close to her own. The Pale King by David Foster Wallace (2011) Don't expect a novel when you open up The Pale King, culled from manuscripts Wallace left behind at his suicide. Read it as a series of experiments in growing human stories out of the dry soil of bureaucratic tedium, and marvel when real life, out of this wasteland, suddenly breaks through. Image Credit: Flickr/Roger Sadler
[caption id="attachment_63964" align="aligncenter" width="570"] Lisa Anne Auerbach, "Let the Dream Write Itself," 2014. Wool, 63 x 80 in. (160 x 203.2 cm)Collection of the artist and Gavlak Gallery, Palm Beach. Copyright Lisa Anne Auerbach. Photograph by Lisa Anne Auerbach.[/caption] Paper is a star of the 2014 Whitney Biennial, as one critic put it. This is true as far as it goes, but it doesn't go far enough. A star of this show -- the star, in my opinion -- is what's on the paper. And what's on the paper is something that has been on a lot of museum and gallery walls lately, as we noted here early this year. That something is the thing we tend to think of as the domain of writers, not artists. That something is words. The current Whitney Biennial, like its precursors since 1932, tries to answer an impossible question: What is contemporary art in the United States today? Here's one answer: "Shape-shifting." That's the title of the catalog essay by one of this Biennial's three outside curators, Stuart Comer of the Museum of Modern Art. Comer writes that in making his selections for the show he was "compelled by artists whose work is as hybrid as the significant global, environmental, and technological shifts reshaping the United States." Nowhere is this crossbreeding more vividly expressed than in one of this Biennial's staples -- what Comer calls "the complex relationship between linguistic and visual forms." [caption id="attachment_63968" align="aligncenter" width="570"] Etel Adnan, "Five Senses for One Death," 1969. Ink and watercolor on paper. 11 x 255 in. (27.9 x 647.7 cm)Collection of the artist; courtesy Callicoon Fine Arts, New YorkPhotograph by Chris Austen[/caption] Consider his choice of Etel Adnan, an 89-year-old, Beirut-born, Lebanese-American artist who wrote a highly regarded novel, Sitt Marie-Rose, set during her homeland's brutal civil war. (She has also written poetry and essays.) A room at the Whitney has several of Adnan's bright paintings on the walls, looking down on a large vitrine that contains Adnan's accordion books made of long sheets of folded paper, known as leporellos. One is titled "Funeral March for the First Cosmonaut." Through a series of watercolor images and blocks of writing, it tells the story of Yuri Gagarin, the first human to journey into outer space. But Adnan's lovely book is less a celebration of technological achievement than a reflection on creativity and loss. "In the beginning was the white page," it opens, a chilling fact known to every writer. It goes on to describe Gagarin's achievement as "a requiem for the sound barrier." Another leporello, "Five Senses for One Death," conjures a whimsical world where "every Chevy calls me by my name." I want to go there. In his catalog essay, Comer calls the unfolding pages of the leporellos "a proto-screen, a kind of precursor to the laptops, smartphones, and tablets that increasingly dominate our lives, where the distinction between language and image continues to collapse and multiple surfaces and screens abut and fold into one another." He notes that Adnan's life and career are, like this Biennial, about breaking through boundaries. "I find myself gravitating toward artists like Adnan who are working with culture in a freer and more open-minded way -- not fighting so much against traditionally established boundaries as ignoring them, unwilling to define themselves as image-makers or writers, painters or sculptors or filmmakers, but working in the interstices of categorical distinctions." Many of the 103 participants in the show have chosen to ignore the traditional boundaries between linguistic and visual forms. (Happily, there is also a lot of straight-up painting here, along with sculpture, videos, and performances.) Artists whose works prominently feature written, drawn, painted, printed, or photographed words include David Diao, Carol Jackson, Philip Hanson, Steve Reinke, Karl Haendel, Martin Wong, James Benning, and Allan Sekula. There's an archive from the works of the boundary-shredding artist/writer/critic Gregory Battcock. Susan Howe has done something William S. Burroughs would have appreciated: She has taken fragments of poems, folklore, criticism, and art history, then cut and rearranged them, printed them on a letterpress, and laid the fragments on facing pages. "The bibliography is the medium," Howe says on a note card beside the paired pages. "(They) occupy a space between writing and seeing, reading and looking." Lisa Anne Auerbach, a Los Angeles-based artist, has stitched together a large woolen assemblage, an ebullient bath of thought bubbles that simply will not shut up. Like some yammering New Age shaman, it peppers the viewer with witticisms and dubious wisdom, such as "You're All About Going Deep," "The Sooner You Get To the Second Chakra, the Better," "Write It All Down," and "Let the Dream Write Itself." Auerbach has also produced sweaters that bear messages ("Touch Me" and "Everything I touch turns to sold/Steal this sweater off my back"), as well as a giant zine she calls "American Megazine." Move over, Barbara Kruger and Jenny Holzer. Of course these artists' bewitching use of words is nothing new. Artists have been using words as images for at least the past century (along with single letters, even entire alphabets), an appropriation of the writerly strategy of arriving at meaning through narrative. This Biennial adds to the body of evidence that the practice is accelerating and expanding. I have a theory why this is so. As the practice of writing on paper (everything from telegrams to letters to books to Post-It notes) is increasingly devoured by technology, words on paper are evolving from widespread tools of communication into the rarefied stuff of art. As things recede, they also expand. As a result, words are becoming as legitimate as the more traditional subject matter of painting, drawing, video and sculpture. Running parallel to this trend is a more capacious notion of what constitutes art. Or, as the great critic Holland Cotter put it, this Biennial demonstrates that "not-art" and "maybe-art" deserve a place at the table with "Art." Consider the room at the Biennial devoted to the independent publisher Semiotext(e), known for introducing French theory to the U.S. in the 1970s through the writings of Gilles Deleuze, Michel Foucault, Jean Baudrillard, and others. Now based in Los Angeles, it continues to publish works of "theory, fiction, madness, economics, satire, sexuality, science fiction, activism and confession." On one wall at the Whitney there is a selection of pamphlets produced especially for the Biennial, works by Simone Weil, Gary Indiana, and Chris Kraus, among others. Another wall is plastered with pages of Semitoext(e) books, flyers, and posters of events, including the Schizo-Culture conference at Columbia University in 1975. There's also a poster for a performance by Semiotext(e) author/performance artist Penny Arcade that presents her succinct CV: "Bitch! Dyke! Faghag! Whore!" For four decades Semiotext(e) has been as much a sensibility as a publishing enterprise, championing the mash-up of high and low that's now part of the culture's bedrock. But is all this verbiage "Art"? Absolutely. [caption id="attachment_63970" align="aligncenter" width="570"] David Foster Wallace, Page from The Pale King materials, “Midwesternism” notebook, undated. Manuscript notebook, 10 1/2 x 8 1/4 in. (26.7 x 21.0 cm)Harry Ransom Center, The University of Texas at Austin. Image used with permission from the David Foster Wallace Literary Trust.[/caption] The highlight of this Biennial, for me, is a smallish installation on the top floor, where a sheet of glass serves as a literal window into the mind of David Foster Wallace. After Wallace's suicide in 2008, Michael Pietsch, publisher of Little Brown, went to Wallace's studio in California to retrieve a trove of manuscript pages, hard drives, file folders, spiral notebooks, and floppy disks -- enough to fill a duffel bag and two Trader Joe's bags. Pietsch then spent two years stitching the material into the novel we now know as The Pale King. On display behind glass at the Whitney is a small but revealing fraction of that mass of material. There's a spiral notebook with kittens and the words "Cuddly Cuties" on the cover, along with a scrap of paper that contains the word SCENES. Another spiral notebook contains lists of characters' names, written in Wallace's spidery script. Another contains references that seem to refer to the novel's setting, an IRS office in the Midwest: "Bad Organization -- many different departments all organized around a central command." Here's another way of looking at the IRS: "A 'bad wheel' -- comprises hubs and spokes but no rim." Another notebook page contains a group of pencil scrubbings, reminiscent of a Cy Twombly scribble. Or maybe they were an attempt by Wallace to burn off excess energy. Or maybe just sharpen a pencil. Finally, on the wall above the window, there are two pages from a yellow legal pad that contain handwritten questions for the tennis star Roger Federer, the subject of a long article Wallace wrote for The New York Times in 2006. It became a classic of sports journalism and was included in his posthumous 2012 book of essays, Both Flesh and Not. As it happened, Wallace spent just 20 minutes talking directly with Federer for the article. But the questions reveal how hard Wallace prepared, how hard worked at everything he did, how much he cared. The questions also reveal a disarming directness, a necessary tool for any writer hungry to get all the way under his subject's skin: "Is your English good because it was spoken in your home?" "Does it make you uncomfortable when commentators talk on and on about how good you are?" "I've spent the last couple of days listening to the press and experts talk about you. When you hear people saying that your game is not merely powerful or dominant but beautiful, do you understand this?" There is also a bit of sly humor here. Wallace, like every writer, sometimes bridled against editorial control. He gives one list of questions a disparaging title: "Non-Journalist Questions: (Q's the Editors want me to ask)." Even a few years ago, it would have been unlikely for these marked pieces of paper to make their way onto the walls of a major American museum. Thankfully, things are changing. These pieces of paper are beautiful to look at and beautiful to ponder. They provide nothing less than a glimpse into a brilliant writer's mind at work. It's so intimate it almost feels like a trespass. Even so, I recommend it to anyone who's interested in how ideas become words, how words become literature, and how literature becomes art.
Ennet House Drug and Alcohol Recovery House 1. On the overcast morning of February 23rd, snow still on the ground, I embarked with the students in my Harvard undergraduate seminar on a walking tour of Cambridge and Boston. We began at Harvard Square, walked northeast to Inman, south along Prospect St. to Central Square, and took the “T” out to the Warren St. station in the Allston/Brighton area. We toured the grounds of the Brighton Marine Health Center, and carried on up the hill to the surroundings of St. Gabriel’s Monastery, closed since 1978. From there we gazed back down at the imposing Brighton High School, and beyond that surveyed a vista of the city, and the territory we had crossed. The occasion for this outing was the inaugural Infinite Boston tour, a journey orientated by sites and events described in David Foster Wallace’s 1996 novel, Infinite Jest. I borrow the phrase “Infinite Boston” from William Beutler’s website of that name, described on its homepage as “a limited-run essay series about the real-life Boston area locations” featured in Wallace’s novel. The site is choc-full of excellent photographs and illuminating descriptions of the various streets and spaces of the book. When confirmation came that I would be teaching “David Foster Wallace and his Generation” in the Spring semester, I contacted Mr. Beutler to see if he would be interested in leading an official tour. It turns out that he does not live in Boston, but in D.C. Instead, he kindly put me in touch with another Bill, Bill Lattanzi – Cambridge resident, playwright, science documentary maker, and part-time MIT professor – who undertook the pre-planning and did the honors in fine style on the day. I myself am not a native of Boston, or even of the U.S.: I am Irish-born, and hail from Dublin, a city inextricably bound up with another great twentieth-century novel, James Joyce’s Ulysses. Many visitors to my hometown are attracted by their reading of this modernist masterpiece – it’s a rare novel that can make a city famous, as a friend recently commented to me – and those cultural tourists are presented on arrival with a variety of tour options based on Joyce and his most famous book. A well-known quip about Ulysses has it that were Dublin to be destroyed, it could be reconstructed from the meticulous detail that makes up the novel. The same may not quite be true of Infinite Jest. The “metro Boston area” described in the novel is reconstructed in part as a future fantasia, and with the exception of Don Gately’s jaunty drive crosstown in a pimped-up Ford Aventura, no character comes close to covering the city as thoroughly as Leopold Bloom does in his perambulations. Nonetheless, Wallace’s vision, like Joyce’s, is significantly rooted in the vagaries and possibilities of place. This is something I came gradually to appreciate while living in Cambridge and re-reading Infinite Jest for our seminar. I have never thought of myself as having a particularly nuanced or consciously deep relationship to place. I don’t consider this a character flaw, exactly, more a trait that occasionally causes bemusement in me and mild exasperation in some of my friends, the more observant of whom might want to draw my attention to the contours of a street corner or an unusual pattern of plant life. In rural surroundings, I often find myself afflicted by the kind of gentle anxiety I imagine is common to the post-Romantic mind, whereby an abiding connection to nature is more regularly displaced by awareness of the absence of an abiding connection to nature. Even in cities, those hubs of the modernist spirit, I am capable of walking around lost in thought and the realm of ideas, barely recognizing the details small and large that make up urban life. This can be the case even upon visiting a city for the first time, when I should, in theory, be most open to fresh realities. But my natural affinity for theory over reality, for the ideal over the material, is probably what inspires the thing I like most about exploring a new city: studying and internalizing its representation on a map. Like some overly literalist version of the Marxist critic Fredric Jameson, I need a cognitive map before I can begin to appreciate fully the territory that has inspired its construction. This want of affinity for the materiality of place is no doubt a contributing factor to the kind of literary criticism I write. The essays on Wallace I have published to date, for instance, have discussed his work mainly in the context of the history of ideas. I have written on the new kind of sincerity embodied in Wallace’s fiction, on his use of dialogue to explore logical, political, and cultural ideas, and on the challenges posed by his fiction to the norms of contemporary criticism. What I lacked before coming to the U.S. was an appreciation of the rootedness of his work in a specific geography. Before living in Cambridge, in other words, I had experienced only how the map could shape the territory. Re-reading Infinite Jest, and participating in Infinite Boston, allowed me to see how the territory might conversely underpin the literary map. 2. This recurrent language of map and territory is drawn, of course, from Infinite Jest itself, and particularly the famous Eschaton scene that takes place at Enfield Tennis Academy. Our tour took place on a Saturday, and for class two days later we read a long stretch through the middle of the novel, beginning with Eschaton and culminating in Gately’s brutal fight with the Canadian gangsters that occurs outside the novel’s other primary institutional site, Ennet House Drug and Alcohol Recovery House (sic). At nearly 300 pages, this constituted approximately twice the usual reading for a class, the previous week’s meeting having been annexed by Presidents Day. In conjunction with Infinite Boston, however, these sections of the novel provided much food for thought and classroom discussion on the question of place. Eschaton is “an atavistic global-nuclear-conflict game,” but one renowned among the students who play it for its theoretical purity. It takes place on four contiguous tennis courts, which, as one of my own students put it in his mid-term paper, “represent a concrete war territory but are themselves only theoretical in nature.” This fragile distinction between theory and reality – an opposition that, owing to the representational quality of the Eschaton game itself, does not fold neatly onto map vs. territory – comes under pressure when snow begins to fall during the game. In response to the young participant JJ Penn’s suggestion that the snow should alter the calculations that constitute the game’s action, Michael Pemulis, an older student and “sort of eminence grise of Eschaton,” is apoplectic: “It’s snowing on the goddamn map, not the territory, you dick!” Pemulis might well be clear in his own mind on the rules, and on the necessary axioms that allow for the rules to apply – “Players aren’t inside the goddamn game. Players are part of the apparatus of the game” – but all this “metatheoretical fuss” is both negated and sublated when Evan Ingersoll attacks Ann Kittenplan with a direct hit that he also claims is a strike against the world superpower she represents. Of course, Wallace is drawing attention here to the unreal idealities of global nuclear conflict during the Cold War, where game theoretic strategies often took precedence over the lives and concerns of real human beings. But the Eschaton scene is also a comment upon the role of fiction itself as a form of representation that takes the world as its object without becoming identical with it, or even being tied to it. The fact that real events such as falling snow and inter-player fights can “threaten the game’s whole sense of animating realism” tells us something important about the artifice of realism, but it also tells us something about place, and how it gets transmuted into fiction. In his entertaining new preface to the just re-published Signifying Rappers – wherein I learned that some of my favorite haunts in Cambridge were also David Wallace’s back in the summer of 1989 – Wallace’s co-author Mark Costello offers one reading of the way place fed into his friend’s writing in that book: “There’s a bounce in the prose that captures some of the fun, god-damnit fun, to be found around Boston that summer.” This sentiment locates the affective quality of place in the experience of the writer himself: a fun time generates bouncy prose. But the “elegant complexity” of the Eschaton scene teaches us that there are also other, and perhaps more interesting, ways to consider the relationship between writing and place. In Wallace’s personal library held at the Harry Ransom Center in Austin, Texas, there is a book called A Place of Sense: Essays in Search of the Midwest. A collection edited by Michael Martone, it dates from 1988, and Wallace might have encountered it soon after its publication or later in his career. If his markings are to be our guide, however, it seems clear that Wallace only ever read one essay from the book. This is the contribution by Martone himself, a short meditation entitled “The Flatness.” On the opening page, Wallace underlines some isolated words and phrases, but the only full sentence he marks is the third one: “The geometry of the fields suggests a map as large as the thing it represents.” This sounds, of course, like a Borgesian idea, and Wallace was a committed fan of Borges: in a review of a biography of the Argentinian author, Wallace called him “one of the best and most important fiction writers of the last century.” Nonetheless, the metaphysical conceit Martone invokes is in this case simply the precursor to a more aesthetic conceit, one that clearly attracted Wallace’s attention. Five pages later, in the final paragraph of the essay, he underlines the following sentences: “I grew up in a landscape not often painted or photographed. The place is more like the materials of the art itself – the stretched canvas and paper.” Beside this, Wallace writes in the margin, “Not object but medium.” Place not as the object of art, but as its medium. If we take this complicated idea seriously, then the “bounce in the prose” inspired by the writer’s subjective experience of place becomes supplemented, and even transcended, by a stronger claim to the centrality of place as the objective medium for art. And a medium is not only the canvas or paper on which art gets created; it can also be, as Marshall McLuhan informed us, the message itself. Moreover, for an advanced artist like Wallace, the medium is what provides the norms and characteristics whose exploration and expansion become part of his project, become part of what his art is attempting to articulate and express. Here the Boston of Infinite Jest (and its Midwestern counterpart, the flat Peoria of The Pale King) becomes the medium without which there would be no message, becomes the real boundary that limits but also enables the acts of the artist’s transformative imagination. 3. As we traveled from stop to stop on the tour, Bill alternated his commentary among relevant anecdotes from Wallace’s biography, his own reminiscences from 1980s Cambridge, and passages from Infinite Jest. Outside the Cambridge Hospital, he read aloud the scene of Poor Tony Krause’s post-seizure release back into the world. On the green line from Park St. to Warren St., I read the passage about Mike Pemulis’s drug run to obtain samples of “the incredibly potent DMZ” (the reactions of the train’s non-affiliated passengers remain unrecorded). Standing in the grounds of Brighton Marine Health Center, the students took turns reading the novel’s descriptions of the “seven exterior Units on the grounds of Enfield Marine Public Health Hospital.” Here we could remark on Wallace’s imaginative fervor in inventing the grim activities of the various Units – #1 treats “Vietnam vets for certain very-delayed stress disorders,” #4 houses “Alzheimer’s patients with VA pensions,” #5 is a home for catatonics – and simultaneously test the accuracy of his descriptions of the “seven moons orbiting a dead planet” against the realities of the place that inspired those descriptions. All of these buildings we could see for ourselves, in other words, so that characters’ movements could be imagined, and their sightlines reconstructed, with a new awareness of the possibilities the place provided. Bill and I had agreed in advance that we should end the morning by each choosing a favorite passage from the novel to read. Bill selected the scene of Mario Incandenza’s nighttime walk down the Enfield Hill to the grounds of Ennet House. When I sat down the following evening to finish the reading for class, I found myself entranced as never before by this scene, which directly precedes Gately’s fight. In keeping, perhaps, with my relative obliviousness to place, I don’t consider myself to have much of a creative visual imagination as a reader (something my fiancée likes to poke fun at me for), and so having a clear picture of Ennet House from the day prior enriched my experience in unanticipated ways. With the “real” Ennet House in my mind’s eye, I could better appreciate Mario’s warm feelings for the “crowded and noisy” authenticity of the halfway house, a place “where people are crying and making noise and getting less unhappy, and once he heard somebody say God with a straight face and nobody looked at them or looked down or smiled in any sort of way where you could tell they were worried inside.” I could see the darkness surrounding the buildings, the lights illuminating the residents of the house, the ramp on which they go outside to smoke, Mario smiling grotesquely but tenderly as he and his police lock stand tilted forward on the cusp of the hill. For my own concluding contribution to the tour, I chose a more ostensibly abstract passage, which I read aloud as we stood on the hill by the old monastery, overlooking the high school and the city: Schtitt’s thrust, and his one great irresistible attraction in the eyes of Mario’s late father: The true opponent, the enfolding boundary, is the player himself. Always and only the self out there, on court, to be met, fought, brought to the table to hammer out terms. The competing boy on the net’s other side: he is not the foe: he is more the partner in the dance. He is the what is the word excuse or occasion for meeting the self. As you are his occasion. Tennis’s beauty’s infinite roots are self-competitive. You compete with your own limits to transcend the self in imagination and execution. Disappear inside the game: break through limits: transcend: improve: win. Which is why tennis is an essentially tragic enterprise, to improve and grow as a serious junior, with ambitions. You seek to vanquish and transcend the limited self whose limits make the game possible in the first place. It is tragic and sad and chaotic and lovely. All life is the same, as citizens of the human State: the animating limits are within, to be killed and mourned, over and over again. I don’t necessarily think that Wallace agreed with Gerhardt Schtitt’s analysis of tennis or of the self. The German coach’s “Old World patriarchal” values retain a whiff of fascism, something the capitalization of State alludes to here. Schtitt’s neo-Hegelian understanding of the relationship between self and other also denies the true existence of another who is not simply the occasion for meeting the self; this position is uncomfortably close to what Wallace will elsewhere say he most fears, the trap of solipsism. Nevertheless, when it comes to emotionally affecting passages of philosophically inspired prose, Wallace has few equals in literary history. It is difficult for me to read, even silently, those closing sentiments – “It is tragic and sad and chaotic and lovely. All life is the same...” – without being moved both intellectually and emotionally, without having my head throb heartlike, as Wallace suggested to his editor Michael Pietsch he wanted to achieve with Infinite Jest. What finally interests me most about this passage, however, is the discussion of boundaries and limits it contains. One of Wallace’s most profound historical projects involved trying to convince his generation of Americans that they needed to revalue and reestablish boundaries; rather than individual freedom inhering in a lack of restrictions, limits could be understood as animating and enabling. The boundaries of a game, and the boundaries of a self, were clearly two kinds of limits that fascinated Wallace. But there are also the boundaries set by the tennis court itself, the medium through which this particular confrontation with the truth of limits occurs. It might be, then, that the most enabling boundaries for any writer are the boundaries of the places he or she inhabits and knows well, real territories transmuted in the writer’s mind into maps of new territories that are then opened for exploration by readers. It is a well-established fact about Wallace that forging a connection between writer and reader was for him a central aim. I have found, as a reader of Wallace, that this connection can be deepened and extended by a trip around the Boston of Infinite Jest, the writer’s canvas, his territory, his map and his medium, all at once.
1. I saw an interesting conversation on Twitter the other day. A book critic I know was struggling with the question of how to convey, without being a jerk about it, the unfortunate truth of the book she was reviewing: it was too much like too many other books, which is to say, written in a style she referred to as “standard-issue MFA.” Someone came up with the impressively diplomatic “technically proficient, but never quite rises beyond the realm of the expected.” I disagree with the reviewer's implied dismissal of MFA writers, but I knew what she meant. I read a lot of books that are too much like other books. My personal belief is that American publishers have a tendency to over-publish, and that there would be a little less mediocrity out there if the focus were to shift in the direction of smaller lists with better marketing support. But, on the other hand, it’s possible that the existence of a vast realm of the expected in literature is inevitable. By definition, obviously, only a few of anything in any given category are going to be exceptional. Most drivers are only average drivers; most lawyers are only average lawyers; most books are only average books. Still, though. Setting the matter of inevitability aside, the sea of expectedness can wear on a person. Books arrive on my doorstep almost daily. Almost all of them are perfectly competent, writing-wise, and all are heralded by their respective publicists as something excellent and truly unusual. The books arrive faster than I can read them, an ever-rising tide of padded envelopes. Of the ones I do find the time to read, I write reviews of perhaps one in 10, and it isn’t because the other nine are of such shattering brilliance that I find myself dumbstruck. It’s because competence isn’t enough. Like almost every other reader I know, I am always searching for books that aren’t like other books. I want to read the books that aren’t standard-issue anything. 2. Lars Iyer has written three novels to date, a trilogy, and they are entirely unlike anything else I've ever read. Spurious, Dogma, and Exodus are concerned with a years-long conversation and a peculiar friendship between two British philosophy lecturers: Lars (“Not to be confused with me,” the British author and lecturer in philosophy Lars Iyer said at a reading in Manhattan last year) and fictional Lars’s friend and tormentor, W. (not to be confused with the non-fictional Lars’s real-life friend and tormentor, W., non-fictional Lars said.) The Lars and W. of these books are on an endless quest for meaning, for one truly original thought, for a leader, for better gin. But all of these things are secondary to the central tragedy of their lives, summed up beautifully in Exodus: Oh, he has some sense of what we lack, W. says. More than I have, but then he's more intelligent than I am. He has some sense that there's another kind of thinking, another order of idea, into which one might break as a flying fish breaks the surface of the water. He knows it's there, the sun-touched surface, far above him. He knows there are thinkers whose wings flash with light in the open air, who leap from wave-crest to wave-crest, and that he will never fly with them. Iyer’s books, Drew Nellins wrote in a review of Dogma on this site last year, are “certainly not for everyone. In fact, I fear that relating to these characters might be a warning -- the fading canary in the mental health coal mine.” This seems disconcertingly possible. I've pushed these books on various friends and family members, with admittedly mixed success. Lars and W. take it as a given that end times are upon us, that almost no one cares about great thinkers or great thought, and that civilization is on the verge of collapse, if it hasn't in fact collapsed already. The books have a peculiar, almost dreamlike rhythm. Very little actually happens. The first, Spurious, was very funny, in a the-world-is-ending-but-let’s-go-find-some-better-gin kind of way: W. remembers when I was up and coming, he tells me. He remembers the questions I used to ask, and how they would resound beneath the vaulted ceilings. —’You seemed so intelligent then’, he says. I shrug. ‘But when any of us read your work…’, he says, without finishing the sentence. By Dogma, a much darker current had risen to the surface. An acquaintance of mine wrote in an email that he found it quite different from Spurious: “Less funny, more incantatory, maybe more paranoid. By the time I got to the end of it, I felt like it was almost some bizarre book of Revelations." There were funny moments in Dogma, a few, but there were also a great many lines like these: “His crops have failed, W. says, as they have always failed, and he stands in the empty field, weeping.” And: “It’s time to die, says W. But death will not come.” “We need novels forged in the black fire of despair,” Lars Iyer said, in an interview at Full Stop a year and a half ago. “Personal despair, political despair, even cosmic despair. Novels shot through with a sense that the end is nigh, that all our efforts are in vain, but that we might at least laugh at our predicament. Laugh -- but with a laughter as black as the forces that we laugh at.” 3. In Exodus, Iyer strikes a less despairing tone. The world is still ending, obviously, and capitalism has mangled the academy beyond recognition, but the quest for meaning continues. Lars and W. long as always for revelation. ("'Go on, say something profound,' W. says to the plenary speaker.") Lars (the fictional Lars; I’m in no position to comment on the real one) came late to academia. He was unemployed for a long time, years, and also there was a long period when he worked in a warehouse. There are moments when W., remembering this, considers Lars with a kind of awe: What vacancies I have known! What boredoms! What diffuse despairs! The everyday still clings to me like bits of shell to a hatching chick, W. says. It’s why, in the end, he has a kind of respect for me. For isn’t the everyday the contemporary equivalent of the Biblical desert? I read this passage twice, fold the page so I can find it again, draw a little star in the margin. 4. While we’re on the topic of the desert of the everyday, let’s briefly give the floor to David Foster Wallace. In The Pale King, an instructor in taxation addresses a class of future IRS agents: "Gentlemen," he said, "...here is a truth: Enduring tedium over real time in a confined space is what real courage is. Such endurance is, as it happens, the distillate of what is, today, in this world neither I nor you have made, heroism. Heroism." 5. But if it takes a certain courage to withstand the everyday -- the hassles, the lines, the tedium of your job, that recorded voice insisting unconvincingly that your call is very important to us, the Muzak, the stalled subway trains, the car with the dead battery, etc. -- surely it takes considerably more courage to refuse to surrender to it, to insist on searching for meaning even at the personal risk of looking ridiculous, perhaps even to insist on a modicum of grace. Enduring the everyday is relatively straightforward -- just keep breathing and putting one foot in front of the other -- but how to transcend the everyday, in this world neither you nor I have made? It’s a pressing question, both in general and in Exodus, where W. and Lars are up against the enemies of thought and teetering on the cliff-edge of unemployment in a world that's come to view the study of philosophy with indifference, if not outright hostility. Humanities departments are being gutted. W., in fact, is the sole survivor of the philosophy department at his institution, owing to some obscure legal technicality that’s rendered him immune to layoffs. He has been reduced to teaching badminton ethics to sports science students who arrive in class with towels around their necks. His colleagues wear tracksuits to work, and have whistles around their necks, W. says on the phone. He can see them doing star-jumps outside his window. He finds it oddly hypnotic, he says. It soothes him when he looks up from his reading. Things are no better at Lars’s university. Lars’s university is a construction zone. (“They’re rebuilding the campus, I tell W. They’re putting up new office blocks for the private partners of the university.”) Trees are being shredded to make way for corporate offices. There are trucks everywhere. Construction continues day and night. The racket is relentless. It’s very difficult to concentrate. Obviously, the only reasonable short-term solution is a lecture tour. But civilization as they know it is changing just as obviously in the cities as it is on campus: Manchester’s completely changed, I tell W., as we walk from the station. I hardly recognize the place. When did it happen? How did it happen? We must have been asleep. We must have forgotten that the world was changing. We’ve been outflanked, we agree. Outrun. We've all been outflanked, really. There was a time when books were much more central to the culture than they are now. How to transcend the everyday? Excellent literature helps. Exodus is an elegant and beautifully-written conclusion to a wholly original trilogy.
Because of an illegal u-turn en route to this year's Los Angeles Times Festival of Books, I found myself enrolled in online traffic school this summer. The course required that I pass a series of quizzes, all of them simple, before proceeding to the final exam. The whole thing could have taken less than a half-hour, but because this wasn't solely a rehabilitative affair, I had to watch a timer click down 40 minutes before I could move on to the next quiz, turning 30 minutes of work into seven hours of inconvenience. I had already read the beginning of Zona, Geoff Dyer's meditation-cum-liveblog of Tarkovsky's Stalker, but I knew I'd have to see the film before proceeding further. So, pre-loaded with some idea of where Dyer was headed, I watched Stalker in 40-minute chunks on YouTube, while waiting for the next traffic school quiz to appear. Anyone who cares in the least about film, film history, Tarkovsky, artists and their intentions, or high culture in general, probably wants to poke me in both eyes with a sharp stick right now. I might as well have been reading Ulysses while directing traffic. And yet the film worked its magic on me, much as it had worked its magic on Dyer, when he first saw it in his youth (in more traditionally ideal conditions). I devoured Zona soon afterwards, and I can only describe the experience as getting to re-watch a brilliant film in my mind, this time seated next to a highly voluble and intelligent friend. A unique reading experience, and one I'm grateful for. Other than my traffic school experience, I can divide my reading year into the periods before and after I read Sarah Manguso's spare and penetrating The Guardians: An Elegy. It floored me. Bracingly smart, moving, and sometimes very funny, this slim volume charts Manguso's relationship with her friend Harris, who two years earlier escaped from a psych ward and jumped to his death under a Metro-North train. In so doing, it exemplifies how writing can serve as both bulwark against and passage into life's vicissitudes. This year I also read The Pale King by David Foster Wallace, a book about which every writer known to man seems to have volumes to say. Not me. It left me inarticulate and emotional, as if I'd been zapped back in time to the broodiest moments of my childhood. I expect to spend the rest of my life staring across vast space at Wallace's unfinished Death Star, wondering “What if?” More from A Year in Reading 2012 Don't miss: A Year in Reading 2011, 2010, 2009, 2008, 2007, 2006, 2005 The good stuff: The Millions' Notable articles The motherlode: The Millions' Books and Reviews Like what you see? Learn about 5 insanely easy ways to Support The Millions, and follow The Millions on Twitter, Facebook, Tumblr.
We spend plenty of time here on The Millions telling all of you what we’ve been reading, but we are also quite interested in hearing about what you’ve been reading. By looking at our Amazon stats, we can see what books Millions readers have been buying, and we decided it would be fun to use those stats to find out what books have been most popular with our readers in recent months. Below you’ll find our Millions Top Ten list for November. This Month Last Month Title On List 1. 1. A Naked Singularity 6 months 2. 3. This Is How You Lose Her 3 months 3. 2. Every Love Story Is a Ghost Story: A Life of David Foster Wallace 4 months 4. 6. Object Lessons: The Paris Review Presents the Art of the Short Story 2 months 5. 4. NW 3 months 6. 5. Telegraph Avenue 3 months 7. - Both Flesh and Not 1 month 8. 7. Gone Girl 4 months 9. 10. A Hologram for the King 4 months 10. 9. The Patrick Melrose Novels 6 months With our November list, A Naked Singularity by Sergio De La Pava is enjoying the final month of its miracle run at the top before graduating to our Hall of Fame next month (don't miss Garth Hallberg's profile of De La Pava before it goes). A Naked Singularity will join Hilary Mantel's Bring Up the Bodies, as the Booker winner, which has just been inducted Mantel's first Thomas Cromwell book, Wolf Hall, is now also a Hall of Famer. Moving up to number two on the list, Junot Díaz's This Is How You Lose Her (our review) continues its climb, surpassing D.T. Max's biography Every Love Story Is a Ghost Story: A Life of David Foster Wallace. Wallace looms large on our list as his posthumously published collection of essays Both Flesh and Not debuts at number seven. The book is the third by Wallace (after Infinite Jest and The Pale King) to appear on a Millions Top Ten list. The new Paris Review anthology is another big mover, hopping two spots in its second month on the list. We've got an interview with one of the editors. Near Misses: The Fun Stuff: And Other Essays, The Fifty Year Sword, The Round House, Billy Lynn's Long Halftime Walk, and Tiny Beautiful Things: Advice on Love and Life from Dear Sugar. See Also: Last month's list.
1. It's 4:30pm and I'm at a desk on the nearly windowless fourth floor. I sit surrounded on all sides by shelves I can’t see over and I'm willing myself, I’m determined, not to cry. When you catalog an archive, you might imagine that there's a set of strict rules and guidelines that will make it clear how, precisely, to organize, separate, and label materials. You might imagine that there's a rubric or handbook of some kind that you can wield against the utter chaos of thousands of sheets of paper arranged in no perceptible order. Stacks of paper barely contained by their binder clips and enormous red rubber bands, stacks of paper that weigh a ton, stacks of paper that all look the same. I am the cataloger of David Foster Wallace's final work, The Pale King, and I'm here to tell you that in cases like these, the rules will only get you so far. It isn’t long before the careful methods of the archivist start to look feeble against the mass of information I’m trying to contain. The more likely truth is that you've never once imagined anything about the cataloger's job. This job is an invisible one. An archive like the Harry Ransom Center is so viscerally structured that it seems governed by something inhuman. The impression of perfection you get from its rows of gray manuscript boxes filled with numbered manila folders and clean, soft, white sleeves seems impossible, mechanized, sterile. It's like some kind of hospital, and the patients are sheets of paper in various states of health, but the bed linens are always the same blinding degree of white. There doesn't, at first glance, appear to be any human involvement in the archiving process. My handwriting on each of the folders of The Pale King materials — small, slanty, usually a hair off center — is the only giveaway. I’m a graduate intern at the Ransom Center and I had the unexpected opportunity to dive headfirst into the most recent installment of David Foster Wallace’s papers. I also happen to be a reader and a scholar of his work, so this project intrigued me. That’s an understatement. I’ve worked extensively in the collection as a PhD student in the UT English department and I’ve presented papers on marginalia in his book collection. The chance to catalog the Pale King came up while I was writing a master’s thesis on Wallace’s Midwest, and I jumped at it. Everyone warned me that cataloging is an extremely dull, painstaking process, that the cataloger is required to operate as more machine than human. (I expected that it would be especially boring, considering I was cataloging a book about boredom.) And, I’ll be honest, much of it was slow and repetitive. But as I worked my way through the materials, something about this archive hit me right in my most human part. I found myself unable to operate as either cool cataloger or curious scholar. Without my realizing it, reading and sorting the collection took me way deeper into emotional territory than I tend to go. It’s hard for me even to explain. It seems like I might as well say, here at the outset, that mine is not the voice, the type of voice, most heard in the realm of written commentary on David Foster Wallace and his work. David Foster Wallace is a boys’ club. Ask anyone. Many others will have a lot of things to say about this set of papers. I expect to read comments from the members of the Wallace-l listserv, from certain reporters and bloggers, from the scholars I know, from the writers who always have something to say when it comes to Wallace. Most will be men and some will fit stereotypes that I don’t need to describe. Don’t be surprised if my take sounds a little different. 2. I begin with a delicacy that is paralyzing. I fear getting anything out of order, out of place. I fear removing the rubber bands, the paper clips, the numbered Post-it notes. I’m distinctly aware that if I mess up, if I lose the order, the order is lost. That if I damage anything, there is no replacement. This is always the tricky, taxing part of archival work. The sense of responsibility is kind of overwhelming. I have to take out all the staples I find, because they make the paper deteriorate faster. Staples take me about five minutes each, using a thin metal wand, hands shaking. The process feels unnecessarily violent. This collection is more than a decade’s worth of amassed writings — on tablets, notebooks, reused stationary, on floppy discs I recognize from an era long past, on identical pages printed and reprinted — belonging to a writer whose method appears to be mindful anarchy. An elaborate spreadsheet accompanies the cartons when they arrive. It’s the one that Little, Brown editor Michael Pietsch used to compile the wreck of pages into the thing we know of as The Pale King. I study it diligently, but it doesn’t really help to find a way into the chaos. I’ve read the book three times by the time I begin to catalog it, so I feel like I should know my way around. Still, I follow the spreadsheet like a map and I hew to the physical order in which the sheets arrived. One of the itemized lists I read indicates that this is the order in which they were found. There are phrases like “From his desk”; “From his wire basket.” The visual landscape of a workspace emerges. I’m struck by the physicality and the ordinariness these phrases suggest. It doesn’t take long for me to feel strangely connected to the things I’m reading, to the drafts and the handwriting, the voices that emerge in the margins. I get emotionally invested very quickly. Even without a clear avenue through the papers, I'm pretty damn sure that you're not supposed to get your own snot all over the materials. That's definitely a rule. This is where the willpower comes in. Keep it together, I tell myself. You are a machine. You are processing information. Everything can be reduced to a discrete data point. Yes, I'm a reader and a scholar of this author’s work. But I'm nobody's fan girl. I didn't think this would be so hard, so fraught. Just as I’m about to get carried away by a wave of weird sentimentality, I see a familiar phrase from The Pale King smiling up at me as I fit the draft into its folder: “the human heart is a chump.” No kidding. I handle precious, singular objects everyday at my job, to the extent that it risks becoming rote. I don’t see why this should be any different. But it’s the closeness I have to the maelstrom of someone’s writing process, the closeness to the really difficult questions asked again and again, plus the responsibility I feel toward preserving every iota of it — it makes my task seem impossible. There's too much life here to contain in boxes, folders, and telegraphic lines in a finding aid. Stephen Cooper, who cataloged the rest of the Wallace collection in 2010, advises me to take notes on what I find. I am supposed to write down pertinent details that need to be included in the finding aid and to flag pages that require repairs by our conservation team. What I do instead is I write down everything I observe about the stack of pages. I find myself writing sheets upon sheets of notes, all in pencil, about every item. I do this without really thinking about how it could be useful. I spend close to an hour on the first rubberbanded batch of materials. Stephen walks by and I hear something to the effect of, "Whoa. That's a lot of notes." I look down at what I've done and realize that none of it will go into the finding aid, that all this detail is what people come to the archive to find out for themselves. Each of my attempts to do this job flawlessly fails. I renew my efforts at detachment. Again and again I confront the fact that I am up against a mystery, a labyrinth of pages, and that it's the puzzle itself we're trying to preserve. Not solve. Just maintain. Let live on. My job is to organize it all just enough to preserve the wonder of its discovery. The most important thing is not to lose any information; no data can escape in the transaction. It’s the cataloger’s mantra. This is a tender operation. This is a conundrum wrapped in an enigma wrapped in a cocoon of my own sweltering nostalgia. Some things I find cut me. Some of the notes I read and I can feel my face aging. Do you know what that feels like? This archive is a chronicle of a final work. It is a chronicle of depression. It is the best thing I've ever read. These are not the normal cataloger's problems. 3. You're probably wondering what's in the archive. For the most part, these are handwritten and typed bits and pieces and scenes from the book published as The Pale King. Other titles for the book include Glitterer, Sir John Feelgood, and my personal favorite, What Is Peoria For? There is a mass of material labeled "freewriting." The same scenes are written and rewritten many times. There are lists upon lists of characters and possible names for them. There are maps. There are printouts of tax returns, pixilated images of enormous offices divided into cubicles, of actual tingle tables used by the IRS, there’s a map of Peoria. (Each of these has about a million tack points in it, or double-sided tape on the back, which suggests he had them posted up on his walls.) Throughout the margins of the collection there is a conversation between the writer and himself. There are notes that refer to the publication of Infinite Jest in 1996; some of the dates on the floppy discs precede it. There is the underlined word "panic." And there are encouraging stickers that say, with a ridiculous face, "You did it!” "Good effort!" I make a mental note to acquire some stickers like these for myself. Some of the drafts are printed on Illinois State University letterhead with the convoluted motto "An equal opportunity/affirmative action university encouraging diversity" at the bottom of every page. I develop an intimate relationship with the angle of his staples, his evolving weights of paper, his process of starting over and over and over. The writer that comes through is nervous and uncertain, intimidated by his own harsh judgments. This feels familiar enough to me. This sounds like most writers. I’m not interested in some kind of David Foster Wallace myth-creation, some kind of canonization. We've arrived at that moment where now everyone has to weigh in and have their say over what type of person this writer was, how he treated others, what we can deduce about his psychology and how that can unlock his writing. Everyone's running around with a new revealing fact. The way the cult of personality has taken over much of the discussion of Wallace’s work is something I find deeply aggravating. So if you’re waiting for me to construct a narrative for the ten years in which this archive was compiled or to explain something new about this person I never met based on the things he wrote down, well, I’m not going to. I don't want to tell you any story about any person I never knew. I want to tell you the story of how I got to dive down deep into a mess of papers and how I came up laughing or crying or unable to speak. I want to tell you about connectivity. The secret, best, juiciest, and most exhilarating part of working in archives is the way they reach out and form webs; each thing points you to something else, gives you new things to read and avenues to explore. It’s constantly bewildering. The network of connections that most captivates me in The Pale King archive is the one that appears in Wallace’s notebooks. Some of them resemble what you might call commonplace books, if we lived in the 1700s. They are archives of Wallace's reading practices, quotes and clippings, words and their definitions jotted down. They are works of art, in and of themselves. The covers include: blue-eyed Cuddly Cuties kittens; characters from Rugrats; butterflies; and a waterlogged iteration of that omnipresent Klimt print. Many of the notes in these books describe people or places in the Midwest, Wallace’s home region that appears frequently in his writing. My own research is on place in contemporary literature, and I’m writing this thesis on the Midwest, so needless to say these capture my attention. The notebooks are filled with scraps of Midwestern dialogue that read like overheard bits of conversation, jokes, sayings. The voices that populate these notebooks sound very much like my parents, my grandparents; I’m from Illinois, too. I'm doing that thing here, committing that fallacy where I start to see my own experience, my own identity reflected back at me in someone else's work. I’m in the middle of reading Nabokov’s Pale Fire right now and my role as cataloger, religiously removing rubberbands, sometimes reminds me of that book’s narrator. Not in a very good way, either. It's a crazy thing to do, to start seeing your reflection in things that have nothing to do with you. But then, the untold truth about scholarly work, maybe about research of any kind, is that it's always personal. It's always about going after the unsolved mysteries of your own existence, your own heart. For as long as I’ve been able to figure, I've been trying to figure out what it means to grow up in a place that doesn't seem to know it exists, and Wallace’s writing really helps with that. The Midwest he describes looks an awful lot like the one I know. Much real estate in the notebooks is devoted not to complex philosophical musings or elaborate plot design (though there’s plenty of both). Instead, I find brief, piercing comments on what it’s like to be alive everyday. There are a lot of notes on all the really basic parts of being a person — dealing with weather, enduring routine, running errands. There is a description of marriage that begins one notebook with the line, “It’s a lie that marriage means the end of romance.” It goes on to connect the theory of boredom that concerns much of Wallace’s later work with the reality of a long-term relationship. Descriptions like these, breakdowns of the most basic and impossible elements of quotidian life, are the things that speak to me. Every reader of his stuff seems to have her own version of what it’s about, and the version that compels me is this highly attuned reflection on the mundane, on lived experience. And then, in between the Midwesternisms and the reflections, there are references to books and articles, generative pieces of research or things come across by accident. This is where the archive really shines. There are quotes from books I’ve read and recognize, and quotes from things I’ve never heard of and write down on post-it notes and stuff in my pockets. I write down so many new words. Each day I get home and empty pockets full of notes. 4. I find it almost impossible to finish cataloging. I spend days away from the fourth floor, ruminating over things I've read and unable to return to my place in the pages. I read things that really piss me off. I read things that frighten me. I read things that delight every bone in my body. When I'm working on it, I feel as though I've gone underwater. One day I forget to leave at five. The clock on the fourth floor has stopped at some point while I've been working. When I finally get up I find the elevator has been locked. I linger in full awareness that many other people will have at this archive once it's open. I’m possessive in a way that makes me uncomfortable. It’s been difficult to sit at the reference desk in the Reading Room over the last year, overseeing hundreds of scholars as they dig through Wallace’s papers. I’m excited to see so much interest, scholarly and personal, in something I care about. I’m thrilled to see serious academic work come out of these collections and, frankly, it’s exciting to see this many young people taking the time to visit an archive. Pilgrims to the archive have an unmistakable glow about them. But still, there’s always that feeling on my side of the desk. Other people will find things I missed, they will write about things I would never disclose. They will be either more or less guilty than I am of a word I find in the butterfly notebook: "Apohenia — seeing connections where none exist." When they call up the Pale King materials, many of these visitors will be looking for details to flesh out the persona they’ve been honing for this writer, to enhance the image they’ve been cultivating. And so I guess what I want to suggest is that maybe there’s room for other lines of inquiry here. Maybe, instead of formulating a theory that explains a person's life or death, we could instead ask the questions that this archive asks of us as readers: what is a person for? How should a person be? What does life look like in all the parts of the world that don’t usually get described in detail? What should we pay attention to? How should we pay attention? How can fiction help us pay attention? Those are the questions that stick with me. I don’t know what people will find in these folders or how they’ll choose to interpret this new installment to the record of Wallace’s works. What I’m certain they will discover is that within the boxes, numbered 36-41, lies not a single unfinished work but an infinite web of possible works. The Pale King as we know it is, in the end, just one of these, one possible iteration. There are many years of life left in these pages. I hope other readers of the archive experience something like the joy and wonder and despair and unending strangeness I've felt, swimming around in another person's thoughts for a few months. Image via bill_comstock/Flickr
The Conde Nast building is located just off Times Square, an uncomfortable area of NYC I try to avoid like the dickens. The flashy billboards and the noise and the crowds disturb me, and I wasn’t at all pleased to see a person in a dirty Elmo suit waving at me. I did not wave back at Elmo because I had other things on my mind, namely an appointment to talk with D.T. Max, a New Yorker staff writer, author of The Family That Couldn’t Sleep: A Medical Mystery (check out the Amazon.com book description and read what “prions” are; they will frighten you), and most recently the author of a biography of David Foster Wallace, Every Love Story Is a Ghost Story. The new book tells the difficult, at times joyful, but ultimately sad story of Wallace's life, couching it in a forward-driving narrative that is difficult to put down, bridging the life and the work in a way that is sensitive to the complexity and ambition of Wallace’s literary project. All told, the book promises to do what a good literary biography should do: return old readers to the work and gain new readers for the work. I met Max inside the Conde Nast building’s “cafeteria” where he was kind enough to purchase your interviewer a small drip coffee and chocolate chip cookie. “Cafeteria” is in quotes because the place was really more like a fine dining restaurant or night club with large twelve-person booths and low lighting and high windows and an aura of exclusivity — pretty much the opposite of my idea of “cafeteria.” Despite my confusion, Max and I settled into an hour long conversation about his book, a truncated and edited version of which follows. The Millions: What initially drew you to Wallace? Was his work the kind of stuff you typically read? D.T. Max: Well, I had this long love affair with David — embarrassingly enough, I loved the wrong book. I loved Broom of the System for most of my 20s and 30s. It was only when I wrote the piece after his death that I found out he had turned on the book. I didn’t know that he referred to it as written by a very smart 14 year-old. It stunned me. TM: Well you put up a pretty good defense of Broom in your book. DTM: You can’t take something away from me that I love! I think the book’s terrific. But I do see what he’s saying. So I grew — one of the pleasures of the book was that I grew as a reader and I grew as a Wallace reader. So where I always appreciated Infinite Jest, writing about David and reading Infinite Jest made it richer and richer. And I was also just willing to be engrossed in Infinite Jest in a whole different way. (I’m talking about now when I was working on the magazine article.) But then when I was done with the magazine article I felt I just barely scratched the surface. I felt like what I’d written was very focused on his later years. I wanted to do something that was bigger and wider and less focused. I was very affected by people who said things to me like, “He was much happier than you portrayed him as,” and, “You didn’t catch his laughter.” So let me try to do a book and catch his laughter. TM: So what was your approach to the biography? DTM: Well one thing I was trying to do in the book was if David wrote realistic fiction for a world that was no longer real, then I felt an obligation to write a biography for a world that was no longer real. I wanted — not to extent that it was impossible for the reader to negotiate — I wanted to in some ways strip away some of the biographical conventions, in terms of what you can know and what matters, so that his story would feel a little more consonant with who David was and how he wrote. Really the two great factors in David’s writing are an affection for the reader and a refusal to write realistic fiction, so you’ll notice that the book has an emphasis on story. It begins, “Every story has a beginning and this is David Wallace’s.” And then the last line of the book is, “This was not an ending anyone would have wanted for him, but it was the one he had chosen.” And the idea is that we’re dealing with story, that every story is a ghost story, and among other things that’s a gloss on biography. TM: Same with the epigraph from the Oblivion story “Good Old Neon” (“What goes on inside is just too fast and huge and all interconnected for words to do more than barely sketch the outlines of at most one tiny little part of it at any given instant”). DTM: Absolutely. TM: I was thinking about the epigraph as talking about the limits of language and storytelling, and also that your subject lived in his head to a great degree, which poses particular challenges for a biographer. DTM: Yes well, you know, I wanted to make David live in a modern way, the way his characters live in his fiction — slightly more than a classic biography would provide. I don’t know if I achieved it or if anyone will notice it — but for instance I don’t try to do every year of David’s life. I think every year is in there, but I’m doing it more as memory would do it, almost like a memoir written by another person. It was a big effort to keep stuff out. There’s lots of wonderful things I left out. TM: Were the decisions about what to exclude surrounding Wallace’s family hard? The relationship between Wallace and his mother seemed like delicate terrain. DTM: It is delicate, but it’s also really hard to know. The biggest impediment to telling is knowing. And even when you think you know do you ever really know something as delicate as relationships? TM: The relationship between Delillo and Wallace surprised me. DTM: What surprised you? TM: I didn’t imagine the relationship as Wallace looking for advice, bouncing his anxieties about writing off him, Delillo playing the role of the consoling father, especially in the letter where Delillo tells him he belongs to elite club of writers who suffer. DTM: “Let the others complain about book tours.” It’s a wonderful line. TM: The Franzen relationship, too — I was surprised that Franzen had a little more power in the relationship. I always imagined Wallace as the more domineering author, I guess on the basis of his reputation as the Big Novelist with the Big Book. But Franzen really steered him the whole moral fiction direction. DTM: Well, Franzen caught him at a “teachable moment.” David’s just out of rehab, he feels he can’t write well anymore. I think if he met him at any other time in his life he would have bounced right off him — they knew each other before — Jon just keeps offering his ideas in a modest way — forthright way — eventually he catches David when he’s open to the ideas. He’s desperate. What’s stronger than to look for both your life and your writing? He was looking for both obviously. That’s one thing that makes him a great biographical subject is that there’s so little division between the work and the life. TM: Part of the fun of your book is catching Wallace when he’s exaggerating and misrepresenting himself. DTM: Oh God, I’m sure he got some by me. I took all the letters at face value initially. And then when I began to think a little bit harder about some of the exaggerations in the non-fiction I would see similar patterns in the letters. And I began to think, you know, this seems like a very unlikely scenario. He mentions that he goes and plays a basketball game in this rough neighborhood — this is the letter to [critic] Steven Moore when he talks about his nose being broken for the second time — and so he breaks his nose, but that doesn’t really sound like David. David was sort of fearful, basically. TM: And you say he wasn’t much of jock. DTM: He was and he wasn’t. But playing basketball with a bunch of rough street kids is not something he would have done. And then, theoretically, he has his nose broken again during a fight with a downstairs neighbor over Wittgenstein’s Mistress, so when he writes that to the editor [of Wallace’s piece on Markson] — what better way to show your commitment to the piece? And also fundamentally David was a joke writer, he loved jokes. He began as a joke writer at Sabrina at Amherst. So then I asked Mark Costello who lived with him at the time who said, “No, David never had a broken nose.” So then I began to suspect a lot of things weren’t true. TM: Did you feel any kind of special responsibilities writing the first biography? DTM: Responsibilities, oh yeah. I mean, it’s a privilege. The privilege of being first is that it’s all new. You’re not glossing someone’s gloss. I’ll be glossed eventually — in the near future probably. So that’s the advantage. But the disadvantage is that you will be rewritten and new things will be found. More correspondence will surface. You can’t help that. But what’s the ultimate goal of the biography? It’s certainly to bring readers to David’s writing. And in that sense to be the first after his death to bring readers to David’s writing is a very special job. You want to do it the right way. You have to really show them how this writer can matter to them, and if the book does that I’d be very, very pleased. If you can take a reader who’s on the fence about David and whether it’s worth the effort and get that reader to really dig into Infinite Jest — I would think that’s really exciting. TM: So that was your audience, people who had heard the name but not read the work? DTM: Maybe one level more involved than that. Maybe people who read the cruise ship piece [“A Supposedly Fun Thing I’ll Never Do Again,” originally published in Harper’s as “Shipping Out”] when it was offered to them or at least thought they’d like to, or who always looked at Infinite Jest, maybe given it as a present, tried 70 pages. They would be people who could come back to David — I think they’re already on their way back to him, so it’s not as if I’m starting any sort of trend that isn’t already underway. I mean, he has this quasi-readership that almost no writer has, and I would love it if that quasi-readership became a readership for him. TM: Do you think it’s surprising he went into fiction? Wallace says he uses more of his brain when writing fiction, but with all the logic and sports in his background — he’s not a typical literary type. DTM: George Saunders has interesting things to say about that — he comes from an engineering background. You know, on some level fiction for David was never what I think it is for an ordinary or even an extraordinary writer of the John Updike variety. David’s always seeing the seams and the struts — it’s always artificial — that’s probably why he had issues with The Pale King because he never gets past the artificiality of what he’s creating. There’s a wonderful quote by Thornton Wilder that fiction is the art of orchestrating platitudes. And I think for David that was always difficult because he had seen so far beyond those platitudes. I don’t think he was ever somebody for whom characters were really alive. The closest he comes is Infinite Jest. Of course the reader and writer see things from different perspectives, but I don’t think for David those characters were ever really alive in quite the way that other writers experience their characters as alive. TM: Why do you think people care so much about his work? DTM: It’s many things, but it’s not really that he had any answers for people. Because when you read the biography you have to understand how much he struggles with things that most of us have fairly compact. But he never stops taking his life seriously and he never stops taking the reader’s life seriously. And I think that’s the connection: you never stop mattering to him and he never stops mattering to himself. He never quits in that way. And I think that even non-readers of David’s books must be getting that now, given what’s gone on with his reputation, the amount of places you see his name, even how the Kenyon College speech has become so well known, deservedly so. But it’s an aspirational speech. It’s not what David achieved, it’s what he wanted to achieve. In the end you are the writer you are, and if there’s anything David teaches us it’s very hard to change the writer you are, and I had to be a writer who was interested in his efforts and difficulties. Because I never saw him as the pure joyous person that some people insisted he was. TM: “Saint Dave.” DTM: Well, I think the “Saint Dave” name is valid in the sense that I think what David teaches you, which is what a saint should teach you, is to take yourself and your life seriously. I don’t think he’s a candidate for the sainthood on the basis of his behavior, but many saints weren’t. So I don’t disown the saint idea. There is a way in which, faced with the massive seductions of modern culture, he did a pretty good job of pushing them away. Certainly in those later years there’s a kind of saintliness to his behavior — TM: A kind of literary saint in his defense of fiction. DTM: A literary martyr really. With Malcolm Lowry — who else never finished their last book? TM: Ralph Ellison… DTM: Another good example. I don’t remember him having agonized over his last book. David was never that way. He agonized over it. That’s what makes it so sad. So, no I don’t disregard the saint idea. I think Franzen had it right. He said at one of the memorial services that there’s nobody who seemed simpler and delightful on first meeting who grows more and more complex, yet all the same — he didn’t say appealing — but all the same endearing. In other words, as you get to know David better you just don’t like him in the same simple way that you started liking him. I think that’s got it exactly right. TM: It sounds like you really enjoyed working on the book. DTM: I loved thinking about him, writing about him, being in his head, reading his letters. I’d be very sad if the book makes people feel that he’s any less worthy of their love. The goal is the opposite. The quality that he has that he cares about you — that he cares about you caring about yourself. That’s very uplifting. I don’t think you get that from most writers.
Six months after David Foster Wallace's suicide, The New Yorker published a novella-length piece by journalist D.T. Max on Wallace’s last difficult years and his encompassing effort to surpass Infinite Jest. That article started the drumbeat for two books: The first, The Pale King, was released last April and pored over by critics and readers; the second, Max’s biography, Every Love Story is a Ghost Story: The Life of David Foster Wallace, arrives next week. The biography was written with the cooperation of Wallace’s family and is the first definitive treatment of the author’s life. What follows are the book's opening paragraphs: Every story has a beginning and this is David Wallace’s. He was born in Ithaca, New York, on February 21, 1962. His father, James, was a graduate student in philosophy at Cornell, from a family of professionals. David’s mother, Sally Foster, came from a more rural background, with family in Maine and New Brunswick, her father a potato farmer. Her grandfather was a Baptist minister who taught her to read with the Bible. She had gotten a scholarship to a boarding school and from there gone to Mount Holyoke College to study English. She became the student body president and the first member of her family to get a bachelor’s degree. Jim and Sally had their daughter, Amy, two years after David, by which time the family had moved to Champaign-Urbana, twin cities in central Illinois and the home of the state’s most important public university. The family had not wanted to leave Cornell—Sally and Jim loved the rolling landscape of the region—but Wallace had been offered a job in the philosophy department in the university and felt he could not turn it down. The couple were amazed when they arrived to see how bleak their new city was, how flat and bare. But soon, happily, Jim’s appointment turned into a tenure-track post, Sally went back to school to get her master’s in English literature, and the family settled in, eventually, in 1969, buying a small yellow two-story house on a one-block-long street in Urbana, near the university. Just a few blocks beyond were fields of corn and soybeans, prairie farmland extending as far as the eye could see, endless horizons. Here, Wallace and his sister grew up alongside others like themselves, in houses where learning was highly valued. But midwestern virtues of normality, kindness, and community also dominated. Showing off was discouraged, friendliness important. The Wallace house was modest in size and looked out at other modest-sized houses. You were always near your neighbors and kids in the neighborhood lived much of their lives, a friend remembers, on their bikes, in packs. Every other kid in that era, it seemed, was named David. There was elementary school at Yankee Ridge and then homework. The Wallaces ate at 5:45 p.m. Afterward, Jim Wallace would read stories to Amy and David. And then every night the children would get fifteen minutes each in their beds to talk to Sally about anything that was on their minds. Lights-out was at 8:30 p.m., later as the years went on. After the children were asleep, the Wallace parents would talk, catch up with each other, watch the 10 p.m. evening news, and Jim would turn the lights out at 10:30 exactly. He came home every week from the library with an armful of books. Sally especially loved novels, from John Irving to college classics she’d reread. In David’s eyes, the household was a perfect, smoothly running machine; he would later tell interviewers of his memory of his parents lying in bed, holding hands, reading Ulysses to each other. For David, his mother was the center of the universe. She cooked his favorites, roast beef and macaroni and cheese, and baked his chocolate birthday cake and drove the children where they needed to go in her VW Bug. Later, after an accident, she replaced it with a Gremlin. She made beef bourguignonne on David’s birthday and sewed labels into his clothes (some of which Wallace would still wear in college).