My entire novel Table 41 is available on this Web page.
Here is a Table of Contents for Table 41.
My entire novel Table 41 is available on this Web page.
Here is a Table of Contents for Table 41.
My analysis was cited in Marco Caracciolo’s article “Narrative Space and Readers’ Responses to Stories: A Phenomenological Account,” Style. Vol. 47, No. 4, Narrative, Social Neuroscience, Plus Essays on Hecht’s Poetry, Hardy’s Fiction, and Kathy Acker (Winter 2013), pp. 425-444. Print.
THE ROAD by Cormac McCarthy
by Joseph Suglia, Ph.D.
“When I first began writing I felt that writing should go on I still do feel that it should go on but when I first began writing I was completely possessed by the necessity that writing should go on and if writing should go on what had colons and semi-colons to do with it…”
—Gertrude Stein, LECTURES IN AMERICA
Cormac McCarthy’s BLOOD MERIDIAN is something of an undergraduate exercise. It is a Faulknerian pastiche and, above all, hedonistic. Hedonism, as far as I’m concerned, is an enemy of art.
We follow a nameless father and son as they wander through a post-American void, a “blastosphere,” to use J.G. Ballard’s term. (Blastosphere = Not the blastula, but the “implicit shape of the way matter is perturbed by an explosion” (Will Self)). They scavenge for food and tools. They encounter those who seemingly show their seamiest impulses and who behave in an unseemly manner.
And yet I suspect that this is less a novel about a post-apocalyptic future than it is one about our atheological present. It is a theological allegory about a world from which god is manifestly absent. Eine gottesverlassene und gottesvergessene Welt.
We find grounds for this supposition in those passages in which the grey waste is described as “godless”  and “coldly secular”  and wastes of human flesh are named “creedless” .
“On this road there are no godspoke men” .
What might have been a pedestrian trifle in the hands of a lesser writer has become a rich and compelling novel with author McCarthy. The most distinctive feature of THE ROAD is not the story that is told, but the manner in which McCarthy tells it: that is to say, the narrative. He writes so magically that a grey empty world is summoned forth vividly before our eyes.
It needs to be said and emphasized that McCarthy has almost completely superseded standard English punctuation in the writing of this novel. He strategically, willfully omits periods, commas, semicolons, and apostrophes throughout the work in order to equivocate, in order to multiply meanings, in order to enlarge the literary possibilities of language.
Of course, one could seize upon the conscious, literal meaning of the words. But does language not slip away from us? Are its meanings not dependent on the interpretive framework of the listener, of the reader? And is it not conceivable that the linguistic elisions reflect the consciousness of the central character?
Proper punctuation would disambiguate and thus flatten the sentences — sentences that are, liberated from such restrictions, both benign and lethal. We have before us a rhetorically complex novel, a work of literature that is rife with ambiguity.
And the non-punctuation makes us feel. If the “sentences” were punctuated in the traditional manner, we, as readers, would feel nothing. We would not feel, viscerally and viciously, the nightmarish world into which father and son have precipitated. We would not be infused with the chill of post-civilization.
The absence of standard punctuation in THE ROAD is a fruitful, productive absence. It is a writerly, stylistic choice.
I hope I have convinced my readers that McCarthy’s idiosyncratic use of punctuation is stylized. It most certainly is not unnecessary. One of the lessons that we can derive from the novels of McCarthy is how to apply typography in literary craftsmanship. If we adhere slavishly to the conventions of punctuation, our writing will resemble our speech. Our writing will no longer be writing in the strictest sense of the word. Let me invent my own ambiguously commaless sentence for the purposes of elucidation. If I write, “I want to eat my parrot William,” this would seem to signify that I want to eat a parrot named William, a parrot that belongs to me. However, what happens if the comma is explicitly absent? Three contradictory interpretations are then possible: 1.) The narrator may be expressing the desire to eat a parrot that belongs to him or her, a parrot named William; 2.) The narrator, apparently, wants to eat a parrot that belongs to him or her and is addressing this remark to someone named William (“I want to eat my parrot, William”); 3.) The narrator may be expressing the desire to eat in general, and this comment is directed at his or her parrot, the name of which is William (“I want to eat, my parrot William”). Punctuation, depending on how it is used, can restrict or expand meaning. Commas articulate, determine meaning. The absence of a comma, on the other hand, opens up semantic possibilities inherent to language. Its absence opens the doors of language.
As I suggested above, McCarthy’s refusal to punctuate in the conventional manner is also intimately connected to the internal struggles of the main character and, perhaps, the psychology of the author. The narrator eschews commas because he fears the past. I suspect that, similarly, McCarthy’s aversion to punctuation bespeaks a futile desire to escape history (a desire that he shares with Joyce, Artaud, and innumerable other writers) — a charmingly fragile and recognizably human desire.
“[E]ver is no time at all” .
The ephemerality of the instant. Hence, the relative commalessness of McCarthy’s statements. A comma would pause an enunciation, rupture its continuity, the incessant flow of language, the drift of language into the future. What, after all, is a comma if not the graphic equivalent of a turn in breath, of an exhalation or an inhalation? Commas do not merely articulate a sentence. Commas stall, they defer, they postpone, they interrupt without stopping. A speaking that speaks ceaselessly, without commas, in order to awaken from the nightmare of history. McCarthy’s language moves forward endlessly, without giving readers a chance to catch their breath. This is a writing that is unidirectional and decidedly equivocal.
The thrusting momentum of McCarthy’s language fertilizes my suspicion that THE ROAD is also a book about time. More precisely, a book about time’s three impossibilities: the impossibility of ridding oneself of the past, the impossibility of eternalizing the present, and the impossibility of encompassing the future.
The future is essentially unpredictable for the son, and the reader has no idea, at the novel’s close, what will become of him. Will the son survive? Will he be bred for cannibal meat? An infinitude of possibilities… And here we come to yet another strange intimacy between McCarthy’s singular style of punctuating and not punctuating and one of the leitmotifs of his extraordinary novel: The eerily open-ended “conclusion” of THE ROAD is no conclusion at all, a conclusion without a period. And the novel lives on inside of the reader’s head and heart, growing within like a vicious monster fungus.
Postscript: Re-reading the novel in 2013, I am less inclined to recommend it. With THE ROAD, Cormac McCarthy has given us a sappy religious allegory. Nabokov wrote of Faulkner’s LIGHT IN AUGUST:
“The book’s pseudo-religious rhythm I simply cannot stand – a phoney gloom which also spoils Mauriac’s work.”
I would say of McCarthy’s THE ROAD:
The book’s pseudo-religious rhythm I simply cannot stand – a phoney gloom which does NOT pervade Faulkner’s work.
Dr. Joseph Suglia
Quentin Tarantino Is an Anti-Black Racist
by Dr. Joseph Suglia
Quentin Tarantino is a slobbering anti-black racist who makes Blaxploitation films for hipsters. These hipsters grow aggressively defensive whenever African-Americans stand up and denounce these very films. (Roxane Gay, Spike Lee, Katt Williams, and Armond White are only a few of the African-Americans who have spoken out against Tarantino’s racism.) Tarantino wishes to prove to his hipster fan base that he knows African-American culture better than African-Americans know their own culture. And his hipster fanboys also desire that feeling — the feeling that they understand African-Americans better than African-Americans understand themselves. (For an analysis of the mind of the hipster, consult Norman Mailer’s essay on this topic.)
Tarantino’s latest abomination is Django Unchained (2012), a film about a murderer-for-hire named Dr. King Schultz (Christopher Waltz) who enlists an African slave named Django (Jamie Foxx) to assist him in his mass-murdering spree. Their journey ends at Candyland, a plantation owned by the oleaginous Calvin Candie (Leonardo DiCaprio, in an amusing and impressive performance that elevates above the film and never quite descends into camp). There is much to demur to, but I will restrict myself to three demurrals: 1.) The film is an agglomeration of plagiarisms. 2.) The film is crypto-racist garbage. 3.) The screen violence is without passion or meaning.
DJANGO UNCHAINED IS AN AGGLOMERATION OF PLAGIARISMS
Django Unchained is a pastiche of Spaghetti Westerns. The opening song was lifted directly from the English-language version of Django (1966). On the soundtrack is a well-known composition from Ennio Morricone’s soundtrack for Two Mules for Sister Sara (1970) – an American Spaghetti Western, if there ever was one. There is also an appearance by Franco Nero, star of the original Django, which is a pointless, meaningless cinematic reference that adds nothing whatsoever to the film, which is itself a pointless, meaningless accumulation of cinematic references.
The references are smarmily, unctuously obvious. One thinks of the scene in which Schultz recounts to Django the basics of Das Nibelungenlied. If Tarantino were an artist, he wouldn’t have spelled out the legend of Siegfried and Brunhilda for the benefit of his illiterate spectatorship.
Not merely does the film contain a cluster of plagiarisms; it itself is a plagiarism. The film is an unacknowledged remake of the Mandingo films of the 1970s — in particular, Mandingo (1975) and its sequel, Drum (1976). Tarantino steals from these sources to such a degree that his film would have been better entitled Mandingo Unchained.
Calvin Candie is clearly modeled on two characters in Drum: DeMarigny (John Colicos), connoisseur of Mandingo fights, and Warren Oates’ character Hammond, slave-owner and breeder of Mandingos. Both characters were spliced together to create the hybrid Calvin Candie, lover of intra-racial violence.
The Mandingo-fight scene [1:05] owes everything to the original Mandingo film, although different body parts are excised. In Django Unchained, an eye is enucleated. In Mandingo, a jugular vein is torn out.
Quentin Tarantino isn’t very much different from Calvin Candie. After all, they both enjoy watching Mandingo fighting.
DJANGO UNCHAINED IS CRYPTO-RACIST TRASH
On the surface, Django Unchained seems to be directed against white anti-black racism. But it is itself a work of white anti-black racism.
Now, I like revenge fantasies as much as the next person, but there is something more sordid, more sinister going on here than what goes on in most revenge fantasies (“You got me! Now I gonna get you, sucka!”). Like its predecessor, Inglourious Basterds (2009), Django Unchained is a work of genocide pornography, the cruelest, most unconscionably vicious form of pornography in existence. The crude plot of Inglourious Basterds trivializes the Holocaust; the crude plot of Django Unchained trivializes the enslavement of Africans in antebellum America.
But Django Unchained does more than merely trivialize the enslavement of Africans in nineteenth-century America. It turns the enslavement of Africans into an object of consumption, an object of enjoyment.
To call this film “ahistorical” would be a gross understatement. The film approximates history as closely as Spongebob Squarepants approximates marine biology. With one important qualification: The creator of Spongebob Squarepants actually knows a great deal about marine biology, even if he chooses not to exhibit this knowledge in the television program that he spawned. This film bears no relation to history whatsoever. It is a bombinating vacuum in which references from exploitation films resonate.
No one in the nineteenth century ever said, “Adult supervision is required.” Nor did anyone ever use the term “***********************************.”
Slaves could not read, but Django does a pretty good job of reading aloud the text of a Wanted poster [0:57]. He doesn’t know the words “bounty,” “valet,” or “positive,” but he does know the words “antagonize” and “intrigue.” As Katt Williams pointed out, it is odd that Django can spell his own name.
The late populist film critic Roger Ebert used the term deus ex machina (“God-out-of-the-machine”) to describe the entry of Schultz in the opening of the film. That moment isn’t quite a deus ex machina — such a device is commonly used at the end of a work, such as when Helios transports Medea on a golden chariot at the end of Euripides’ tragedy.
However, Ebert was correct to call Schultz a “god.” He just didn’t know the extent to which he was correct.
Schultz is a god, all right. He is the white god who creates the black Django. “I feel vaguely responsible for you,” he says to Django. “I gave you your freedom.”
Yes, it is Schultz who grants Django his liberty. The first time we see Django’s face is when Schultz shines light on him. It is Schultz who transforms Django into a murderer-for-hire. It is Schultz who sculpts Django into a full human being.
Django is not allowed to kill Calvin Candie. Only the Good White Master is allowed to kill the Evil White Master. Django is allowed to kill Candie’s minions — both black and white — but not their Evil White Master. Django has a master, all right, and his name is Dr. King Schultz.
It is for this reason that Will Smith declined to assume the role of Django: “Django wasn’t the lead, so it was like, I need to be the lead. The other character was the lead! I was like, ‘No, Quentin, please, I need to kill the bad guy!'”
Will Smith’s objection to the film gets to the heart of the problem: Django is a secondary character, the Good White Master’s marionette.
Much has been made of the use of the “N-word” in the film. That is because Tarantino enjoys saying the “N-word.” The “N-word,” evidently, is his favorite word in the English language, a language that he does not know very well. He expresses the “N-word” with brio, emitting it with gusto, as if this word were a shibboleth.
One recalls the infamous (I am using this word in its proper sense) scene in Pulp Fiction (1994) in which Tarantino-playing-Tarantino utters the “N-word” in Tourette’s-like staccato beats. There is no point in arguing that Tarantino is playing a character and that his character is racist, not Tarantino, when Tarantino is obviously playing himself in the scene. The delight that he feels whenever he bleats the “N-word” is palpable.
Django Unchained is backwater garbage, racist filth, intended for ugly-souled racist hipster fanboy cretins. The film is regressive because it imagines that White (the presence of all color) and Black (the absence of all color) are “colors” and that races and have really existent correspondents. The film erodes and erases so many of the steps that America has taken over the past four years. I am writing these words on 13 July 2013, the day on which George Zimmerman was acquitted for the murder of Trayvon Martin.
What is a racist? A racist is someone who has nothing of which to be proud other than his or her epidermal pigmentation. We are, all of us, out of Africa. Anthropologists have established that Africa is the cradle of humanity and that there are only epidermal subdivisions between us. It makes no sense to speak of “race,” since each individual “race” encompasses so many of these subdivisions.
Quentin Tarantino hypostatizes race.
THE VIOLENCE IN THE FILM IS PASSIONLESS
I don’t mind screen violence. Screen violence can be bracing. The problem with the representational violence in Django Unchained is that it is mechanical, spiritless, passionless. It is difficult to understand how or why anyone would be offended by the violence in the films of Tarantino. The violence in all of his films is automatized, transactional, emotionless.
I would like to call your attention to the moment [0:57] in which Schultz murders the alleged stagecoach robber Smitty Bacall. Schultz snipes at his victim from a distance of about 200 feet. Tarantino shoots the man from a distance of 200 feet, as well. There is a complete emotional disengagement between the murderer and the murderee. There is also a complete emotional disengagement between the film and the murderee. We see the man’s son running to his father and hear the boy screaming, “Pa! Pa!” But the boy and his father are no more than flecks of dust on the screen. The father and son are hardly represented as human beings, at all.
And what about the scene that immediately follows the one that I just described? The scene in which Django and Schultz use a band of cowboys for target practice [0:58]? What, precisely, did these cowboys do to deserve to be gunned down?
All of the murders are filmed with the detached eye of a psychopath.
By contrast, the death scenes in the films of Nicolas Roeg are historically intense. “A young man is cut down in the prime of his life,” Roeg said, referring to his directorial debut, Performance (1970). “[Death] is an important thing.”
The murder of Lara Lee Candie (Laura Cayouette), Calvin’s sister [2:39], is as passionate as the deletion of a Microsoft Word document.
In Django Unchained, human characters (and horses) are eliminated with the same passion with which you would close pop-up advertisements on your computer screen.
* * * * *
The antistrophe to my arguments is quite predictable. “It’s only a movie” comes the bleating response. You can hear the booing, the cooing, and the mooing: “It’s only a mooooooooooooooooooovie.” Keep on telling yourselves that: “It’s only a moooooooooooovie… It’s only a moooooooooovie…”
Despite such zoo noise, it can be said, without fear of exaggeration or absurdity, that Django Unchained is one of the vilest motion pictures ever made. Not because of its violence (again, screen violence can be bracing), but because it delights in the exploitation and dehumanization of African-Americans. Quentin Tarantino is a hate-criminal, and Django Unchained is a hate crime.
Dr. Joseph Suglia, table41thenovel.com
A Critique of David Foster Wallace: Part Five: INFINITE JEST
by Joseph Suglia
The writings of Voltaire and Lessing are the magna opera of neo-classicism. The paintings of Caspar David Friedrich, the symphonies of Schumann, and the works of Novalis and Schelling are the magna opera of German romanticism. Joyce’s Ulysses is the magnum opus of European modernism. The poems of Trakl, the paintings of Kirchner, and the dramas of Wedekind are the magna opera of German expressionism. The films Un Chien andalou (1929), L’Age d’Or (1930), and Viva la Muerte (1971) are the magna opera of surrealism.
Infinite Jest (1996) by David Foster Wallace is the magnum opus of American hipsterism.
What is a “hipster,” you ask? A hipster is one who has what Hegel described as an “unhappy consciousness”: He is a self that is at variance with itself.
* * * * *
Anyone who has spent any time in academia will instantly recognize Wallace’s pedigree upon opening this book. Wallace was an academic writer. Unhappily, all connotations of “academic” are intentional. That is to say, the book is both fantastically banal and seems to have been composed, disconsolately and mechanistically, in a registrar’s office. It is not arbitrary that the narrative begins in the Department of Admissions of a tennis college. The language here recalls the world of registration and withdrawal forms and the world of classrooms where works such as this are spawned, dissected, and pickled — the world of the academic industry.
Wallace: “Matriculations, gender quotas, recruiting, financial aid, room-assignments, mealtimes, rankings, class v. drill schedules, prorector-hiring… It’s all the sort of thing that’s uninteresting unless you’re the one responsible…” .
I wonder if anyone besides Wallace has ever found these things interesting.
Since no one else has taken the trouble to encapsulate the narrative, permit me to attempt to do so here. The novel seems to have two diegetic threads and a meta-narrative. The first thread concerns the incandescent descent of Hal Incandenza, teenager and tennis student, into drug addiction. (Well, no, it isn’t quite incandescent, not quite luciferous, at all, but I liked the way that sounded.) The second outlines the shaky recovery of Don Gately, criminal, from Demerol. The “woof,” I imagine, details the efforts of a cabal of Quebecois terrorists to inject a death-inducing motion picture of the same title as this book into the American bloodstream. All of this takes place in a soupy, fuzzy future in which Mexico and Canada have been relegated to satellites of the onanistic “Organization of North American Nations.” Predictably, and much like NAFTA, America is at the epicenter of this reconfiguration.
It is hard to care about any of this. If Wallace had written fluidly, things would have been otherwise. It is not that the book is complex, nor that its prose is burnished (if only it were!). The problem is much different: The sentences are so awkwardly articulated and turgid that the language is nearly unreadable. You wish that someone would fluidify the congested prose while struggling with the irritation and boredom that weave their way through you.
There is literary litter everywhere. No, “nauseous” does not mean “nauseated.” No, “presently” does not mean “at present.” Such faults are mere peccadilloes, however, especially when one considers the clunkiness of Wallace’s language. A few examples:
1.) “The unAmerican guys chase Lenz and then stop across the car facing him for a second and then get furious again and chase him” . I am having a hard time visualizing this scene.
2.) “Avril Incandenza is the sort of tall beautiful woman who wasn’t ever quite world-class, shiny-magazine beautiful, but who early on hit a certain pretty high point on the beauty scale and has stayed right at that point as she ages and lots of other beautiful women age too and get less beautiful” . It would take more effort to edit this see-Spot-run sentence than it did, I suspect, to write it.
3.) “The puppet-film is reminiscent enough of the late Himself that just about the only more depressing thing to pay attention to or think about would be advertising and the repercussions of O.N.A.N.ite Reconfiguration for the U.S. advertising industry” . This is a particularly representative example of Wallace’s heavy, cluttered style — a sentence larded with substantives.
4.) “So after the incident with the flaming cat from hell and before Halloween Lenz had moved on and up to the Browning X444 Serrated he even had a shoulder-holster for, from his previous life Out There” . So… Lenz moves “on and up” to a knife… “from” his previous life? If this is a sentence, it is the ugliest I’ve yet read.
To say such a thing would be to say too little. Nearly every sentence is overpoweringly ugly and repellently clumsy. Not a single sentence–not one–is beautiful, defamiliarizing, or engaging. I am sorry to write this, but Infinite Jest is a joylessly, zestlessly, toxically written book and the poisonous fruit of academic bureaucracy.
* * * * *
A few valedictory words: It would be tasteless–raffish, even–to malign the literary estate of a recent suicide. Wallace was nothing if not intelligent, and his death is a real loss. Had he lived longer, he might have left us books that impress and delight. Let me advise the reader to avoid this plasticized piece of academic flotsam and pick up and at instead Brief Interviews with Hideous Men, his true gift to the afterlife and the afterdeath.
Dr. Joseph Suglia
A Critique of David Foster Wallace: Part Four: CONSIDER THE LOBSTER
by Dr. Joseph Suglia
It is said often of David Foster Wallace (or “DFW,” as his ovine fanboys have christened him, as if he were a shoe store or an airport) that he was a genius. Would it be curmudgeonly of me to ask, “What kind of a genius was he?”? He certainly was not a literary genius. I would be willing to allow that he was, perhaps, a mathematical genius. But a literary genius? No, absolutely not.
Anyone who reads D.T. Max’s biography of David Foster Wallace will recognize that Wallace was a likable, sincere, soft-spoken person who had interludes of mean-spiritedness, and his death is an absolute loss. At some stage, however, one must put one’s sentimentality aside and examine, coldly and soberly, the assertion that his writing is great literature.
* * * * *
CONSIDER THE LOBSTER is an agglutination of athetic “essays.” The collection itself lacks a driving thesis, a sense of cohesion, a thread that would bind all of the pieces together. Not a single one of the “essays”—such as they are—contains an argument, sustained or otherwise.
Because the book itself is disjointed, it might be useful to pause over each individual text.
“Big Red Son”: An appraisal of the pornography industry from which we learn that this industry is “vulgar”  (shocking!) and that Las Vegas is “the least pretentious city in America” . It is disheartening when someone who seemed to care so much about English usage abuses the word “pretentious.” “Pretentious” means “making the claim to be something that one is not.” It does not mean “upscale,” “upmarket,” or “snooty.” If we keep the proper meaning of “pretentious” in mind, it could just as easily be said that Las Vegas is the most pretentious city in America.
“Certainly the End of Something or Other, One Would Sort of Have to Think”: Not so much a negative review of Updike’s TOWARD THE END OF TIME as a negative review of John Updike the Human Being as he appears to Wallace. From reading the first five paragraphs, one would sort of have to think that Wallace would eventually make a general statement about phallocratic American writers such as Updike, Mailer, Roth or American virility or fading masculinity, etc., but, no, the review has no implications beyond itself.
“Some Remarks on Kafka’s Funniness from which Probably Not Enough Has Been Removed”: At the beginning of this astounding lecture, Wallace makes the disarming comment that he is “direly underqualified”  to speak on the subject of humor in Kafka. This assertion is correct. Wallace knows nothing about Kafka or his work. If you are not qualified to speak on a subject, then why speak on it at all?
“Authority and American Usage”: An “essay” on the conflict between prescriptivism and descriptivism, ruined by ingratiatory remarks (“Do you like me?”). I found the piece to be smarmy and bizarrely cloying, and the racist nonsense about African-Americans made me cringe.
“The View from Mrs. Thompson’s”: The most inappropriate response to the September 11, 2001 attacks ever written, with the exception of “Chuck” Palahniuk’s “The View from Smalltown, USA.” Palahniuk’s response, incidentally, is a plagiarism of Wallace’s.
“How Tracy Austin Broke My Heart”: A very strange review of the tennis star’s autobiography BEYOND CENTER COURT: MY STORY. Wallace seems puzzled that Tracy Austin is a skillful tennis player AND a bad writer. I am puzzled by his puzzlement.
“Up, Simba”: Painful-to-read meanders through John McCain’s doomed campaign for the 2000 Republican presidential nomination. Completely irrelevant since McCain’s 2008 presidential campaign. Incidentally, did you know that Palahniuk considers “meander” to be a “gay” word?
“Consider the Lobster”: From which you will learn, among other things, that the lobster and the cockroach (for instance) are cousins. I thought that everyone already knew that. The “essay” is nothing more than a catalogue of facts and is devoid of anything like an organizing thought. Unless “lobsters exist” is an organizing thought. As Hegel reminds us in the preface to THE PHENOMENOLOGY OF SPIRIT, factual knowledge is not genuine knowledge at all. It is possible to memorize facts JEOPARDY-style without ever understanding anything.
“Joseph Frank’s Dostoevsky”: Wallace did not have a background in classical or modern literature. He read the postmodernists, and that was the extent of his knowledge of the literary arts. His solipsism is painfully evident in the Dostoevsky essay. He doesn’t even seem very interested in Dostoevsky’s work, except to the degree that it affects American readers and writers: “The big thing that makes Dostoevsky invaluable for American readers and writers is that he appears to possess degrees of passion, conviction, and engagement with deep moral issues that we—here, today—cannot or do not permit ourselves” . A Russian writer is significant only insofar as he has an impact on an American writer or reader, then. Is America the epicenter of the universe? Of the multiverse? Wallace’s solipsism reminds me of the obituaries of J.G. Ballard: “Ballard’s short story ‘The Sound-Sweep’ inspired the Buggles’ song ‘Video Killed the Radio Star,’ which became the first music video ever to be broadcast on MTV.”
“Host”: The editorial, annotative remarks will seem original to anyone who has not read Nabokov’s ADA, OR ARDOR: A FAMILY CHRONICLE.
CONSIDER THE LOBSTER is superficial, not radical. I intend “radical” in its strict etymological sense of the word: “to the root.” Wallace never even attempts to get at the root, the radix, the core, the heart of the subjects that he pretends to analyze.
But who cares? No one cares about logic these days. No one cares about language these days. No one cares about logos these days. No one cares about writing these days.
The blind, slavish, uncritical worship of David Foster Wallace represents one of the dangers of ad hominem “thinking.” An ad hominem attack attacks the musician instead of the music, the philosopher instead of the philosophy, the artist instead of the art, the sociologist instead of the sociology. But the reverse is also the case: Ad hominem praise praises the musician at the expense of the music, the philosopher at the expense of the philosophy, the artist at the expense of the art, the sociologist at the expense of the sociology, the writer at the expense of the writing.
David Foster Wallace’s fanboys worship the ghost of the bandana-wearing writer, not the writing that he generated.
A DFW follower once explained his worship of the Dear Leader in these terms: “He is a genius, but he says, ‘like’ and ‘whatever.’” He was a down-to-Earth genius, then. An interactive genius. A nice genius. A friendly genius. If the Friendly Genius attends your wedding, your son’s Bar Mitzvah, your son’s confirmation, etc., well, then, he is a good writer. If he brings a casserole, then he is an especially good writer. The Friendly Genius smiles at you. The Friendly Genius smiles at you because he likes you. If the Friendly Genius likes you, then maybe YOU are a genius, too! Fanboys like writers who are nice and friendly and hip. Accommodating and accessible.
[For a nice discussion of the competitiveness behind DFW’s ‘niceness,’ see Rivka Galchen’s review of the Wallace biography.]
The Cult of Genius has no interest in the letter. The Cult of Genius is not interested in writing at all. The Cult of Genius is obsessed with the appearance and personality of the author, not the extent to which he or she knows how to write. Fanboys are preoccupied with Writers, not with Writing. And they want to become Writers themselves, without bothering very much about Writing. They don’t want their unwritten books to be published and read; THEY want to be published.
A genuine author, however, loves writing for the sake of writing. This is one the things that Nietzsche might have intended when he wrote, in HUMAN, ALL-TOO-HUMAN: “The best author will be the one who is ashamed of becoming a writer.”
Dr. Joseph Suglia
A review of BOTH FLESH AND NOT (David Foster Wallace)
By Dr. Joseph Suglia, the Greatest Author in the World
Published four years after David Foster Wallace’s career-advancing suicide (a despicable suicide that was an assaultive act against his widow Karen Green), BOTH FLESH AND NOT (2012) reprints essays and squibs that were originally written for various newspapers, magazines, and journals; one of the texts appeared as the introduction to an anthology of essays, another was appended to a thesaurus. Both online and print sources are represented. Through the collection threads a list of words and definitions that Wallace kept on his desktop computer.
The vocabulary list troubles me more than anything else assembled in this volume. Someone who professed to care very much about Standard Written American Usage, Wallace abuses many words himself.
Wallace thinks that “art nouveau” refers to a “decorative style of early 20th c. using leaves and flowers in flowing sinuous lines, like on vases, columns, etc.” . This is innocence and nonsense. Jugendstil was much different than that. Beardsley didn’t always use “leaves” and “flowers”!
Wallace thinks that “birl” means to “cause to spin rapidly with feet (as with logrolling)” . But “birl” also means, intransitively, to “whirl”; for instance, you may say that hot dogs or sausages birl on spits.
Yes, Wallace is right to think that “distemper” might denote “a kind of paint-job using watered paint” , but it can also mean “to throw out of order” or “bad mood” and could denote a viral disease that affects dogs and cats.
Wallace thinks that an “ecdysiast” is a “striptease artist” , but this has only been the case since GYPSY. An “ecdysiast,” etymologically speaking, refers to something that molts or sheds its skin, such as certain birds, insects, and crustaceans.
Wallace doesn’t know that Grand Guignol was horror theatre before ever it was “cinema” .
Throughout, there are many such compositional errors.
Wallace had abysmal taste in literature. It is good to see STEPS on a list of “five direly underappreciated U.S. novels” since 1960, but it ought to be stated that this novel, which is attributed to Jerzy Kosinski, was collaboratively written. Cormac McCarthy’s BLOOD MERIDIAN: OR THE EVENING REDNESS IN THE WEST has interesting content — the sort of content that one might expect to discover in a film directed by Alejandro Jodorowsky — but its prose style is a mere pastiche of Faulkner. I don’t know what to say about a person who thinks that Denis Johnson is a serious writer.
BOTH FLESH AND NOT is a disastrous embarrassment. Republishing these essays and squibs was not a good idea and besmirches the reputation of Wallace even more than D.T. Max’s horripilative biography does. Though he had many virtues, the ability to form strong sentences was not one of them. David Foster Wallace could not write a decent sentence to save his life.
Dr. Joseph Suglia
A SUPPOSEDLY FUN THING THAT I WILL NEVER DO AGAIN by David Foster Wallace
I have said it before, and I will say it again: Writing fictionally was not one of David Foster Wallace’s gifts. His métier was, perhaps, mathematics. David Foster Wallace was a talented theorist of mathematics, it is possible, but an absolutely dreadful writer of ponderous fictions.
Wallace’s essay-aggregate A Supposedly Fun Thing that I Will Never Do Again (1997) is worth reading, if one is an undiscriminating reader, but it also contains a number of vexing difficulties that should be addressed. I will focus here upon the two essays to which I was most attracted: “E Unibus Pluram: Television and U.S. Fiction” and “David Lynch Keeps His Head,” a conspectus on the director’s cinema before Lost Highway (1997).
In “E Unibus Pluram,” Wallace warmly defends the Glass Teat in the way that only an American can. He sees very little wrong with television, other than the fact that it can become, in his words, a “malignant addiction,” which does not imply, as Wallace takes pains to remind us, that it is “evil” or “hypnotizing” (38). Perish the thought.
Wallace exhorts American writers to watch television. Not merely should those who write WATCH television, Wallace contends; they should ABSORB television. Here is Wallace’s inaugural argument (I will attempt to imitate his prose):
1. Writers of fiction are creepy oglers.
2. Television allows creepy, ogling fiction writers to spy on Americans and draw material from what they see.
3. Americans who appear on television know that they are being seen, so this is scopophilia, but not voyeurism in the classical sense. [Apparently, one is spying on average Americans when one watches actors and actresses on American television.]
4. For this reason, writers can spy without feeling uncomfortable and without feeling that what they’re doing is morally problematic.
Wallace: “If we want to know what American normality is – i.e. what Americans want to regard as normal – we can trust television… [W]riters can have faith in television” (22).
“Trust what is familiar!” in other words. “Embrace what is in front of you!” to paraphrase. Most contemporary American writers grew up in the lambent glow of the cathode-ray tube, and in their sentences the reader can hear the jangle and buzz of television. David Foster Wallace was wrong. No, writers should NOT trust television. No, they should NOT have faith in the televisual eye, the eye that is seen but does not see. The language of television has long since colonized the minds of contemporary American writers, which is why David Foster Wallace, Chuck Klosterman, and Jonathan Safran Foer cannot focus on a single point for more than a paragraph, why Thomas Pynchon’s clownish, jokey dialogue sounds as if it were culled from Gilligan’s Island, and why Don DeLillo’s portentous, pathos-glutted dialogue sounds as if it were siphoned from Dragnet.
There are scattershot arguments here, the most salient one being that postmodern fiction canalizes televisual waste. That is my phrasing, not Wallace’s. Wallace writes, simply and benevolently, that television and postmodern fiction “share roots” (65). He appears to be suggesting that they both sprang up at exactly the same time. They did not, of course. One cannot accept Wallace’s argument without qualification. To revise his thesis: Postmodern fiction — in particular, the writings of Leyner, DeLillo, Pynchon, Barth, Apple, Barthelme, and David Foster Wallace — is inconceivable outside of a relation to television. But what would the ontogenesis of postmodern fiction matter, given that these fictions are anemic, execrably written, sickeningly smarmy, cloyingly self-conscious, and/or forgettable?
It did matter to Wallace, since he was a postmodernist fictionist. Let me enlarge an earlier statement. Wallace is saying (to paraphrase): “Embrace popular culture, or be embraced by popular culture!” The first pose is that of a hipster; the second pose is that of the Deluded Consumer. It would be otiose to claim that Wallace was not a hipster, when we are (mis)treated by so many hipsterisms, such as: “So then why do I get the in-joke? Because I, the viewer, outside the glass with the rest of the Audience, am IN on the in-joke” (32). Or, in a paragraph in which he nods fraternally to the “campus hipsters” (76) who read him and read (past tense) Leyner: “We can resolve the problem [of being trapped in the televisual aura] by celebrating it. Transcend feelings of mass-defined angst [sic] by genuflecting to them. We can be reverently ironic” (Ibid.). Again: Embrace popular culture, or be embraced by popular culture. That is your false dilemma. If you want others to think that you are special (every hipster’s secret desire), watch television with a REVERENT IRONY. Wallace’s hipper-than-thou sanctimoniousness is smeared over every page.
Now let me turn to the Lynch essay, the strongest in the collection. There are several insightful remarks here, particularly Wallace’s observation that Lynch’s cinema has a “clear relation” (197) to Abstract Expressionism and the cinema of German Expressionism. There are some serious weaknesses and imprecisions, as well.
Wallace: “Except now for Richard Pryor, has there ever been even like ONE black person in a David Lynch movie? … I.e. why are Lynch’s movies all so white? … The likely answer is that Lynch’s movies are essentially apolitical” (189).
To say that there are no black people in Lynch’s gentrified neighborhood is ignorance. The truth is that at least one African-American appeared in the Lynchian universe before Lost Highway: Gregg Dandridge, who is very much an African-American, played Bobbie Ray Lemon in Wild at Heart (1990). How could Wallace have forgotten the opening cataclysm, the cataclysmic opening of Wild at Heart? Who could forget Sailor Ripley slamming Bobbie Ray Lemon’s head against a staircase railing and then against a floor until his head bursts, splattering like a splitting watermelon?
To say that Lynch’s films are apolitical is innocence. No work of art is apolitical, because all art is political. How could Wallace have missed Lynch’s heartlandish downhomeness? How could he have failed to notice Lynch’s repulsed fascination with the muck and the slime, with the louche underworld that lies beneath the well-trimmed lawns that line Lynch’s suburban streets? And how could he have failed to draw a political conclusion, a political inference, from this repulsed fascination, from this fascinated repulsion?
Let me commend these essays to the undiscriminating reader, as unconvincing as they are. Everything collected here is nothing if not badly written, especially “Getting Away from Already Being Pretty Much Away from It All,” a hipsterish pamphlet about Midwestern state fairs that would not have existed were it not for David Byrne’s True Stories (1986), both the film and the book. It is my hope that David Foster Wallace will someday be remembered as the talented mathematician he perhaps was and not as the brilliant fictionist he certainly was not.
Dr. Joseph Suglia