SELECTED ESSAYS AND SQUIBS by Joseph Suglia
Table of Contents
THE NIETZSCHE COMMENTARIES
THE SHAKESPEARE ESSAYS
VOLUME ONE: THE COMEDIES AND PROBLEM PLAYS
VOLUME TWO: THE TRAGEDIES
MORE LITERARY AND CINEMATIC CRITICISM
SELECTED ESSAYS AND SQUIBS by Joseph Suglia
Table of Contents
THE NIETZSCHE COMMENTARIES
THE SHAKESPEARE ESSAYS
VOLUME ONE: THE COMEDIES AND PROBLEM PLAYS
VOLUME TWO: THE TRAGEDIES
MORE LITERARY AND CINEMATIC CRITICISM
Three Aperçus: On DEADPOOL (2016), David Foster Wallace, and Beauty
by Joseph Suglia
Deadpool (2016) is capitalism with a smirking face.
David Foster Wallace was not even a bad writer.
Beauty is the one sin that the Average American of today cannot forgive.
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
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 review of CONSIDER THE LOBSTER (David Foster Wallace)
by Dr. Joseph Suglia, the Greatest Author in the World
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 SPIRT, 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, the Greatest Author in the World
A review by Dr. Joseph Suglia — CHRONIC CITY by Jonathan Lethem
Creativity is a gift that Athena denied to Jonathan Lethem. She instead bestowed upon him the ability to absorb isolated media images, though the power to meaningfully synthesize these images is another arrow missing from Lethem’s quiver.
Lethem’s latest is Chronic City (2009), and it is the worst novel that I have ever read. Considering the fact that I have wasted much of my life reading bad novels, this is really saying something.
Our narrator is Chase, a nondescript, vacant out-of-work actor whose wife died in outer space. Chase, it seems, has died in inner space. He is dead inside and made of plastic. We know nothing more about our “protagonist” – he is a cipher – and therefore it is difficult to care about what happens to him. Chase meets Perkus Tooth, an “eccentric popular-cultural critic,” in the offices of the Criterion Collection in Manhattan, and a vaguely homoerotic friendship develops between the two characters.
Perkus Tooth, Chase discovers, is a neighbor. Tooth burrows himself in his warren, surfs eBay for “chaldrons,” and peruses Wikipedia. Both friends drink Coke and eat cheeseburgers. They make rather obvious cultural references–Marlon Brando and Mick Jagger are the two names that surface most frequently in their speech. Not much else happens – which would be fine, if this “not much else” were engagingly written.
Perkus introduces Chase to a lost, early, and completely fictitious Werner Herzog film called Echolalia, which “documents Herzog’s attempts to interview Marlon Brando… Brando doesn’t want to give the interview, and whenever Herzog corners him Brando just parrots whatever Herzog’s said” . Having seen much of Herzog and having taught him at a university for five years, I was very puzzled by this unrecognizable pastiche. Herzog has ignored Hollywood and its unionized actors until just very recently, when he migrated to Los Angeles. The idea of interviewing Marlon Brando would have repelled him.
At this point, on page 5, it dawned on me what I was reading: Chronic City is a hipster Bildungsroman, a document of hipsterism in early twenty-first-century America that future historians will use in an attempt to understand how this malady could have infected and corrupted our already vitiated and hollow culture.
Let me explain what I mean by the word “hipster.” A hipster is an illiterate nerd. Neither Perkus nor Chase read very much in the book, and their references are almost exclusively cinematic or musical. Not to mention mostly exoteric. The closest they come to approaching literature is by way of Kafka: Perkus recites a passage from Kafka’s “Forschungen eines Hundes” at one point (in bad English translation). He neither discusses the story’s form nor its meaning. This is very telling. Both hipsters do what all hipsters do: They merely stockpile and warehouse cultural detritus without thinking about what any of it might signify or how it is constructed. And so both characters mindlessly compile references to cultural trash, without any purpose or sense of an overarching project. They might as well have an encyclopedic knowledge of vegetables: “Have you ever eaten a carrot?” “Did you know that there exists an orange cauliflower? I read about it on Wikipedia.” And so forth and so on.
The point to be made is the following: Lethem’s hipsters are not readers. They are not thinkers. They are not artists. They are not creators. They are not even scholars of cultural trash.
They are repositories of media junk.
The same could be said of our esteemed writer. His mind has not been formed by the study of great authors, his writing is unsupported by broad learning, and he seems to suffer from analphabetism. He produces sentences in a rattling, mechanistic, depressingly vapid style. He lacks verbal power. Here is Lethem’s description of a vase: “It had a translucence, perhaps opalescence would be the word, like something hewn from marble the color of a Creamsicle” . Would it be too much to ask Lethem, a writer who was nominated by the Kirkus Review as one of this country’s finest, to look up the words “translucence” and “opalescence” in a dictionary before using them? And when the nodal point of his fictional universe is Manhattan, when entry into The New Yorker is seen as a kind of transcendence, that one essential spiritual quality that all fictionists must possess is lacking: empathy.
To return to my thesis: that Chronic City is a hipster Bildungsroman, a novel of self-formation which charts the progressive hipification of its main character until he becomes thoroughly hip. Being hip means being seen by the right people with the right books, the right CDs, and the right DVDs. At the end of the text, Chase reads “Ralph Warden Meeker’s” Obstinate Dust, a faux novel inspired by that unread magnum opus of hipsterism, David Foster Wallace’s Infinite Jest. He meets the glance of a stranger: “Once in a while on the underground trains I look up and see another rider with a copy of Meeker’s bulky masterpiece in their [sic] hands, and we share a sly collegial smile, like fellow members of some terrorist cell” .
Upon reading this passage, I experienced something like a vomitous epiphany, a negative revelation that powers me to refine my earlier definition of “hipster”: A hipster is a consumerist who affects a superior consciousness, who pretends to be superior to the consumerist culture that has swallowed him. Yes, he drinks Coke and eats cheeseburgers just like the rest of mainstream America. But he listens to Neutral Milk Hotel and buys Jonathan Lethem books, and that makes it all OK.
Dr. Joseph Suglia
A review by Dr. Joseph Suglia
Dedicated to Lux Interior (1948-2009)
What is one to say when the beloved dies? There is nothing to say. None of the platitudes of bereavement, none of the polite formulae seems adequate. He was sitting on that chair, alive, and now he is dead. “John was talking, then he wasn’t” (10). What else is there to say? There are no words that could properly express the banality of mortality.
A YEAR OF MAGICAL THINKING (2005) is Joan Didion’s attempt to craft a language that would make meaningful the death of her husband, John Greg Dunne. It is a language that, at times, seems almost glaciated. After all, she doesn’t offer any of the customary responses (simulated tears, screaming, protests of denial, etc.). The social worker who ministers to Didion says of the author: “She’s a pretty cool customer” (15).
Didion: “I wondered what an uncool customer would be allowed to do. Break down? Require sedation? Scream?” (16).
Superficial readers, predictably, mistake her seeming sangfroid for indifference. Yet Didion is hardly apathetic. She takes words too seriously to lapse into maudlin kitsch. If she refuses sentimentalism, it is because she knows that the language of sentimentalism isn’t precise enough. If she refuses to be emotionally effusive, it is because she knows how easily an access of emotion—however genuine—can deteriorate into cliché. If she avoids hysteria, it is because she knows that abreaction is incommunicative. Her sentences are blissfully free of fossilized phrases, vapid slogans that can never do justice to the workings of grief.
Of course, the opposite reaction would bring about censure, as well. Had Didion expressed her grief in histrionic terms, American readers would have asked, rhetorically, “Why can’t she just get over it.” (I deliberately omitted the question mark.) The appropriate response to the death of the beloved is temperate mourning and cool-headedness. “Grieve for a month and then forget about the man with whom you spent nearly forty years of your life. Don’t talk about it anymore after that fixed period; we don’t want to hear about it.”
Philippe Aries in WESTERN ATTITUDES TOWARD DEATH: “A single person is missing for you, and the whole world is empty. But one no longer has the right to say so aloud.”
In place of a tragedy, Didion gives us a sober account of bereavement. What is it like to be bereaved? You will never know until it happens to you. She discovers vortices everywhere – centers of gravitation that pull her toward the abyss left by her husband’s death. A new Alcestis, willing to die in the place of her husband, she calls forth his presence, and yet each of these pleas for his presence reinforces the perpetual silence that separates her from him. Self-pity, of course, is inescapable. She becomes “she-whose-husband-has-died.” She defines herself in relation to the absent beloved. When John was alive, she was a younger woman, since she saw herself exclusively through her husband’s eyes. Now that John is dead, she sees herself, for the first time since she was very young, through the eyes of others. Now that John is dead, she no longer knows who she is.
Every one of us is irreplaceable, which is why death is an irretrievable, irreversible, irrecoverable, infinite loss. When the beloved dies, an impassible divide is placed between the survivor and the absent beloved. She hears his voice, and yet this voice is really her own voice resonating within her–a voice that nonetheless makes her own voice possible. Nothing remains for the survivor to do but to turn the dead beloved into dead meat, to substitute for his living presence a tangible object (whether it is a photograph or any form of funerary architecture), to resign oneself to the dead beloved’s non-being. She must accept the transformation of being into nothingness, the movement from everything to nothing, the withering of fullness into boundless emptiness. Writing is one way to fashion an image of the dead man and thus bring to completion the work of mourning. The failure of objectification, according to Freudian psychoanalysis, will lead to melancholia, the infinitization of the Trauerarbeit.
“Let them become the photograph on the table.
“Let them become the name in the trust accounts.
“Let go of them in the water” (226).
This is minimalism, of course, but Joan Didion’s minimalism is minimalism in the genuine sense of the word, not the kind of infantilism that most other American writers practice and which goes by the name of “minimalism.” They confuse scaled-down writing with simplicity; they externalize everything. They write their intentions explicitly on the surface of the page. Didion, on the other hand, attends to the cadences and pregnant silences inherent to the rhythms of speech. She is attuned to the interstices that punctuate articulated speech, that articulate speech, that make speech communicable. What is unsaid is weightier, for Didion, than what is said. She does not express matters directly; she indicates, she points. There is a kind of veering-away from naked being here, a swerving-away from the nullity of death. Joan Didion is far too dignified, far too noble to pretend to bring death to language.
Dr. Joseph Suglia