A review of Oblivion (David Foster Wallace) by Joseph Suglia
When I was in graduate school, I was (mis)taught Literature by a man who had no ear for poetic language and who had absolutely no interest in eloquence. I learned that he held an undergraduate degree in Physics and wondered, as he chattered on loudly and incessantly, why this strange man chose to study and teach Literature, a subject that obviously did not appeal to him very much. I think the same thing of David Foster Wallace, a writer who probably would have been happier as a mathematician (Mathematics is a subject that Wallace studied at Amherst College).
A collection of fictions published in 2004, Oblivion reads very much as if a mathematician were trying his hand at literature after having surfeited himself with Thomas Pynchon and John Barth–-not the best models to imitate or simulate, if you ask me.
The first fiction, “Mr. Squishy,” is by far the strongest. A consulting firm evaluates the responses of a focus group to a Ho-Hoesque chocolate confection. Wallace comes up with some delightful phraseologies: The product is a “domed cylinder of flourless maltilol-flavored sponge cake covered entirely in 2.4mm of a high-lecithin chocolate frosting,” the center of which is “packed with what amounted to a sucrotic whipped lard” . The external frosting’s “exposure to the air caused it to assume traditional icing’s hard-yet-deliquescent marzipan character” [Ibid.]. Written in a bureaucratized, mechanical language–this language, after all, is the dehumanized, anti-poetic language of corporate marketing firms, the object of Wallace’s satire–the text is a comparatively happy marriage of content and form.
Wallace gets himself into difficulty when he uses this same bureaucratic language in the next fiction, “The Soul is Not a Smithy,” which concerns a homicidal substitute teacher. I could see how a sterile, impersonal narrative could, by way of counterpoint, humanize the teacher, but the writing just left me cold. The title of the fiction simply reverses Stephen Dedalus’s statement in A Portrait of the Artist as a Young Man: “I go to encounter for the millionth time the reality of experience and to forge in the smithy of my soul the uncreated conscience of my race.”
Wallace never composed a sentence as beautiful as Joyce’s. Indeed, Wallace never composed a beautiful sentence.
“Philosophy and the Mirror of Nature” simply duplicates the title (!) of Richard Rorty’s misguided polemic against representationalism (the misconceived idea that language is capable of mirroring the essence of things). It concerns a son who accompanies his mother to a cosmetic-surgery procedure. The son, who is also the narrator, says: “[A]nyone observing the reality of life together since the second procedure would agree the reality is the other way around…” . The narrator might or might not be one of the deluded representationalists against whom Rorty polemicized. For Rorty, “the reality of life” is not something that we are capable of talking about with any degree of insight. Unfortunately, this is the only point in the text at which the philosophical problem of representation arises.
The eponymous fiction “Oblivion” and the self-reflexive “The Suffering Channel” (which concerns a man whose excreta are considered works of art) are inelegantly and ineloquently written.
After laboring through such verbal dross, I can only conclude that David Foster Wallace was afraid of being read and thus attempted to bore his readers to a teary death. His noli me legere also applies to himself. It is impossible to escape the impression that he was afraid of reading and revising any of the festering sentences that he churned out. Because he likely never read his own sentences, he likely never knew how awkward they sounded. Infinite Jest was written hastily and unreflectively, without serious editing or revision, it appears. It is merely because of the boggling bigness of Infinite Jest that the book has surfaced in the consciousness of mainstream America at all (hipsterism is a vicissitude of mainstream America). We, the Americanized, are fascinated by bigness. To quote Erich Fromm: “The world is one great object for our appetite, a big apple, a big bottle, a big breast; we are the sucklers…”
Speech is irreversible; writing is reversible. If you accept this premise of my argument (and any intelligent person would), must it not be said that responsible writers ought ALWAYS to recite and revise their own sentences? And does it EVER seem that Wallace did so?
The prose of Oblivion is blearily, drearily, eye-wateringly tedious. The hipsters will, of course, claim in advance that the grueling, hellish tedium of Wallace’s prose was carefully choreographed, that every infelicity was intentional, and thus obviate any possible criticism of their deity, a deity who, like all deities, has grown more powerful in death. That is, after all, precisely what they say of the Three Jonathans, the sacred triptych of hipsterdom: Foer, Franzen, and Lethem, the most lethal of them all.
One thing that even the hipsters cannot contest: David Foster Wallace did not write fictionally for his own pleasure. Unlike Kafka, he certainly did not write books that he ever wanted to read.
A valediction: The early death of David Foster Wallace is terrible and should be mourned. He was a coruscatingly intelligent man. My intention here is not to defame the dead. I recommend that the reader spend time with Brief Interviews with Hideous Men and leave his other writings alone. As I suggested above, he probably didn’t want his prose to be read, anyway.
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.
A commentary on “Eveline” (James Joyce)
by Dr. Joseph Suglia
The opening of “Eveline” (1904-1907; published in 1914), from Dubliners, by James Joyce:
She sat at the window watching the evening invade the avenue.
Notice that Eveline is not named at the beginning of the story. Her name is given in the title, it is true, but not in the first sentence of the text. She is a nameless, passive percipient, rather than an agent (an actor). She does not act; she observes. It is the evening that is performing an action; it is the evening that is acting. The evening is invading—Eveline is already paralyzed, immobile, static at the very opening of the story, as she will be at the story’s close.
Her head was leaned against the window curtains and in her nostrils was the odour of dusty cretonne. She was tired.
Joyce does not write, “She leaned her head against the window curtains…” He writes that her head was leaned. The head is described as an object, as the object of an action. The head was leaned—this means that Eveline was not leaning her own head; someone or something was leaning her head against the window curtains. The use of the passive voice illuminates Eveline’s own passivity and immobility.
In her nostrils was the odour of dusty cretonne: The odour of the heavy fabric enveloping the furniture was invading Eveline’s nostrils. Again, an image of invasion, of infiltration, of violation. She was tired: This was Kurt Vonnegut’s favorite of all sentences, presumably because the simplicity of the language is a red herring, distracting the reader from the complexities of the text-web.
Few people passed. The man out of the last house passed on his way home; she heard his footsteps clacking along the concrete pavement and afterwards crunching on the cinder path before the new red houses.
The last house where? Where is the cinder path? Where are the new red houses? It is difficult to locate any of these things. Joyce is generally very good with space and with describing the placement of objects within spaces, but here, he leaves it to the reader to imagine where the last house is, where the cinder path is, and where the new red houses are.
One time there used to be a field there in which they used to play every evening with other people’s children. Then a man from Belfast bought the field and built houses in it—not like their little brown houses but bright brick houses with shining roofs. The children of the avenue used to play together in that field—the Devines, the Waters, the Dunns, little Keogh the cripple, she and her brothers and sisters.
Notice that Eveline places herself after the Devines, the Waters, the Dunns, and little Keogh the cripple. Eveline puts herself at the end of the line. Already we have a sense that this girl has abysmal self-esteem.
Ernest, however, never played: he was too grown up. Her father used often to hunt them in out of the field with his blackthorn stick; but usually little Keogh used to keep nix and call out when he saw her father coming.
“In” and “out” are a strange coupling of prepositions. What does it mean to hunt children in out of the field? Shouldn’t the independent clause read: Her father used often to hunt them out of the field? Incidentally: “To keep nix” means “to be on the lookout.”
Still they seemed to have been rather happy then. Her father was not so bad then; and besides, her mother was alive. That was a long time ago; she and her brothers and sisters were all grown up her mother was dead. Tizzie Dunn was dead, too, and the Waters had gone back to England. Everything changes. Now she was going to go away like the others, to leave her home.
If Eveline’s father was not so bad then, just imagine how bad he is when the story takes place.
Home! She looked round the room, reviewing all its familiar objects which she had dusted once a week for so many years, wondering where on earth all the dust came from.
Eveline identifies herself as a duster-of-inanimate-objects.
Perhaps she would never see again those familiar objects from which she had never dreamed of being divided.
She does not distinguish herself from the static objects that surround her. At the end of the story, when she has the opportunity to realize her human freedom and spontaneity, she imitates the inertia of inactive objects.
And yet during all those years she had never found out the name of the priest whose yellowing photograph hung on the wall above the broken harmonium beside the coloured print of the promises made to Blessed Margaret Mary Alacoque.
Beloved of Irish Catholics, St. Margaret Mary Alacoque was a French Catholic nun who was the embodiment to pious devotion to tradition—much in the same way that Eveline is piously devoted to her family and her homeland.
He had been a school friend of her father. Whenever he showed the photograph to a visitor her father used to pass it with a casual word:
“He is in Melbourne now.”
She had consented to go away, to leave her home.
The fact that she describes her decision to escape Dublin as one of consent implies that she does not see that decision as her own, but rather as one that has been made for her and one to which she has assented.
Was that wise? She tried to weigh each side of the question.
Apparently, she assented reluctantly. Her mind has not yet been made up. The reader also is invited to weigh each side of the question: Should she leave? Should she have left? No answer is given. A literary work of art, “Eveline” provokes questions that it never answers; it never gives readers the means of answering these questions.
In her home anyway she had shelter and food; she had those whom she had known all her life about her. Of course she had to work hard, both in the house and at business. What would they say of her in the Stores when they found out that she had run away with a fellow? Say she was a fool, perhaps; and her place would be filled up by advertisement. Miss Gavan would be glad. She had always had an edge on her, especially whenever there were people listening.
“Miss Hill, don’t you see these ladies are waiting?”
“Look lively, Miss Hill, please.”
She would not cry many tears at leaving the Stores.
But in her new home, in a distant unknown country, it would not be like that. Then she would be married—she, Eveline. People would treat her with respect then. She would not be treated as her mother had been. Even now, though she was over nineteen, she sometimes felt herself in danger of her father’s violence. She knew it was that that had given her the palpitations.
At this point, one has to wonder why any person of sense would want to stay in the Hill household. Her father is abusive; this much is clear. She is treated derogatorily by her employer, Miss Gavan. Her brother Ernest and her mother are dead. She is suffering from violent paroxysms, tremors brought on by her father’s abuse. What is there to keep her in Dublin? And trying her luck in the open air of Buenos Ayres would afford her a new possibility. Though not everything that is possible is positive, at least she would have the possibility of something positive being brought into her life.
[Frank] told [Eveline] the names of the ships he had been on and the names of the different services. He had sailed through the Straits of Magellan and he told her stories of the terrible Patagonians.
Now, the bit about the Patagonians makes me wonder if Frank is a liar. A chronicler of Magellan’s expeditions wrote that the Patagonians were a race of giants. Is Frank repeating the same myth of the “terrible Patagonians”? If Frank is telling Eveline such nonsense, this should lead us to question the integrity of his intentions.
He had fallen on his feet in Buenos Ayres, he said, and had come over to the old country just for a holiday. Of course, her father had found out the affair and had forbidden her to have anything to say to him.
“I know these sailor chaps,” he said.
Is the father necessarily incorrect? As dour as Eveline’s life is in Dublin, is it not preferable to being seduced and abandoned in South America? There is no way to know with authority whether or not Frank is a reptilian seducer. He very well might be a boa constrictor in human form. Not even Frank might know if he is a seducer, if we consider the unconscious sources of human cognition and activity. Frank is inscrutable to us, and perhaps Frank is even inscrutable to himself. The inscrutability of Frank summons forth the indeterminacy of life itself.
Sometimes [Eveline’s father] could be very nice. Not long before, when [Eveline] had been laid up for a day, he had read her out a ghost story and made toast for her at the fire. Another day, when their mother was alive, they had all gone for a picnic to the Hill of Howth. She remembered her father putting on her mother’s bonnet to make the children laugh.
The atypical tenderness of the father only serves to underline his general abusiveness.
Her time was running out but she continued to sit by the window, leaning her head against the window curtain, inhaling the odour of dusty cretonne.
The grammar changes here: Now, Eveline is playing a more active role: She was leaning her head, she was inhaling the odour of dusty cretonne.
Down far in the avenue she could hear a street organ playing. She knew the air. Strange that it should come that very night to remind her of the promise to her mother, her promise to keep the home together as long as she could. She remembered the last night of her mother’s illness; she was again in the close dark room at the other side of the hall and outside she heard a melancholy air of Italy.
The song of the Italian organ player conjures the most dominant figure in Eveline’s life. Neither her father, her surviving brother Harry, nor Frank, her lover, but rather her dead-yet-deathless mother. The mother is resurrected, invoked by the organ-player’s song, and reminds Eveline of the latter’s death-bed oath to glue together the unglueable pieces of their shattered family. As if to hook and draw Eveline into the tomb. To save her from life.
The organ-player had been ordered to go away and given sixpence. She remembered her father strutting back into the sickroom saying:
“Damned Italians! coming over here!”
The father’s hatred of itinerant foreigners stands in contrast to the Wanderlust of Frank, an émigré from Ireland who travels to the “good air” of Buenos Ayres.
As she mused the pitiful vision of her mother’s life laid its spell on the very quick of her being—that life of commonplace sacrifices closing in final craziness.
Notice the use of the verb to close. Three sentences before, Joyce used close as an adjective. Here, he is using close as a verb. This is paronomasia (punning). An adjective in one sentence is used as a verb in another. The fact that Joyce is using close twice in proximity means something: Close evokes the sepulchral narrowness of the life that Eveline will choose.
She trembled as she heard again her mother’s voice saying constantly with foolish insistence:
“Derevaun Seraun! Derevaun Seraun!”
This is, apparently, corrupt Gaelic for: “The end of pleasure is pain! The end of pleasure is pain!” It is as if the mother were admonishing her daughter from beyond the grave to avoid pleasure—to live in a narrow life of nunnish self-renunciation, to stay mired in the misery in Dublin, to languish in Dublin, to duplicate the self-negations of her mother and the insanities of her mother’s dying. These are irenic words, sibylline utterances. They are necrotic commandments, words spoken from the tomb, words spoken from deathness.
She stood up in a sudden impulse of terror. Escape! She must escape! Frank would save her. He would give her life, perhaps love, too. But she wanted to live. Why should she be unhappy? She had a right to happiness. Frank would take her in his arms, fold her in his arms. He would save her.
And she would not, then, save herself? This passage highlights, more than any other, why Eveline is immobilized. Rather than will to escape, she wills not to have a will. She wills to let someone else make the decisions for her. Her absence of self-determination is the reason that she is likely condemned to the self-negating boredom and insanity that marked her mother’s life.
Through the wide doors of the sheds [Eveline] caught a glimpse of the black mass of the boat, lying in beside the quay wall, with illumined portholes.
Joyce, again, is very good at describing place—particularly, at describing blockages. A less talented writer would have merely pointed to the existence of the boat. A less talented writer would have merely described the boat. Joyce describes the visual impediments, the obstructions that impede the view of the ocean liner. The black mass of the boat is seen through the wide doors of the sheds—an image of blockage, of separation. The sheds are emblematic of the self-imposed barriers that divide Eveline from freedom.
Amid the seas she sent a cry of anguish.
It is difficult to believe, but Joyce—one of the greatest literary artists who ever lived—makes a usage error in this passage. Amid, which means “in the midst of,” should only be placed before singular nouns. Seas is a plural noun and should take among.
[Eveline] set her white face to him, passive, like a helpless animal. Her eyes gave him no sign of love or farewell or recognition.
Nothing has changed within Eveline since the opening of the story. She is immobile from the beginning of the story unto its end. The blankness of her eyes—their illegibility, their incomprehensible nothingness—can be interpreted to signify anything. Readers may introject their own meanings into those null eyes.
Dr. Joseph Suglia
An Analysis of A Year of Magical Thinking (Joan Didion) 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. My husband 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 symptoms of bereavement (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 could 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. Didion 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. Didion hears her husband’s 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 today 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.
An Analysis of My Struggle (Min Kamp): Volume Two (Karl Ove Knausgaard)
by Dr. Joseph Suglia
“The artist is the creator of beautiful things. To reveal art and conceal the artist is art’s only aim.”
–Oscar Wilde, Preface, The Picture of Dorian Gray
“Woo. I don’t know how to sum it up / ’cause words ain’t good enough, ow.”
–One Direction, “Better Than Words”
If I could accomplish one thing in my life, it would be to prevent people from comparing the Scandinavian hack Karl Ove Knausgaard with Marcel Proust. Knausgaard does not have a fingernail of Proust’s genius. Comparing Knausgaard to Proust is like comparing John Green to Proust. Those who have actually read À la recherche du temps perdu know that Proust’s great novel is not the direct presentation of its author, a self-disclosure without literary artifice. Those who compare Knausgaard to Proust have never read Proust and have no knowledge of Proust beyond the keyword “madeleine.”
Knausgaard calls his logorrheic autobiography, My Struggle (Min Kamp), a “novel,” but in what sense is it a novel? It is completely devoid of novelistic properties. There is not a single metaphor in the text, as far as I can tell, and the extended metaphor (perhaps even the pataphor?) is one of Proust’s most salient literary characteristics.
The first volume dealt with Knausgaard’s unimportant childhood; Volume Two concerns the middle of the author’s life, his present. He is now in his forties and has a wife and three children. He spends his time, and wastes our own, recounting trivialities, stupidities, and banalities. All of the pomposities are trivialities. All of the profundities are stupidities. All of the epiphanies are banalities.
For most of this review, I will refer to Karl Ove Knausgaard as “Jesus,” since he resembles a cigarette-smoking Jesus on the cover of the English translation of the second volume.
We learn that Jesus dislikes holidays. We learn that raising children is difficult. Jesus takes his children to a McDonald’s and then to the Liseberg Amusement Park. In the evening, Jesus, his wife, and his daughter attend a party. Jesus thanks the hostess, Stella, for inviting them to her party. His daughter forgets her shoes. Jesus gets the shoes. He sees an old woman staring through the window of a Subway.
Jesus smokes a cigarette on the east-facing balcony of his home and is fascinated by the “orangey red”  of the brick houses below: “The orangey red of the bricks!” He drinks a Coke Light: “The cap was off and the Coke was flat, so the taste of the somewhat bitter sweetener, which was generally lost in the effervescence of the carbonic acid, was all too evident” . He reads better books than the one that we are reading (The Brothers Karamazov and Demons by Dostoevsky) and tells us that he never thinks while he reads. For some reason, this does not surprise me.
Jesus attends a Rhythm Time class (I have no idea what this is) and meets a woman for whom he has an erection.
Jesus’s daughter points her finger at a dog. “Yes, look, a dog,” Jesus says .
Jesus assembles a diaper-changing table that he bought at IKEA. The noise irritates his Russian neighbor. He cleans his apartment, goes shopping, irons a big white tablecloth, polishes silverware and candlesticks, folds napkins, and places bowls of fruit on the dining-room table.
In the café of an art gallery, Jesus orders lamb meatballs and chicken salad. He informs us that he is unqualified to judge the work of Andy Warhol. I agree with the author’s self-assessment. He cuts up the meatballs and places the portions in front of his daughter. She tries to brush them away with a sweep of her arm.
Almost ninety pages later, Jesus is in a restaurant eating a dark heap of meatballs beside bright green mushy peas and red lingonberry sauce, all of which are drowning in a swamp of thick cream sauce. “The potatoes,” Jesus notifies us, “were served in a separate dish” .
(Parenthetical remark: “[A] swamp of thick cream sauce” is my phrasing, not Knausgaard’s. Again, Knausgaard avoids metaphorics.)
Upstairs in the kitchen of his apartment, Jesus makes chicken salad, slices some bread, and sets the dinner table while his daughter bangs small wooden balls with a mallet. And so forth and so on for 592 pages of squalid prose.
Never before has a writer written so much and said so little. The music of ABBA is richer in meaning.
Interspersed throughout the text are muddleheaded reflections on What It Means To Be Human. We learn (quelle surprise!) that Knausgaard is a logophobe, “one who fears language”:
Misology, the distrust of words, as was the case with Pyrrho, pyrrhomania; was that a way to go for a writer? Everything that can be said with words can be contradicted with words, so what’s the point of dissertations, novels, literature? Or put another way: whatever we say is true we can also always say is untrue. It is a zero point and the place from which the zero value begins to spread [here, Knausgaard seems to be channeling Ronald Barthes]. However, it is not a dead point, not for literature either, for literature is not just words, literature is what words evoke in the reader. It is this transcendence that validates literature, not the formal transcendence in itself, as many believe. Paul Celan’s mysterious, cipher-like language has nothing to do with inaccessibility or closedness, quite the contrary, it is about opening up what language normally does not have access to but that we still, somewhere deep inside us, know or recognize, or if we don’t, allows us to discover. Paul Celan’s words cannot be contradicted with words. What they possess cannot be transformed either, the word only exists there, and in each and every single person who absorbs it.
The fact that paintings and, to some extent, photographs were so important for me had something to do with this. They contained no words, no concepts, and when I looked at them what I experienced, what made them so important, was also nonconceptual. There was something stupid in this, an area that was completely devoid of intelligence, which I had difficulty acknowledging or accepting, yet which perhaps was the most important single element of what I wanted to do [129-130].
The only value of literature, then, according to Knausgaard, resides not in words, but in the transcendence from words. Literature is not composed of letters, for Knausgaard; literature is the feelings and the impressions summoned forth within the reader. After all, any idiot can have feelings. Very few people can write well.
It is clear that Knausgaard, then, does not think very much of literature. He is much more interested in LIFE. Everyone alive has life. Yes, palpitant life–throbbing, living life. Life is the most general of generalities, but talent is much rarer, to channel Martin Amis.
This might be the reason that Knausgaard dislikes Rimbaud’s verse, but is interested in Rimbaud’s life.
“Fictional writing has no value”  for Knausgaard. After all, fiction is distant from life, isn’t it? This Thought is at least as old as Plato. Knausgaard is unaware that fiction is, paradoxically, more honest than autobiographical writing. Autobiographical writing is fiction that cannot speak its own name, fiction that pretends to be something more “real” than fiction.
(Parenthetically: Despite what Knausgaard tells you, Pyrrho did not practice misology. He affirmed the uncertainty of things. Following Pyrrho: One can never say, “It happened” with certainty; one can only say, with certainty, that “it might have happened.”)
Hater of words, enemy of literature: Such is Knausgaard. He despises language, presumably because he does not know how to write. What is one to say of a writer who hates writing so much? One thing ought to be said about him: He is alarmingly typical.
Knausgaard is at home in a culture of transparency, in a culture in which almost everyone seems to lack embarrassability. Almost no one seems embarrassed anymore. People go out of their way to reveal everything about themselves on social-networking sites. Average people reveal every detail of their lives to strangers. The Fourth Amendment to the United States Constitution is violated, and almost no one seems to care. We live in a culture in which our privacy is infringed upon countless times every day, and where is the outrage? Those who are private–or who believe in the right to privacy–are regarded with malicious suspicion. Seen from this cultural perspective, the success of My Struggle should come as no surprise. An autobiography in which the writer reveals everything about himself will be celebrated by a culture in which nearly everyone reveals everything to everyone.
Art is not autobiography. As Oscar Wilde declared in the preface to his only novel, the purpose of art is to conceal the artist. Literature is not auto-bio-graphy, the presentation of the self that lives, the “writing of the living self.” It is, rather, auto-thanato-graphy, the writing of the self that dies in order for art to be born.