"We weren't just mad, we were sort of enraged"
My Riff on the rhetorical gambits of David Foster Wallace — and the Internet — appeared in the weekend's New York Times Magazine. On Facebook, Alexander Chee described the piece this way: "I loved David Foster Wallace. I loathed editing him out of my students — and myself. Maud Newton on how David Foster Wallace made a David Foster Wallace of us all."
I didn't have room to mention that Wallace admitted in 1993 to being preoccupied, at least when writing fiction, with making the reader like him.
I have a problem sometimes with concision, communicating only what needs to be said in a brisk efficient way that doesn't call attention to itself. It'd be pathetic for me to blame the exterior for my own deficiencies, but it still seems to me that both of these problems are traceable to this schizogenic experience I had growing up, being bookish and reading a lot, on the one hand, watching grotesque amounts of TV, on the other. Because I liked to read, I probably didn't watch quite as much TV as my friends, but I still got my daily megadose, believe me. And I think it's impossible to spend that many slack-jawed, spittle-chinned, formative hours in front of commercial art without internalizing the idea that one of the main goals of art is simply to "entertain," give people sheer pleasure. Except to what end, this pleasure-giving? Because, of course, TV's "real" agenda is to be "liked," because if you like what you're seeing, you'll stay tuned. TV is completely unabashed about this; it's its sole raison. And sometimes when I look at my own stuff I feel like I absorbed too much of this raison. I'll catch myself thinking up gags or trying formal stunt-pilotry and see that none of this stuff is really in the service of the story itself; it's serving the rather darker purpose of communicating to the reader "Hey! Look at me! Have a look at what a good writer I am! Like me!"
Now, to an extent there's no way to escape this altogether, because an author needs to demonstrate some sort of skill or merit so that the reader will trust her. There's some weird, delicate, I-trust-you-not-to fuck-up-on-me relationship between the reader and writer, and both have to sustain it. But there's an unignorable line between demonstrating skill and charm to gain trust for the story vs. simple showing off. It can become an exercise in trying to get the reader to like and admire you instead of an exercise in creative art…
Image credit: Tom Gauld illustrates Riff every week; that's a clipped version of his handiwork, above.
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