Brain Pickings

Posts Tagged ‘David Foster Wallace’

15 AUGUST, 2014

O Captain! My Captain! David Foster Wallace, Robin Williams, Walt Whitman, and the Unholy Ghost of Suicide

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“My Captain does not answer … he has no pulse nor will.”

In the introduction to Quack This Way — the remarkable record of Bryan Garner’s wide-ranging conversation with David Foster Wallace — Garner makes a passing mention of the email address Wallace used in their correspondence: ocapmycap@… The email provider following the @ symbol changed over the years, but Wallace kept his moniker — one that takes on a special, wistful meaning in light of his subsequent suicide.

It was an allusion to Walt Whitman‘s 1865 elegy “O Captain! My Captain!,” a mourning poem for Abraham Lincoln titled after its piercing refrain:

O Captain! My Captain! our fearful trip is done;
The ship has weather’d every rack, the prize we sought is won;
The port is near, the bells I hear, the people all exulting,
While follow eyes the steady keel, the vessel grim and daring:

But O heart! heart! heart!
O the bleeding drops of red,
Where on the deck my Captain lies,
Fallen cold and dead.

The recurrence of Whitman’s grim refrain in the context of Robin Williams’s suicide is strange and poignant happenstance. Among Williams’s most beloved films is the 1989 classic Dead Poets Society, in which Whitman’s poem serves as a centerpiece — Williams’s character instructs his students to call him “O Captain! My Captain” — and it appears in one of the film’s most memorable scenes:

Williams, of course, didn’t write the film, nor the scene — but he did carry both, and as he once observed in a 1992 Playboy interview, “characters are just a free way of talking as yourself.”

As soon as one fully grasps the soul-ravaging depths of depression, a tragic parallel between Williams’s death and Lincoln’s emerges, lending Whitman’s eulogy double poignancy — Lincoln was assassinated by antagonists he had dedicated his life to fighting, and Williams died by the claw of the ghastly inner monster that severe depression lodges in the human spirit, losing a long fight with the unholy ghost.

(In the same interview, Williams also stated: “Some issues are deeply personal. I get near them and think, I’m not ready to deal with that yet. When you’re comfortable with it, you can be free about it. If not, it’s open-heart surgery.” In yet another eerie parallel, Williams underwent actual open-heart surgery seventeen years later — a procedure that, according to the prestigious Cleveland Clinic Foundation and a multitude of medical authorities, puts patients at a significant risk for postoperative depression. Mental health, of course, is a complex ecosystem in which myriad physiological, psychological, and social factors interact, but this detail gives one pause nonetheless.)

Ultimately, what drives a person to take his or her own life is a matter of intensely private unknowns and unknowables. Whitman’s words ring:

My Captain does not answer, his lips are pale and still;
My father does not feel my arm, he has no pulse nor will…

Suicide, lest we forget, is a social malady — please join me in supporting the pulse and will of life with a donation to the Suicide Prevention Hotline.

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11 AUGUST, 2014

David Foster Wallace on Writing, Self-Improvement, and How We Become Who We Are

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“Good writing isn’t a science. It’s an art, and the horizon is infinite. You can always get better.”

In late 1999, David Foster Wallace — poignant contemplator of death and redemption, tragic prophet of the meaning of life, champion of intelligent entertainment, admonisher against blind ambition, advocate of true leadership — called the office of the prolific writer-about-writing Bryan A. Garner and, declining to be put through to Garner himself, grilled his secretary about her boss. Wallace was working on an extensive essay about Garner’s work and his newly released Dictionary of Modern American Usage. A few weeks later, Garner received a hefty package in the mail — the manuscript of Wallace’s essay, titled “Tense Present,” which was famously rejected by The New Republic and The New York Review of Books, then finally published by Harper’s and included in the 2005 anthology Consider the Lobster and Other Essays. Garner later wrote of the review, “a long, laudatory piece”: “It changed my literary life in ways that a book review rarely can.”

Over the course of the exchange, the two struck up a friendship and began an ongoing correspondence, culminating in Garner’s extensive interview with Wallace, conducted on February 3, 2006, in Los Angeles — the kind of conversation that reveals as much about its subject matter, in this case writing and language, as it does about the inner workings of its subject’s psyche. Five years after Wallace’s death, their conversation was published in Quack This Way: David Foster Wallace & Bryan A. Garner Talk Language and Writing (public library).

Wallace begins at the beginning, responding to Garner’s request to define good writing:

In the broadest possible sense, writing well means to communicate clearly and interestingly and in a way that feels alive to the reader. Where there’s some kind of relationship between the writer and the reader — even though it’s mediated by a kind of text — there’s an electricity about it.

Wallace, who by the time of the interview had fifteen years of teaching writing and literature under his belt, considers how one might learn this delicate craft:

In my experience with students—talented students of writing — the most important thing for them to remember is that someone who is not them and cannot read their mind is going to have to read this. In order to write effectively, you don’t pretend it’s a letter to some individual you know, but you never forget that what you’re engaged in is a communication to another human being. The bromide associated with this is that the reader cannot read your mind. The reader cannot read your mind. That would be the biggest one.

Probably the second biggest one is learning to pay attention in different ways. Not just reading a lot, but paying attention to the way the sentences are put together, the clauses are joined, the way the sentences go to make up a paragraph.

This act of paying attention, Wallace argues, is a matter of slowing oneself down. Echoing Mary Gordon’s case for writing by hand, he tells Garner:

The writing writing that I do is longhand. . . . The first two or three drafts are always longhand. . . . I can type very much faster than I can write. And writing makes me slow down in a way that helps me pay attention.

In a sentiment that brings to mind Susan Sontag’s beautiful Letter to Borges, in which she defines writing as an act of self-transcendence, Wallace argues for the craft as an antidote to selfishness and self-involvement, and at the same time a springboard for self-improvement:

One of the things that’s good about writing and practicing writing is it’s a great remedy for my natural self-involvement and self-centeredness. . . . When students snap to the fact that there’s such a thing as a really bad writer, a pretty good writer, a great writer — when they start wanting to get better — they start realizing that really learning how to write effectively is, in fact, probably more of a matter of spirit than it is of intellect. I think probably even of verbal facility. And the spirit means I never forget there’s someone on the end of the line, that I owe that person certain allegiances, that I’m sending that person all kinds of messages, only some of which have to do with the actual content of what it is I’m trying to say.

Wallace argues that one of the most important points of awareness, and one of the most shocking to aspiring writers, can be summed up thusly:

“I am not, in and of myself, interesting to a reader. If I want to seem interesting, work has to be done in order to make myself interesting.”

(Vonnegut only compounded the terror when he memorably admonished, “The most damning revelation you can make about yourself is that you do not know what is interesting and what is not.”)

Wallace weighs the question of talent, erring on the side of grit as the quality that sets successful writers apart:

There’s a certain amount of stuff about writing that’s like music or math or certain kinds of sports. Some people really have a knack for this. . . . One of the exciting things about teaching college is you see a couple of them every semester. They’re not always the best writers in the room because the other part of it is it takes a heck of a lot of practice. Gifted, really really gifted writers pick stuff up quicker, but they also usually have a great deal more ego invested in what they write and tend to be more difficult to teach. . . .

Good writing isn’t a science. It’s an art, and the horizon is infinite. You can always get better.

Despite the prevalence of mindless language usage, Wallace — not one to miss an opportunity to poke some fun at then-President George Bush — makes a case for a yang to the yin of E.B. White’s assertion that the writer’s responsibility is “to lift people up, not lower them down,” arguing that part of that responsibility is also having faith in the reader’s capacities and sensitivities:

Regardless of whom you’re writing for or what you think about the current debased state of the English language, right? — in which the President says things that would embarrass a junior-high-school student — the fact remains that … the average person you’re writing for is an acute, sensitive, attentive, sophisticated reader who will appreciate adroitness, precision, economy, and clarity. Not always, but I think the vast majority of the time.

Learning to write well, with elegance and sensitivity, shouldn’t be reserved for those trying to have a formal career in writing — it also, Wallace points out, immunizes us against the laziness of clichés and vogue expressions:

A vogue word … becomes trendy because a great deal of listening, talking, and writing for many people takes place below the level of consciousness. It happens very fast. They don’t pay it very much attention, and they’ve heard it a lot. It kind of enters into the nervous system. They get the idea, without it ever being conscious, that this is the good, current, credible way to say this, and they spout it back. And for people outside, say, the corporate business world or the advertising world, it becomes very easy to make fun of this kind of stuff. But in fact, probably if we look carefully at ourselves and the way we’re constantly learning language . . . a lot of us are very sloppy in the way that we use language. And another advantage of learning to write better, whether or not you want to do it for a living, is that it makes you pay more attention to this stuff. The downside is stuff begins bugging you that didn’t bug you before. If you’re in the express lane and it says, “10 Items or Less,” you will be bugged because less is actually inferior to fewer for items that are countable. So you can end up being bugged a lot of the time.

But it is still, I think, well worth paying attention. And it does help, I think . . . the more attention one pays, the more one is immune to the worst excesses of vogue words, slang, you know. Which really I think on some level for a lot of listeners or readers, if you use a whole lot of it, you just kind of look like a sheep—somebody who isn’t thinking, but is parroting.

'Paper Typewriter' by Jennifer Collier from 'Art Made from Books.' Click image for more.

He returns to the question of good writing and the deliberate practice it takes to master:

Writing well in the sense of writing something interesting and urgent and alive, that actually has calories in it for the reader — the reader walks away having benefited from the 45 minutes she put into reading the thing — maybe isn’t hard for a certain few. I mean, maybe John Updike’s first drafts are these incredible . . . Apparently Bertrand Russell could just simply sit down and do this. I don’t know anyone who can do that. For me, the cliché that “Writing that appears effortless takes the most work” has been borne out through very unpleasant experience.

In a sentiment that Anne Lamott memorably made, urging that perfectionism is the great enemy of creativity, and Neil Gaiman subsequently echoed in his 8 rules of writing, where he asserted that “perfection is like chasing the horizon,” Wallace adds:

Like any art, probably, the more experience you have with it, the more the horizon of what being really good is . . . the more it recedes. . . . Which you could say is an important part of my education as a writer. If I’m not aware of some deficits, I’m not going to be working hard to try to overcome them. . . .

Like any kind of infinitely rich art, or any infinitely rich medium, like language, the possibilities for improvement are infinite and so are the possibilities for screwing up and ceasing to be good in the ways you want to be good.

Reflecting on the writers he sees as “models of incredibly clear, beautiful, alive, urgent, crackling-with-voltage prose” — he lists William Gass, Don DeLillo, Cynthia Ozick, Louise Erdrich, and Cormac McCarthy — Wallace makes a beautiful case for the gift of encountering, of arriving in the work of that rare writer who not only shares one’s sensibility but also offers an almost spiritual resonance. (For me, those writers include Rebecca Solnit, Dani Shapiro, Susan Sontag, Carl Sagan, E.B White, Anne Lamott, Virginia Woolf.) Wallace puts it elegantly:

If you spend enough time reading or writing, you find a voice, but you also find certain tastes. You find certain writers who when they write, it makes your own brain voice like a tuning fork, and you just resonate with them. And when that happens, reading those writers … becomes a source of unbelievable joy. It’s like eating candy for the soul.

And I sometimes have a hard time understanding how people who don’t have that in their lives make it through the day.

'Flights of Mind' by Vita Wells from 'Art Made from Books.' Click image for more.

Echoing Kandinsky’s thoughts on the spiritual element in art, he adds:

Lucky people develop a relationship with a certain kind of art that becomes spiritual, almost religious, and doesn’t mean, you know, church stuff, but it means you’re just never the same.

But perhaps his most important point is that the act of finding our purpose and finding ourselves is not an A-to-B journey but a dynamic act, one predicated on continually, cyclically getting lost — something we so often, and with such spiritually toxic consequences, forget in a culture where the first thing we ask a stranger is “So, what do you do?” Wallace tells Garner:

I don’t think there’s a person alive who doesn’t have certain passions. I think if you’re lucky, either by genetics or you just get a really good education, you find things that become passions that are just really rich and really good and really joyful, as opposed to the passion being, you know, getting drunk and watching football. Which has its appeals, right? But it is not the sort of calories that get you through your 20s, and then your 30s, and then your 40s, and, “Ooh, here comes death,” you know, the big stuff. . . .

It’s also true that we go through cycles. . . . These are actually good — one’s being larval. . . .

But I think the hard thing to distinguish among my friends is who . . . who’s the 45-year-old who doesn’t know what she likes or what she wants to do? Is she immature? Or is she somebody who’s getting reborn over and over and over again? In a way, that’s rather cool.

Quack This Way is excellent in its entirety, brimming with the very spiritual resonance discussed above. Complement it with this compendium of famous writers’ wisdom on the craft, including Kurt Vonnegut’s 8 rules for writing with style, Henry Miller’s 11 commandments, Susan Sontag’s synthesized wisdom, Chinua Achebe on the writer’s responsibility, Nietzsche’s 10 rules for writers, and Jeanette Winterson on reading and writing.

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17 FEBRUARY, 2014

David Foster Wallace on Leadership, Illustrated and Read by Debbie Millman

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“A leader’s real ‘authority’ is a power you voluntarily give him, and you grant him this authority not with resentment or resignation but happily.”

“Leadership” is one of those buzzwords — like “curation” — whose meaning has been forcibly squeezed out of them by regurgitative overuse and relentless overapplication to things that increasingly dilute the essence of the concept the word once used to capture. In a culture that calls pop culture celebrities “thought-leaders” and looks for “leadership ability” in kindergartners, we’re left wondering what leadership actually means and questioning what makes a great leader.

The best definition of the essence beneath the buzzword comes from David Foster Wallace, who would’ve been 52 this week and who, even amidst heartbreaking and ultimately fatal personal turmoil, was able to distill the meaning of life with crystalline poignancy. In his 2000 essay “Up, Simba: Seven Days on the Trail of an Anticandidate,” found in the altogether fantastic Consider the Lobster and Other Essays (public library), Wallace considers the leader.

In this beautiful addition to the Brain Pickings artist series, Debbie Millman — who has previously illustrated memorable words by Anaïs Nin, Edith Windsor, Herman Melville, and other beloved writers — captures an abridged version of Wallace’s timeless wisdom in a painstakingly handcrafted felt-on-felt typographic art piece, created as a poster for the 2014 How Design Live conference. The artwork is available as a print, with 100% of proceeds benefiting the National Suicide Prevention Lifeline.

It is just about impossible to talk about the really important stuff in politics without using terms that have become such awful clichés they make your eyes glaze over and are hard to even hear. One such term is “leader,” which all the big candidates use all the time — as in e.g. “providing leadership,” “a proven leader,” “a new leader for a new century,” etc. — and have reduced to such a platitude that it’s hard to try to think about what “leader” really means and whether indeed what today’s Young Voters want is a leader. The weird thing is that the word “leader” itself is cliché and boring, but when you come across somebody who actually is a real leader, that person isn’t cliché or boring at all; in fact he’s sort of the opposite of cliché and boring.

Obviously, a real leader isn’t just somebody who has ideas you agree with, nor is it just somebody you happen to believe is a good guy. Think about it. A real leader is somebody who, because of his own particular power and charisma and example, is able to inspire people, with “inspire” being used here in a serious and non-cliché way. A real leader can somehow get us to do certain things that deep down we think are good and want to be able to do but usually can’t get ourselves to do on our own. It’s a mysterious quality, hard to define, but we always know it when we see it, even as kids. You can probably remember seeing it in certain really great coaches, or teachers, or some extremely cool older kid you “looked up to” (interesting phrase) and wanted to be just like. Some of us remember seeing the quality as kids in a minister or rabbi, or a scoutmaster, or a parent, or a friend’s parent, or a supervisor in a summer job. And yes, all these are “authority figures,” but it’s a special kind of authority. If you’ve ever spent time in the military, you know how incredibly easy it is to tell which of your superiors are real leaders and which aren’t, and how little rank has to do with it. A leader’s real “authority” is a power you voluntarily give him, and you grant him this authority not with resentment or resignation but happily; it feels right. Deep down, you almost always like how a real leader makes you feel, the way you find yourself working harder and pushing yourself and thinking in ways you couldn’t ever get to on your own.

In other words, a real leader is somebody who can help us overcome the limitations of our own individual laziness and selfishness and weakness and fear and get us to do better things than we can get ourselves to do on our own.

As the host of the National-Design-Award-winning podcast Design Matters, it is only fitting that Millman would bring Wallace’s words to life in this gorgeous reading, recorded exclusively for Brain Pickings:

Get the print here. Consider the Lobster and Other Essays is a remarkable read in its entirety. For more of Millman’s own illustrated typographic essays, treat yourself to her Self-Portrait as Your Traitor, one of the best art and design books of 2013.

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