David Wallace - Oblivion

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Oblivion: краткое содержание, описание и аннотация

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In the stories that make up
, David Foster Wallace joins the rawest, most naked humanity with the infinite involutions of self-consciousness-a combination that is dazzlingly, uniquely his. These are worlds undreamt-of by any other mind. Only David Foster Wallace could convey a father's desperate loneliness by way of his son's daydreaming through a teacher's homicidal breakdown ("The Soul Is Not a Smithy"). Or could explore the deepest and most hilarious aspects of creativity by delineating the office politics surrounding a magazine profile of an artist who produces miniature sculptures in an anatomically inconceivable way ("The Suffering Channel"). Or capture the ache of love's breakdown in the painfully polite apologies of a man who believes his wife is hallucinating the sound of his snoring ("Oblivion"). Each of these stories is a complete world, as fully imagined as most entire novels, at once preposterously surreal and painfully immediate.

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Nor however is it strictly true that the analyst had nothing interesting to say or that he didn’t sometimes provide helpful models or angles for looking at the basic problem. For instance, it turned out that one of his basic operating premises was the claim that there were really only two basic, fundamental orientations a person could have toward the world, (1) love and (2) fear, and that they couldn’t coexist (or, in logical terms, that their domains were exhaustive and mutually exclusive, or that their two sets had no intersection but their union comprised all possible elements, or that:

‘(∀ x ) ((F x → ~ (L x )) & (L x → ~ (F x ))) & ~ ((∃ x ) (~ (F x ) & ~ (L x ))’),

meaning in other words that each day of your life was spent in service to one of these masters or the other, and ‘One cannot serve two masters’—the Bible again — and that one of the worst things about the conception of competitive, achievement-oriented masculinity that America supposedly hardwired into its males was that it caused a more or less constant state of fear that made genuine love next to impossible. That is, that what passed for love in American men was usually just the need to be regarded in a certain way, meaning that today’s males were so constantly afraid of ‘not measuring up’ (Dr. G.’s phrase, with evidently no pun intended) that they had to spend all their time convincing others of their masculine ‘validity’ (which happens to also be a term from formal logic) in order to ease their own insecurity, making genuine love next to impossible. Although it seemed a little bit simplistic to see this fear as just a male problem (try watching a girl stand on a scale sometime), it turns out that Dr. Gustafson was very nearly right in this concept of the two masters — though not in the way that he, when alive and confused about his own real identity, believed — and even while I played along by pretending to argue or not quite understand what he was driving at, the idea struck me that maybe the real root of my problem was not fraudulence but a basic inability to really love, even to genuinely love my stepparents, or Fern, or Melissa Betts, or Ginger Manley of Aurora West High in 1979, whom I’d often thought of as the only girl I’d ever truly loved, though Dr. G.’s bromide about men being brainwashed to equate love with accomplishment or conquest also applied here. The plain truth was that Ginger Manley was just the first girl I ever went all the way with, and most of my tender feelings about her were really just nostalgia for the feeling of immense cosmic validation I’d felt when she finally let me take her jeans all the way off and put my so-called ‘manhood’ inside her, etc. There’s really no bigger cliché than losing your virginity and later having all kinds of retrospective tenderness for the girl involved. Or what Beverly-Elizabeth Slane, a research technician I used to see outside of work when I was a media buyer, and had a lot of conflict with toward the end, said, which I don’t think I ever told Dr. G. about, fraudulence-wise, probably because it cut a little too close to the bone. Toward the end she had compared me to some piece of ultra-expensive new medical or diagnostic equipment that can discern more about you in one quick scan than you could ever know about yourself — but the equipment doesn’t care about you, you’re just a sequence of processes and codes. What the machine understands about you doesn’t actually mean anything to it. Even though it’s really good at what it does. Beverly had a bad temper combined with some serious firepower, she was not someone you wanted to have pissed off at you. She said she’d never felt the gaze of someone so penetrating, discerning, and yet totally empty of care, like she was a puzzle or problem I was figuring out. She said it was thanks to me that she’d discovered the difference between being penetrated and really known versus penetrated and just violated — needless to say, these thanks were sarcastic. Some of this was just her emotional makeup — she found it impossible to really end a relationship unless all bridges were burned and things got said that were so devastating that there could be no possibility of a rapprochement to haunt her or prevent her moving on. Nevertheless it penetrated, I never did forget what she said in that letter.

Even if being fraudulent and being unable to love were in fact ultimately the same thing (a possibility that Dr. Gustafson never seemed to consider no matter how many times I set him up to see it), being unable to really love was at least a different model or lens through which to see the problem, plus initially it seemed like a promising way of attacking the fraudulence paradox in terms of reducing the self-hatred part that reinforced the fear and the consequent drive to try to manipulate people into providing the very approval I’d denied myself. (Dr. G.’s term for approval was validation. ) This period was pretty much the zenith of my career in analysis, and for a few weeks (during a couple of which I actually didn’t see Dr. Gustafson at all, because some sort of complication in his illness required him to go into the hospital, and when he came back he appeared to have lost not only weight but some kind of essential part of his total mass, and no longer seemed too large for his old desk chair, which still squeaked but now not as loudly, plus a lot of the clutter and papers had been straightened up and put in several brown cardboard banker’s boxes against the wall under the two sad prints, and when I came back in to see him the absence of mess was especially disturbing and sad, for some reason) it was true that I felt some of the first genuine hope I’d had since the early, self-deluded part of the experiment with Naperville’s Church of the Flaming Sword of the Redeemer. And yet at the same time these weeks also led more or less directly to my decision to kill myself, although I’m going to have to simplify and linearize a great deal of interior stuff in order to convey to you what actually happened. Otherwise it would take an almost literal eternity to recount it, we already agreed about that. It’s not that words or human language stop having any meaning or relevance after you die, by the way. It’s more the specific, one-after-the-other temporal ordering of them that does. Or doesn’t. It’s hard to explain. In logical terms, something expressed in words will still have the same ‘cardinality’ but no longer the same ‘ordinality.’ All the different words are still there, in other words, but it’s no longer a question of which one comes first. Or you could say it’s no longer the series of words but now more like some limit toward which the series converges. It’s hard not to want to put it in logical terms, since they’re the most abstract and universal. Meaning they have no connotation, you don’t feel anything about them. Or maybe imagine everything anybody on earth ever said or even thought to themselves all getting collapsed and exploding into one large, combined, instantaneous sound — although instantaneous is a little misleading, since it implies other instants before and after, and it isn’t really like that. It’s more like the sudden internal flash when you see or realize something — a sudden flash or whatever of epiphany or insight. It’s not just that it happens way faster than you could break the process down and arrange it into English, but that it happens on a scale in which there isn’t even time to be aware of any sort of time at all in which it’s happening, the flash — all you know is that there’s a before and an after, and afterward you’re different. I don’t know if that makes sense. I’m just trying to give it to you from several different angles, it’s all the same thing. Or you could think of it as being more a certain configuration of light than a word-sum or series of sounds, too, afterward. Which is in fact true. Or as a theorem’s proof — because if a proof is true then it’s true everywhere and all the time, not just when you happen to say it. The thing is that it turns out that logical symbolism really would be the best way to express it, because logic is totally abstract and outside what we think of as time. It’s the closest thing to what it’s really like. That’s why it’s the logical paradoxes that really drive people nuts. A lot of history’s great logicians have ended up killing themselves, that is a fact.

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