When Infinite Jest was published in 1996 and David Foster Wallace set the literary world on fire, he was the epitome of cool. He looked like Ethan Hawke and Kurt Cobain’s brother—and he was authentic, not just some poseur. And his talent could blow your mind; he was bona fide, high-brow literary, and important people called him a genius because they couldn’t think of a better word. Every lengthy, “literary” novel that has been published since Infinite Jest lives in its shadow. Is Adam Levin the next David Foster Wallace? Marisha Pessl? Zadie Smith? Eugenides? Is House of Leaves as good as Infinite Jest? How does Freedom or Witz compare? Safran Foer? Who is the female DFW? The thing is, at that moment, Wallace could have taken another direction. He could’ve gone on The Today Show or Good Morning America or been on a billboard in Times Square. He could’ve done some self-promotion and become the most famous young writer in America. But it’s not like he turned Pynchon and disappeared—he struggled with his gift and the image of himself. He winced on Charlie Rose and then went back to teaching in Illinois.
Do yourself a favor and read Matt Bucher’s essay “Consider the Year of David Foster Wallace.”