Shannon Burns

According to D.T. Max, ‘At the time of his tragic death by suicide in September 2008, David Foster Wallace was the foremost writer of his generation, the one who had forged the newest path and from whom the others, directly or indirectly, took their cues.’ Indeed, for someone desperate to escape the confines of self and wary of literary celebrity, Wallace endured more than his share of hype and admiration. This paradox is unsurprising when we consider Wallace’s repeated depictions of bleak coincidence in his fiction. Early in Infinite Jest (1996), footballer Orin Incandenza – the elder brother of physically deformed Mario and hyper-intelligent Hal – suffers a nightmare of being smothered by his mother’s disembodied head; when Orin wakes, his latest ‘Subject’ (sexual conquest) is watching a documentary about schizophrenia. Mediated by Orin, the voice-over describes its subject:

I nitially banned in Australia, Portnoy’s Complaint (1969) is Philip Roth’s early, bestselling, satirical tour de force. Alexander Portnoy addresses a long monologue to his analyst, Dr Spielvogel. Among other things, the monologue tackles Portnoy’s erotic and ethical shortcomings, lingering in particular over his father’s familial and economic emasculation, his mother’s overbearing cleanliness and affection, his fraught relationship to Jewishness, and a selection of doomed love interests. Portnoy’s Complaint is by turns comedic, tragic, confronting, illuminating, anguished, and jubilant.

Colin McCahon was a prominent late-modernist New Zealand painter who temporarily disappeared while visiting the Sydney Botanic Gardens on 11 and 12 April 1984. As Martin Edmond relates, ‘Colin went off to the toilet but didn’t return’, and subsequently ‘spent 28 hours lost on the streets of Sydney’. When discovered, ‘he could not say who he was, carried no identification and seemed disoriented’. This largely speechless disorientation persisted until McCahon’s death.