The Glossary, a Los Angeles-based audiovisual marketing firm, has reinvented David Foster Wallace as a motivational speaker. This “fine purveyor of STIMULATING VIDEOGRAMS” edited the best soundbytes from Wallace’s graduation speech at Kenyon College, “This Is Water,” and then dressed it up with video, trendy animated scribbles, and sprightly background music.
The Glossary included the lines from the speech that haunted Wallace’s readers after he hanged himself:
Think of the old cliché about quote the mind being an excellent servant but a terrible master.
This, like many clichés, so lame and unexciting on the surface, actually expresses a great and terrible truth. It is not the least bit coincidental that adults who commit suicide with firearms almost always shoot themselves in the head. They shoot the terrible master. And the truth is that most of these suicides are actually dead long before they pull the trigger.
Returned to its original context as part of an exhortation to graduates to work towards mastery of their own perceptions – considering, for instance, that the overweight woman losing her temper in a checkout line might have spent the night with a dying husband and was not, in fact, just put on earth to annoy everyone in line behind her – the passage serves as a sort of radical motivation in which reimagination is the only way to keep oneself alive. Some critics, including Leslie Jamison, in his review of a Wallace biography, have rewritten Wallace’s suicide as a piece of postmodern performance art, with the “terrible master” passage a snippet of autobiography concealed by being waved in front of a crowd.
The less esoteric version has Wallace suffering from lifelong depression, forced to go off his medication because of severe side effects, and then, after falling into an even more severe depression and restarting the poison pills, discovering that they were no longer effective for him. Apparently, even if you are a genius, you still also have to be a person and a body with an uncooperative brain. Irreconcilable differences are bound to occur.
What surprises me about The Glossary video that has gone viral this week is that people find Wallace’s views so inspiring and revolutionary. In essence, he argues that most people ricochet back to the same mental point of origin, the panoramas that are so familiar we have stopped seeing them; but by prodding ourselves to consider other versions of what looks like reality, we are free to become better masters of our minds. He also acknowledges that getting outside ourselves is difficult, exhausting work, and he admits that sometimes he himself is too tired to engage in it.
To me, this celebration of possibilities is as good a definition of creativity as I’ve ever come across – something like mental Cubism, in which all realities can be embodied at the same time. But it also makes perfect sense to me that Wallace’s call to reinvent and reenvision, and the massive effort it takes to do so, would come from someone who was suicidal enough of his life for a bullet in the brain to become a metaphor. With depression as the random point in space from which you view the world, death is always right in front of you, blocking your view. To survive, you have to imagine a different frame, in which the option of suicide is somewhere far in the distance, behind a closed door, somewhere you might visit sometime when you don’t have so many other things to do. Once you know where the door is located, though, it is impossible to forget it exists or how to open it.
In a speech at the 2011 National Book Festival, Toni Morrison briefly discussed her dissertation, which compared William Faulkner’s and Virginia Woolf’s conceptions of suicide. Faulker viewed suicide as the ultimate defeat, Morrison explained, while Woolf saw it as a reasonable choice, in her case a rational alternative to putting herself and her husband through another period of psychosis. I tend toward Woolf’s view, and, I would guess, so did Wallace. Wallace’s “This Is Water” speech offers instructions for making other choices.
However, it is a more than a little paradoxical that the speech has been appropriated by a marketing firm. As a former (mostly mediocre) ad writer, I’m in a position to know that the whole objective is to create materials that act as magnets, pulling thoughts in the intended direction without infringing on viewers’ certainty of their own free will. Within a few days, the video had attracted 2.7 million views, dwarfing the popularity of previous projects (and, incidentally, using audio of Wallace’s Kenyon speech without permissions). In an Adweek interview, the creators claim, disingenuously in my opinion, “Our main goal was to expose people to the content of the speech.” Later in the interview, though, the creators concede, “…as a tiny company in an industry filled with so much talent and competition, it’s extremely difficult to get your work noticed…so we’d welcome anyone who enjoyed ‘This Is Water’ to get in touch with us.”
I’m reminded of the perennially puzzling sentences, “This statement is untrue” and “Question authority.” Wallace’s legacy will almost certainly transcend this little ripple in the information ecosystem, but I’m also fairly sure its undertow is meant to pull us down into the water.