Abstract
ABSTRACTThis article identifies a troubling trend in David Foster Wallace studies. Many critics and scholars begin their analyses of Wallace’s fiction in the personal interviews and essays that Wallace left behind after his death, as opposed to the texts themselves. The explanations of these works, therefore, originate from David Foster Wallace himself and obscure the diverse textual influences that helped shape his fiction. By removing the prestige of the author, this study also demonstrates that “Good Old Neon,” rather than seeking to create an empathetic relationship between the author and the reader, uses a Borgesian structure to demonstrate the impossibility that a person can truly know someone else.
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