[...] I believe that "Westward"'s fictional project should instead be read as, if not as accomplishing, then at least pointing toward a relationship to irony that is anti-eschatological, that acknowledges irony's fundamental "temporality that is not organic," and that it "allows for no end, for no totality." In other words, Wallace's mode of getting metafiction's Armageddon-explosion "over with," is based on an acknowlegment that not only can there not be such an explosion, but that the whole aesthetic approach that privileges such an eschatology is not only problematic, but threatening. [...]