horses in the yard of the doctor's manse next door

as a critic who cares deeply about 'serious' art, and as a mensch

others almost metaphysical aperçus about the hazy intersection of cognition and the world

I feel nothing lapidary inside.

To expiate the burden

He sent DeLillo a holiday card with the emendation

from neurology to politics to Aristotelian pisteis to Jaussian Kritik to stuff like etiquette and clothing fashions

[...] his expectation he could have things both ways, pursuing the questionable tactic of writing cleverly to assert the superiority of sincerity in a world wedded to cleverness. Scott also accused Wallace of fencing off all possible objections to his work by making sure every possible criticism was already embedded in the text. Brief Interviews, especially, the critic wrote, was not so much anti-ironic as "meta-ironic," driven much like the characters in its stories by the fear of being known. This sort of writing, he continued, was clearly connected to the self-centered self-absorbed culture of late twentieth-century America, but "does Wallace's work represent an unusually trenchant critique of that culture or one of its most florid and exotic symptoms? Of course, there can only be one answer: it's both." Wallace was not pleased but he was impressed. In the margins of a draft of the story "Good Old Neon," which he began around this time, he noted (punningly), "AO Scott saw into my character."

he was named as one of the louche uncles