The curious thing about David's fiction, though, is how recognized and comforted, how loved, his most devoted readers feel when reading it. To the extent that each of us is stranded on his or her own existential island--and I think it's approximately correct to say that his most susceptible readers are ones familiar with the socially and spiritually isolating effects of addiction or compulsion or depression--we gratefully seized on each new dispatch from that farthest-away island which was David. At the level of content, he gave us the worst of himself: he laid out, with an intensity of self-scrutiny worthy of comparison to Kafka and Kierkegaard and Dostoyevsky, the extremes of his own narcissism, misogyny, compulsiveness, self-deception, dehumanizing moralism and theologizing, doubt in the possibility of love, and entrapment in footnotes-within-footnotes self-consciousness. At the level of form and intention, however, this very cataloguing of despair about his own authentic goodness is received by the reader as a gift of authentic goodness: we feel the love in the fact of his art, and we love him for it.