Fate, Time, and Language: An Essay on Free Will
David Foster Wallace
Table of Contents
Title Page
PREFACE
Introduction
PART I - THE BACKGROUND
INTRODUCTION
Chapter 1 - FATALISM
Chapter 2 - PROFESSOR TAYLOR ON FATALISM
NOTE
Chapter 3 - FATALISM AND ABILITY
NOTES
Chapter 4 - FATALISM AND ABILITY II
Chapter 5 - FATALISM AND LINGUISTIC REFORM
NOTE
Chapter 6 - FATALISM AND PROFESSOR TAYLOR
NOTES
Chapter 7 - TAYLOR’S FATAL FALLACY
NOTES
Chapter 8 - A NOTE ON FATALISM
NOTES
Chapter 9 - TAUTOLOGY AND FATALISM
NOTES
Chapter 10 - FATALISTIC ARGUMENTS
[I]
[II]
NOTES
Chapter 11 - COMMENT
Chapter 12 - FATALISM AND ORDINARY LANGUAGE
NOTES
Chapter 13 - FALLACIES IN TAYLOR’S “FATALISM”
NOTES
PART II - THE ESSAY
Chapter 14 - RENEWING THE FATALIST CONVERSATION
NOTES
Chapter 15 - RICHARD TAYLOR’S “FATALISM” AND THE SEMANTICS OF PHYSICAL MODALITY
ACKNOWLEDGMENTS
I. INTRODUCTION TO THE TAYLOR PROBLEM AND ITS CONTEXT
II. THE TAYLOR LITERATURE: SOME PROMINENT REPLIES TO TAYLOR, AND WHY THEY ...
III. INTRODUCTION TO THE TAYLOR INEQUIVALENCE.
IV. ARGUMENT FOR THE TAYLOR INEQUIVALENCE.
V. A FORMAL DEVICE FOR REPRESENTING AND EXPLAINING THE TAYLOR INEQUIVALENCE: ...
VI. FURTHER APPLICATIONS OF SYSTEM J TO ANALYSES OF PROBLEMS INVOLVING PHYSICAL ...
VII. CONCLUSION: IMPLICATIONS FOR THE MODERN FATALISTIC ARGUMENT.
NOTES
PART III - EPILOGUE
Chapter 16 - DAVID FOSTER WALLACE AS STUDENT: AMEMOIR
APPENDIX - THE PROBLEM OF FUTURE CONTINGENCIES
Copyright Page
PREFACE
STEVEN M. CAHN AND MAUREEN ECKERT
IN 1985 David Foster Wallace, then a senior at Amherst College, submitted an honors thesis to his school’s Department of Philosophy. This extended essay explored a puzzle about free will that was deeply rooted in the history of philosophy and had been revitalized in 1962 with the publication of a provocative piece titled “Fatalism” by the well-known metaphysician Richard Taylor. For several years after its appearance, this article generated much discussion in the leading philosophical journals of both Britain and the United States. In Wallace’s thesis he revisited that debate and sought to resolve the crucial issues it raised about fate, time, and language.
Wallace’s thesis was on file in the philosophy department library at his college, but the existence of the work was not widely known. In 2008 Maureen Eckert learned from Mark Costello of the significance the thesis had for Wallace and his desire that it be published. She passed on this information to Steven M. Cahn, who in turn contacted Wendy Lochner, senior philosophy editor at Columbia University Press. Permission to publish was obtained from the estate of David Foster Wallace, and this volume was then brought to fruition.
Every effort has been made to put Wallace’s thesis into perspective. At the request of the Press, James Ryerson provided an introduction, exploring the connections between Wallace’s literary and philosophical interests. Then, after a short explanatory note by Steven M. Cahn, Taylor’s controversial article is reprinted unabridged as are the most significant contributions to the debate it inspired. Following Maureen Eckert’s explanation of the important developments in philosophy between the late 1960s and the early 1980s that influenced Wallace’s approach, his thesis is presented, exactly as he submitted it. Finally, at the invitation of the Press, Jay Garfield prepared a brief epilogue, recounting his experience as Wallace’s teacher. The appendix contains a crucial paper of Taylor’s, often overlooked by those who seek to understand the controversy. Written five years before “Fatalism,” it offers a clear presentation of Taylor’s own metaphysical position: what he believed and why he believed it, its roots in the metaphysics of Aristotle, and its consequences for understanding the nature of time, logic, and divine omniscience.
Wallace’s thesis does not make for easy reading. But the issues with which he wrestles are fascinating and the consequences far-ranging. In this case, as in much of philosophical inquiry, a concern for technical detail may be needed to make progress in resolving questions that matter most.
We are grateful to the estate of David Foster Wallace for agreeing to have this work published. We appreciate the support and guidance of our editor, Wendy Lochner, as well as the valuable help provided by assistant editor Christine Mortlock and manuscript editor Michael Haskell. Our thanks also to James Ryerson and Jay Garfield for their insightful contributions. Without the crucial role played by Mark Costello the project would not have been undertaken.
We wish to acknowledge the assistance throughout production of the staff at Columbia University Press. And we want to take this opportunity to thank Matt Cravatta, who found for us a photograph of Richard Taylor.
Finally, we would like to express our appreciation for the opportunity we have been given to bring to a wider audience this work of David Foster Wallace. We trust that his arguments will be taken seriously and subjected to careful scrutiny. Doing so, as he well knew, is how one pays tribute to a philosopher of consequence.
INTRODUCTION
A HEAD THAT THROBBED HEARTLIKE THE PHILOSOPHICAL MIND OF DAVID FOSTER WALLACE
JAMES RYERSON
WITH THE death of David Foster Wallace, the author of Infinite Jest, who took his own life on September 12, 2008, the world of contemporary American fiction lost its most intellectually ambitious writer. Like his forebears Thomas Pynchon and William Gaddis, Wallace wrote big, brainy novels that were encyclopedically packed with information and animated by arcane ideas. In nonfiction essays, he tackled a daunting range of highbrow topics, including lexicography, poststructuralist literary theory, and the science, ethics, and epistemology of invertebrate pain. He wrote a book, Everything and More, on the history and philosophy of the mathematics of infinity. Even his signature stylistic device—the extensive use of footnotes and endnotes—was a kind of scholarly homage.
But Wallace was also wary of ideas. He was perpetually on guard against the ways that abstract thinking (especially thinking about your own thinking) can draw you away from something more genuine and real. To read his acutely self-conscious, dialectically fevered writing was often to witness the agony of cognition: how the twists and turns of thought can hold out the promise of true understanding yet also become a danger to it. Wallace was especially concerned that certain theoretical paradigms—the cerebral aestheticism of modernism, the clever gimmickry of postmodernism—too easily discarded what he once called “the very old traditional human verities that have to do with spirituality and emotion and community.” He called for a more forthright, engaged treatment of these basic truths. Yet he himself attended to them with fractured, often-esoteric methods. It was a defining tension: the very conceptual tools with which he pursued life’s most desperate questions threatened to keep him forever at a distance from the connections he struggled to make.
Given Wallace’s considerable intellectual gifts and large cult following, it was a surprise to learn, after his death, that his only formal, systematic contribution to the world of ideas had never been published and was almost completely unknown. This was his undergraduate honors thesis in philosophy, “Richard Taylor’s ‘Fatalism’ and the
Semantics of Physical Modality,” which he submitted for a degree at Amherst College in 1985. Its obscurity is easy to appreciate. A highly specialized, novella-length work of logic, semantics, and metaphysics, it is not for the philosophically faint of heart. Brace yourself for a sample sentence: “Let ∅ (a physical possibility structure) be a set of distinct but intersecting paths ji-jn, each of which is a set of functions, L’s, on ordered pairs 〈t, w〉 (〈time, world-situation〉), such that for any Ln, Lm in some ji, LnRLm, where R is a primitive accessibility relation corresponding to physical possibility understood in terms of diachronic physical compatibility.” There are reasons that he’s better known for an essay about a cruise ship.
For all its seeming inscrutability, though, the thesis is lucidly argued and—with some patience and industry on the part of the lay reader—ultimately accessible, which is welcome news for those looking to deepen their understanding of Wallace. The paper offers a point of entry into an overlooked aspect of his intellectual life: a serious early engagement with philosophy that would play a lasting role in his work and thought, including his ideas about the purpose and possibilities of fiction. In addition, the thesis itself marks an important phase in his development as a thinker. Once its goals and ambitions become clear, it casts a revealing light on the initial stages of his struggle to use the powers of his formidable mind for the higher good: to protect against the seductions of the intellect and to find solid ground for his most urgent and heartfelt convictions.
At Amherst in the early 1980s, Wallace was considered by his professors to be a rare philosophical talent, an exceptional student who combined raw analytical horsepower with an indefatigable work ethic. His work also displayed an advanced grasp of the standards of the discipline. From his father, James D. Wallace, a philosopher who taught at the University of Illinois at Urbana-Champaign, he had picked up a sense of how professional philosophy is conducted. When David was about fourteen, he asked his father for an explanation of what philosophy is, and James had the two of them read Plato’s Phaedo dialogue together. “I had never had an undergraduate student who caught on so quickly or who responded with such maturity and sophistication,” James told me. “This was this first time I realized what a phenomenal mind David had.” Even after Wallace began writing fiction, a pursuit he undertook midway through college, philosophy remained the source of his academic identity. “I knew him as a philosopher with a fiction hobby,” the philosopher Jay Garfield, an adviser on Wallace’s thesis (and a contributor to this volume), told me. “I didn’t realize he was one of the great fiction writers of his generation with a philosophy hobby.”
For most of college, Wallace’s main philosophical interests were in the more technical branches of the subject. He was drawn in particular to mathematical logic and the philosophy of language, fields that often make use of specialized tools (such as truth-functional propositional calculus) to ask precisely framed questions about matters like logical inference and linguistic meaning. One semester, Wallace took a seminar on the philosophy of Ludwig Wittgenstein, whose early work grapples with the writings of Gottlob Frege and Bertrand Russell, two of the founders of modern logic. As Wallace recollected in 1992 in a letter to the novelist Lance Olsen, he was “deeply taken” in the seminar with Wittgenstein’s first book, Tractatus Logico-Philosophicus, which was published in 1921. Along with its controversial arguments about the nature and limits of language, the Tractatus introduced some indisputable technical innovations, including a method of analyzing the propositions of modern logic by way of “truth tables.” To some, the book might have seemed forbiddingly spare and exacting; Wallace remembered being moved by its “cold formal beauty.” When the seminar moved on to Wittgenstein’s so-called late philosophy, in which he repudiates the ideas and austere methodology of the Tractatus in favor of new assumptions and a looser, less mathematical style, Wallace was not immediately impressed. He wrote to Olsen that at first he found Philosophical Investigations , the crowning statement of the late philosophy, to be “silly.”
As Wallace would later admit, his intellectual leanings in those years may have been influenced by a wish to differentiate himself from his father. James Wallace received his Ph.D. in philosophy in 1963 from Cornell University, writing his dissertation (on the topic of pleasure) under the direction of Norman Malcolm, a close friend and disciple of Wittgenstein’s. James, like Malcolm, was an admirer of Wittgenstein’s late work, and less receptive to the kind of philosophy that David would come to embrace. “I am not interested in logic,” James explained to me. “I have been amused by the way that logicians move into an area of philosophy, try to axiomatize it, and end up focusing on logicians’ problems instead of the problems that other philosophers in the area are concerned about.” When David was asked in 1997 on the TV show Charlie Rose about the interest that he and his father shared in philosophy, he demurred, stressing the divergence in their tastes. “I was a philosophy major in college,” he said. “But my areas of interest were mathematical logic and semantics and stuff, which my dad thinks is kind of gibberish. So it’s very weird. In a certain way I’m following in Dad’s footsteps, and I’m also doing the required thumbing-the-nose-at-the-father thing.”
Wallace would also identify another subconscious desire behind his early philosophical enthusiasms: the craving for a certain kind of beauty, for the variety of aesthetic experience characteristic of formal systems like mathematics and chess. Not long after he left the open expanses of Illinois, where he grew up, for the hilly terrain of western Massachusetts, where Amherst is located, Wallace was seized by a sudden fascination with math (despite never having been, and never becoming, by his own account, a particularly good math student). As he later wrote in “Derivative Sport in Tornado Alley,” an autobiographical essay, his attraction to math had been an aesthetic affair at heart: the discipline’s stark logical landscapes reminded him of the flat Cartesian topography of his native Midwest, the “vectors, lines and lines athwart lines, grids” that are common to both. Technical philosophy, too, afforded nontechnical pleasures. In an interview with the literary critic Larry McCaffery published in 1993, Wallace explained that as a philosophy student he had been “chasing a special sort of buzz,” a flash of feeling whose nature he didn’t comprehend at first. “One teacher called these moments ‘mathematical experiences,’” he recalled. “What I didn’t know then was that a mathematical experience was aesthetic in nature, an epiphany in Joyce’s original sense. These moments appeared in proof-completions, or maybe algorithms. Or like a gorgeously simple solution you suddenly see after filling half a notebook with gnarly attempted solutions. It was really an experience of what I think Yeats called ‘the click of a well-made box.’ The word I always think of it as is ‘click.’ ”
The counterpart of the “click” was the box that wouldn’t close, the puzzle that resisted solution. Sometime in his later college years, Wallace became troubled by a well-known paper called “Fatalism,” first published in 1962, in which the philosopher Richard Taylor advances a modern-day argument for an age-old metaphysical doctrine by that name. The fatalist contends, quite radically, that human actions and decisions have no influence on the future. Your behavior today no more shapes events tomorrow than it shapes events yesterday. Instead, in a seemingly backward way, the fatalist says it is how things are in the future that uniquely constrains what happens right now. What might seem like an open possibility subject to human choice—say, whether you fire your handgun—is already either impossible or entirely necessary. You are merely going with some cosmic flow.
Like the doctrine of determinism, its better-known metaphysical cousin, fatalism holds that it is not in our power to do anything other than what we actually end up doing. Unlike determinism, fatalism does not proceed by contemplating the causal mechanics of the universe—the implications for human freedom of Newtonian physics or thermodynamics or quantum mechanics. Instead, the fatalist argues that his doctrine can be established by mere reflection on the logic of
propositions about the future. In simplified form, a version of the argument might run as follows: If I fire my handgun, one second from now its barrel will be hot; if I do not fire, one second from now the barrel will not be hot; but the proposition one second from now the barrel will be hot is right now either true or false. If the proposition is true, then it is the case that I will fire the gun; if it’s false, then it is the case that I won’t. Either way, it’s the state of affairs in the future that dictates what I will or won’t do now.
Obviously there is something fishy going on here. But the fatalist argument, in various guises, has a long history of bedeviling its critics. The earliest-known version of it was presented by Aristotle in the mid-third century B.C.E. in his work De Intrepretatione, and over the centuries theologically inflected variants were taken up by Augustine, Boethius, and William of Ockham. Richard Taylor’s updated version of this argument makes it hard to pinpoint what exactly is amiss with fatalism, not least because Taylor makes his case for this controversial doctrine using only a handful of uncontroversial assumptions about logic and language—that any statement is either true or false; that if p is sufficient for q, then q necessarily follows from p; and so on.
Wallace was understandably bothered by the odd worldview that Taylor’s paper seemed to support. It is a vision, after all, of a world without human agency, without the notion of what might have been, with only the certitudes of history’s one and only possible path. But Wallace was equally distressed by the kind of argument that Taylor had made, by the fact that, as Jay Garfield put it, “this metaphysically troubling conclusion followed from these ordinary-seeming premises.” Logic, though invaluable to thought, is just a set of formal techniques for evaluating how statements relate to one another; how had a small handful of bland assumptions about logic led Taylor to such a substantial conclusion about the nature of fate? He seemed to have scrambled the domains of logic, language, and the physical world, unloosing them from their proper spheres.
