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Hallberg employs this well-tested structure with a deft, creative hand.There are even differently formatted articles, diaries, and zines within the book, as if It’s not just the structure, but also the style that’s televisual.

Yet, despite this change in status, TV is still especially problematic for writers in some of the same ways Wallace originally pointed out.In standard prestige-TV style, different characters in are introduced at different times, and those who play bit parts in another character’s story get their own in-depth treatment later.The book flips perspectives over its 96 chapters accordingly, foregrounding some characters while backgrounding others.In 2011, he compared the structure of David Foster Wallace’s , whose five seasons each focused on a different stratum of Baltimore life.Certainly, the superficial connections are there: Set in 1970s New York City, the novel is about urban decay, drug addiction, and honor-bound but emotionally flawed detectives. also represents a natural progression in the aesthetic influence of television—for better and worse.

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Ten publishing houses competed in an auction for the final product, with the highest bid reportedly being close to $2 million dollars—making Garth Risk Hallberg’s debut novel , my thoughts weren’t on the world of literary criticism and novels at all, but rather on serial television.

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