“I’ve gotten convinced that there’s something kind of timelessly vital and sacred about good writing. This thing doesn’t have that much to do with talent, even glittering talent like Leyner’s or serious talent like Daitch’s. Talent’s just an instrument. It’s like having a pen that works instead of one that doesn’t. I’m not saying I’m able to work consistently out of the premise, but it seems like the big distinction between good art and so-so art lies somewhere in the art’s heart’s purpose, the agenda of the consciousness behind the text. It’s got something to do with love. With having the discipline to talk out of the part of yourself that love can instead of the part that just wants to be loved. I know this doesn’t sound hip at all. I don’t know. But it seems like one of the things really great fiction-writers do–from Carver to Chekhov to Flannery O’Connor, or like the Tolstoy of “The Death of Ivan Ilych” or the Pynchon of “Gravity’s Rainbow”–is “give” the reader something. The reader walks away from the real art heavier than she came into it. Fuller. All the attention and engagement and work you need to get from the reader can’t be for your benefit; it’s got to be for hers. What’s poisonous about the cultural environment today is that it makes this so scary to try to carry out. Really good work probably comes out of a willingness to disclose yourself, open yourself up in spiritual and emotional ways that risk making you really feel something. To be willing to sort of die in order to move the reader, somehow.”
-DFW, from the “Review of Contemporary Fiction,” Summer 1993, Volume 13.2, found here