This chapter considers Ezra Pound’s The Cantos, William Carlos Williams’ Paterson, and Charles Olson’s The Maximus Poems in light of the various difficulties they pose to readers interested in thinking of them in formal and also in generic terms (however broadly construed). I suggest that each of them might be understood as individual attempts to resist intellectual, critical, and hermeneutic recourse to any such generalization per se. A salient feature of these “modernist” “American” “long poems” consists in a variable but tenacious schedule of negations: of literary conventions, of readerly expectations, of internal consistencies, and, ultimately, of any sense of an ending whatsoever. I reflect upon the implications of negation and excess when discussing “long poems” by three straight, white male poets, especially in a context as institutional as a Cambridge History.

This chapter examines the relationship between Wallace’s writing and works of visual art. Beginning with the many moments of ekphrasis that punctuate the writing, ranging from myths of tapestry-weaving to Leutze’s mural of Manifest Destiny, encompassing Bernini and Escher in Infinite Jest alone, this chapter explores the ways in which Wallace makes use of the language of images in his writing, situating narrative in conversation with visual culture and reaching beyond language to image, color and texture. Reflecting on prior scholarly attention to art positioned in Wallace’s writing, the chapter explores the connections between attention and aesthetic. The chapter also examines the ways in which visual cues appear in other ways in Wallace’s work, from the defecatory art of Brint Moltke in “The Suffering Channel” to the incidence of color as a motif throughout the work, specifically Wallace’s insistent references to clothing. The chapter highlights the materiality of these instances, attending to both the visual and the haptic elements of his narrative deployment of art in fictional worlds. This chapter works in concert with the next, delineating the intermediate nature of Wallace’s writing, poised between language, sense and image, and how his inclusion and occlusion of art recalibrate and reflect the relationships between author and reader.

As the central villain of Infinite Jest, entertainment is a persistent preoccupation in Wallace’s writing. He presents it as a locus of neoliberal power in ways that anticipated the development of tailored entertainment services well ahead of time. This chapter examines Wallace’s representation of entertainment, couching it particularly in its antagonistic relationship with attention and engagement, which his work elevated as cardinal virtues. This chapter situates Wallace’s vision of entertainment in a critical paradigm of entertainment as a form of individual and social control, and as the ultimate Jamesonian manifestation of late capitalist flattening, arguing that the anhedonia of Wallace’s characters is a direct result of the dominant forms and agendas of entertainment on display in his writing. The chapter also argues that the forms of entertainment in Wallace’s work invite and reflect the idea of absorption, which is characterized positively and negatively depending on its genesis. That is to say, the absorption of entertainment is contrasted with the absorption of boredom, and again with the absorption of attention, with widely diverse effects on the postmodern subject. Entertainment constitutes a seductive and deadening force that both unites and isolates the subjects of Wallace’s writing, the great threat to the contemporary self.

Obesity is a risk factor for increased difficulty in most modalities of airway management. It decreases ease and effectiveness of face mask ventilation, supraglottic airway device use and front of neck airway techniques and probably makes laryngoscopy more difficult. When difficulty occurs, airway rescue techniques are more likely to fail in the obese patient. Obesity also increases the risk of aspiration and difficulty in lung ventilation, both of which may necessitate changes in anaesthetic technique. Most importantly, obesity reduces the time available for airway management before hypoxia supervenes. To worsen matters, obesity reduces the efficacy of pre-oxygenation and safe apnoea time is less prolonged with apnoeic oxygenation techniques than in the non-obese population. To compound these factors obesity is associated with obesity-specific (e.g. obstructive sleep apnoea, obesity hypoventilation syndrome) and non-specific co-morbidities (diabetes, asthma, hypertension). With increasing numbers of obese patients and increasing degrees of obesity in the surgical population it is essential that all anaesthetists are familiar with the potential complications of airway management in the obese and the techniques that may mitigate or manage risk.

What should we do about the fact that reading Chaucer is hard? The “immersion theory” of learning Middle English, rooted in nineteenth-century philological approaches, is no longer really functional or well-suited to attract our wider and more diverse contemporary audience of students; we might return, productively if paradoxically, to an earlier appreciation of textual difficulty (and reward), which we actually share with our Modernist colleagues. In this we can make translations our allies rather than our antagonists. Moreover, the stereotypes about the Middle Ages that we have traditionally railed against, from “dark-ages” dismissals to pre-Raphaelite romanticizations, may no longer be the ones our twenty-first-century students carry with them these days.

Some things are more difficult to know than others. For example, proving the Poincaré conjecture is certainly more difficult than coming to know what does 2 + 2 equal. However, as obvious as it seems, explaining that knowledge can be difficult in familiar epistemological terms (e.g., in evidentialist or simple reliabilist terms) is less straightforward than one could initially think. The aim of the chapter is to show that virtue reliabilism (unlike virtue responsibilism) provides a promising framework for accounting for the relationship between difficulty and knowledge. However, it argues that virtue reliabilism first needs to get rid of the problematic assumption that cognitive abilities are reliable dispositions to form true beliefs in appropriate conditions. The reason is that this idea not only prevents the theory from explaining how knowledge relates to difficulty, but also renders its main tenet – the thesis that knowledge requires the manifestation of cognitive ability in appropriate conditions – false. To amend this problem, the chapter connects the virtue reliabilist framework with recent work on the notions of achievement and difficulty. It then advances a positive proposal: the view that knowledge is a special kind of challenge with varying degrees of difficulty.