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A digression is a brief departure from the main subject of an essay or narrative. An author will use a digression to explore a topic that is only partially related to the main topic, to interject thoughts that are not totally relevant, or to add layers of complexity to inform the main topic. After a digression, the author returns to the main narrative.
Wallace uses two types of digression throughout “Consider the Lobster.” Most prominently, he uses 21 footnotes to bring up additional information. Some of the footnotes provide information that is obviously not important to understanding his essay, such as footnote 12, in which he explains why he had to go back to the airport. This footnote tells the reader why he is able to talk to Dick at the rental car location, and anticipates and explains a question the reader might have, but it does not really relate to the subject of lobsters.
Other footnotes are digressions that add to his argument in more substantial ways. Footnote 14, for example, describes a video produced by PETA that is apparently effective at proving that meat consumption related to factory farming is immoral. Likewise, footnote 6 explains the economies of Rockland and Camden as well as Wallace’s own beliefs about tourism, two topics directly related to his assignment from Gourmet. The footnotes are a key part of Wallace’s writing style, and, though they can be ignored, since they are literally separate from the text, one would not fully understand Wallace’s whole essay without also reading them. They are digressions that contribute to the overall layered effect of his argument, making the act of reading the essay more complex than one might think.
The other type of digression Wallace uses is more direct. While he refers to himself somewhat distantly as “your assigned correspondent,” he often punctures that distance with the first-person pronoun “I” before introducing his own thoughts on the subject (236). As an example, after he effectively shows that eating lobster is morally complex , he interrupts his conclusion to admit that he himself has not been able to work out a “personal ethical system” that allows him to actually justify his belief that animals are worth less than humans while also admitting that he wants to be able to continue to consume meat (253). The main effect of these digressions is to humanize the writer and prevent him from seeming too didactic or sanctimonious. In other words, the digressions help make Wallace more approachable by revealing the doubts that surround his positions.
Repetition is the use and reuse of the same word or phrase several times in close proximity to each other in a text. An author will use repetition to make an idea clearer, to make an idea more memorable, or to persuade the reader.
Wallace uses repetition many times in “Consider the Lobster.” At times, the repetition is just lists. For example, he describes all of the different lobster dishes available at the Maine Lobster Festival: “lobster rolls, lobster turnovers, lobster sauté, Down East lobster salad, lobster bisque,” etc. (236). The abundance of lobster dishes and lobster itself at the festival makes the whole affair seem overly decadent, and the actual listing of the dishes is overwhelming. He also notes that the festival itself does not provide a good culinary experience, since “the suppers come in Styrofoam trays, and the soft drinks are iceless and flat, and the coffee is convenience-store coffee in more Styrofoam, and the utensils are plastic” (239). The repeated syntax of “and the” makes the reader feel the onslaught of being at an unpleasant place. The list-like description of the cuisines and inconveniences of the festival leaves the reader with a clear picture of what the festival offers—lots of (perhaps) appetizing lobster delivered in an unappetizing atmosphere.
Wallace also repeatedly turns to the subject of the lobster in the pot, a repetition that is not as trance-inducing as the list form but that does belabor the point of the essay: that there is a moral question about eating and killing lobsters. By continuing to bring up that topic, Wallace never lets the reader get too far without considering the lobster’s pain.
A rhetorical question is something asked for effect only. An author does not expect a response to a rhetorical question because the author often knows the answer. Rhetorical questions can also be used to simply get the audience to consider a topic that cannot be answered at all.
Wallace asks rhetorical questions on virtually every page of the text. One of the earliest and most important questions he asks is mentioned early on: “Is it all right to boil a sentient creature alive just for our gustatory pleasure?” (243). This question he elaborates on by asking if the “whole thing is just a matter of personal choice” (243). Though the text explores both topics in detail, the questions are never answered. Indeed, the reader is reminded of the latter question in the penultimate paragraph when Wallace asks what it means to be a gourmet and if being a gourmet is “really all just a matter of taste and presentation” (254). Thus, even after spending the entire essay asking and exploring these questions, Wallace does not have an answer. He uses the rhetorical questions just to get the reader into thinking about questions that would not otherwise be considered.
The use of questions helps inform Wallace’s overarching project, then, because Wallace’s goal is simply to pose the question to the reader, to ask the reader to “consider the lobster” and the morality of killing and eating them. If the text did not have questions, the reader might feel browbeaten, something Wallace wants to avoid at least in part because he himself does not know what the answers to the rhetorical questions are.
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