Drawing on archival material, interviews with editors and collaborators, and available publication history, this essay will situate Wallace’s writing within the publishing environment of his lifetime. The essay will be structured in three sections. The first will survey the material contexts of Wallace’s published output, tracing how his work entered the literary marketplace as well as the changes in that marketplace during the consolidation of what has been called the “Conglomerate Era” of US publishing. The second will consider the ways in which the author integrated these changes into his own writing – from his anxieties about the threats to literary culture from television in the 1980s, his development of these fears in the spectacle of weaponized entertainment within Infinite Jest, to his sustained act of Information Age media archaeology in The Pale King in response to the corporate-dominated “Total Noise” of the twenty-first century. The final section will survey Wallace’s posthumous publications, considering the ways in which his legacy is continued and contested in publications across physical and digital media.

In his expert analysis of Plath’s correspondence with the editors to whom she submitted her poems at The New Yorker, Peter K. Steinberg provides a unique and critical new context for understanding Plath’s compositional practices. Steinberg makes clear just how responsive those practices were to her professional aspirations for publishing her work, with The New Yorker being the pinnacle for those aspirations.