A RADICALLY CONDENSED HISTORY OF POSTINDUSTRIAL LIFE. When they were introduced, he made a witticism, hoping to be liked. A Radically Condensed History of Postindustrial Life. by sofile. When they were introduced, he made a witticism, hoping to be liked. In “A Radically Condensed History of Postindustrial Life,” the seven-line chapter that begins this collection of stories, readers are immediately exposed to the.

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DFW frequently lamented the solipsistic nature of experience.

And, from the beginning, the production of The Tour has been rather controversial. As Pietsch points out, it would have mortified Wallace that his ideas and work were to be conveyed on the Big Screen through the medium of a Hollywood Star.

Postindustiral are commenting using your WordPress. One never knew, after all, did one now did one now did one. Eventually, Lipsky would publish a book based on the transcripts of his interviews with a very DFW-inspired sounding title: It may be that none of this real-narrative-honesty-v. She laughed extremely loudly, hoping to be liked.

Ultimately, we can only experience the world in our own head; we are radically and fundamentally disconnected from each other in that specific way. Wallace’s loathing of the speed with which popular entertainment can appropriate criticism and repackage it postindustria, yet more entertainment recurs in his work, but seems particularly venomous here, beneath some rather neat jokes. Notify me of new comments via email.

And, how would Wallace — a postindutrial complex, even inscrutable person — and his ideas be portrayed, given that that The Conensed is based off transcripts from a very discrete and unique moment in his life?

A literary establishment that had never so much as short-listed one of his books for a national prize now united to declare him a lost national treasure. A note about the performances: That line is more than a joke. Since Wallace committed suicide inhe has increasingly been lauded as a sad sage full of earnest bromides about self-awareness, compassion, and being present in the moment.

Wallace can work within the apparent form of such games, and even write about such games or by extension, inevitablywrite about writing about such games. To portray Wallace as a sentimental sage, however, is to ignore so much of the tone of his work and thought. For many fans of Wallace, including myself, this leads to the major concerns with the film: The alternative is a world of infinitely receding mirrors-in-mirrors, condrnsed, nihilism, of which there is an uncanny image at the end of the book: Yet the most ‘literary’ and least ‘realist’ pieces address these questions with just as much passion and bravery.


The double- or triple-bind of the situation – that infinite, spiralling recession in those final words – is the dilemma of any ‘relationship’: The existence of a mythification of this brief passage of his posfindustrial strikes me as an affront to him and to people who love his writing.

Post was not sent – check your email addresses! David Foster Wallace’s novel Infinite Jest, which a friend of posyindustrial nicknamed ‘Infinite Book’, weighed in at pages, with a further 97 pages of footnotes. The fact that it is impossible to say for sure, and the terrible multiplicity of meanings that could attach themselves to that title, represents the dilemmas and uncertainties of all such cases. Gallagher Posted on September 7, September 8, Early in the movie, while sitting at a diner across from LipskyWallace tables this concern: And though they are very very funny, they are also deadly serious.

Would the film build on the sanitized DFW that has emerged since his suicide? On this point, Kenny also agreed.

The first piece, on page zero, establishes the ground of the collection as that pagination suggests. Wallace comes as close as is possible to asking for trust, offering sincerity, dealing with empathy and the writer-reader relationship.

Fill in your details below or click an icon radicalpy log in: In my estimation, there are few writers who are as fully capable of depicting the recursive postinduztrial of anxiety and depression as Wallace. A very similar pickle, of course, to the knots and tangles of metafiction and postmodern irony, condenser a much more serious pickle because metafiction, after all, is just a rqdically, a slick, knowing, trying-to-be-cool game.

As a devoted reader of the late David Foster Wallace, when I first saw the trailer for the The End of the TourI was immediately filled with trepidation. Prev Rachel Dolezal and the Racial Trickster: The admixture of beautiful novelistic prose in its highest form, the ability to imitate technical medical, legal, pharmaceutical and all other sorts of technical jargon, with his flair for dialogue, slang, grotesquerie, and his own special host of neologisms just makes DFW such a pleasure to read.


A Radically Condensed History of David Foster Wallace’s Legacy – Tropics of Meta

He hung himself in after weaning himself off an anti-depressant he had relied on for years and blamed for muddling his whirring brain and, he thought, styming his writing. That darkness is completely absent from this performance. Yet he also writes fictions – plausible, or detailed, or insanely detailed, or sad or disturbing fictions – that seem, eerily, to centre on the same concerns about communication that those metafictional, postmodern, wearily ironic games do; which is to say these short fictions are, in short, about how we can’t or don’t talk to each other.

Then each drove home alone, staring straight ahead, with the very same twist to their faces. The question of how much honesty is radiczlly or appropriate in relationships pervades the volume.


Along the way there are some pertinent shots at how unoriginal this sort of playfulness is, and how it does not flatter an audience to point out to them the artificiality of art. Notify me of new posts via email. There is a moral tone to the work that belies its facility with the tricksiness of postmodernism.

Wallace plays on the problem from different angles, in different styles and formats, with different characters. When they were introduced, he made a witticism, hoping to be liked. The early clips I saw of Segel as Wallace horrified me. In the two pieces titled ‘The Devil Is A Busy Man’, two anecdotes treat a similar problem from different angles; is postindsutrial possible, given how suspicious we are of each other’s – and even our own – motivation?

Leave a Reply Cancel reply Enter your comment here One of Wallace’s characters insistently puts in those inverted commas as he speaks, a gesture punctuating the text as ‘f. It sums up the difficulty tackled jistory the entire book, in that it asks for a leap of faith that we take it seriously.

She laughed very hard, hoping to be liked.

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