Last week I discussed David Foster Wallace's important novella, "Westward the Course of Empire Takes Its Way." I thought it had a number of flaws–in fact, I'd say that on the whole the novella doesn't work for me. Although last week I did mention that the piece is still worth reading, especially as a bridge between his early writing and his masterpiece, Infinite Jest. Now I'd like to write a little about why I think that is.
Several years after reading Infinite Jest, one of the things I still most admire about that book is Wallace's . . . continue reading, and add your comments
Given the author's own thoughts on it, it's difficult to read David Foster Wallace's novella "Westward the Course of Empire Takes Its Way" without bias:
Larry McCaffery: Why is meta-metafiction a trap? Isn’t that what you were doing in "Westward"?
David Foster Wallace: That’s a Rog. And maybe "Westward"’s only real value’ll be showing the kind of pretentious loops you fall into now if you fuck around with recursion. My idea in "Westward" was to do with metafiction what Moore’s poetry or like DeLillo’s "Libra" had done with other mediated myths. I wanted to get the Armageddon-explosion, the . . . continue reading, and add your comments
I'm fairly sure that David Foster Wallace's short story "Good Old Neon," published in the collection Oblivion, is the most celebrated piece of writing in the author's post-Infinite Jest career. It is certainly the most lauded story to appear in Oblivion: it received an O. Henry Award, was the most consistently praised piece in the mixed reviews that greeted Oblivion upon publication, and was mentioned again and again (for reasons both literary and autobiographical) after the suicide.
The piece, which I read this week for the first time, strikes me as in many ways . . . continue reading, and add your comments