Joelle cuts off his interjection and says that but that her trouble with it is that ‘But For the Grace of God’ is a subjunctive, a counterfactual, she says and can make sense only when introducing a conditional clause, like e.g. ‘But For the Grace of God I would have died on Molly Notkin’s bathroom floor,’ so that an indicative transposition like […] she says, literally senseless, and regardless of whether she hears it or not it’s meaningless.
David Foster WallaceThere is something deeply surreal about standing behind a female performer in hotpink peau de soie, a woman whose clitoris and perineum you have priorly seen, and watching her try to get a microwaved egg roll onto her plate with a cocktail fork.
—David Foster Wallace, “Big Red Son” (1998)
Recursive metafiction worships the narrative consciousness, makes “it” the subject of the text. Minimalism’s even worse, emptier, because it’s a fraud: it eschews not only self-reference but any narrative personality at all, tries to pretend there “is” no narrative consciousness in its text. This is so fucking American, man: either make something your God and cosmos and then worship it, or else kill it.
-Interview with Larry McCaffery (1993)
So this purports to be a disease, alcoholism? A disease like a cold? Or like cancer? I have to tell you, I have never heard of anyone being told to pray for relief from cancer. Outside maybe certain very rural parts of the American South, that is. So what is this? You’re ordering me to pray? Because I allegedly have a disease? I dismantle my life and career and entered nine months of low-income treatment for a disease, and I’m prescribed prayer? Does the word retrograde signify? Am I in a sociohistorical era I don’t know about? What exactly is the story here?
David Foster WallaceI’ll gladly identify myself if you’ll first simply explain what it is I’m identifying myself as. This is my position. You’re requiring me to attest to facts I do not possess. The term for this is “duress.”
David Foster WallaceThe reality is that dying isn’t bad, but it takes forever. And that forever is no time at all. I know that sounds like a contradiction, or maybe just wordplay. What it really is, it turns out, is a matter of perspective.
—David Foster Wallace “Good Old Neon” (2004)
The horrific struggle to establish a human self results in a self whose humanity is inseparable from that horrific struggle: That our endless and impossible journey toward home is in fact our home.
—David Foster Wallace, “Some Remarks on Kafka’s Funniness” (2005)
It is a level of psychic pain wholly incompatible with human life as we know it. It is a sense of radical and thoroughgoing evil not just as a feature but as the essence of conscious existence. It is a sense of poisoning that pervades the self at the self’s most elementary levels. It is a nausea of the cells and soul.
David Foster WallaceManhãs de escala são um momento especial para o semiagorafóbico, porque quase todo mundo deixa o navio e vai para a terra firme participar de Passeios Organizados ou fazer turismo peripatético espontâneo e os conveses superiores da e.m. Nadir assumem a mesma qualidade fantasmagórica e misteriosa da sua casa quando você é criança, adoece e fica em casa quando todo mundo saiu para o trabalho ou a escola etc.
David Foster WallaceTags: ensaio-reportagem
I claim that the fact that we are strongly encouraged to identify with characters for whom death is not a significant creative possibly has real costs. We the audience, and individual you over there and me right here, lose any sense of eschatology, thus of teleology, and live in a moment that is, paradoxically, both emptied of intrinsic meaning or end and quite literally ETERNAL. If we're the only animals who know in advance we're going to die, we're also probably the only animals who would submit so cheerfully to the sustained denial of this undeniable and very important truth. The danger is that, as entertainment's denials of the truth get even more effective and pervasive and seductive, we will eventually forget what they're denials OF. This is scary. Because it seems transparent to me that, if we forget how to die, we're going to forget how to live.
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