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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Yet the most ‘literary’ and least ‘realist’ pieces address these questions with just as much passion and bravery. Henry award, painstakingly follows the loops and spirals of depressive self-obsession and self-loathing, twinned with the depressive’s awareness of how repulsive such self-absorption is, and how manipulative it can appear, which feeds back into further depression and self-loathing, and so on; by turns the story inspires dark laughter, pity, and real irritation; but it describes with punishing accuracy the cruel way in which depression consumes its victims and their postindustgial.

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. The early clips I saw of Segel as Wallace horrified me. And, from the beginning, the production of The Tour has been rather controversial.

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.

Gallagher Posted on September 7, September 8, No not ever again. Self-absorption, one way or another, afflicts all the interviewees in the book, who range from men who manipulate women into bed by lies, strategies and even, at their most manipulative, an attempt to flatter by a sham-honesty about how manipulative they are.

Leave a Reply Cancel reply Enter your comment here She laughed extremely loudly, hoping to be liked. Sorry, your blog cannot share posts by email.

The double- or triple-bind of the situation – that infinite, spiralling recession in those final words – is the dilemma of any ‘relationship’: That darkness is completely absent from this performance. DFW frequently lamented the solipsistic nature of experience.


One historj knew, after all, did one now did one now did one. On this point, Kenny also agreed. One of Wallace’s characters insistently puts in those inverted commas as he speaks, a gesture punctuating the text as ‘f. Then each drove home alone, staring straight ahead, with the very same twist to their faces.

And though they are very very funny, they are also deadly serious. Radifally it at BOL. The question of how much honesty is possible or appropriate in relationships pervades the volume. The alternative is a world of infinitely receding mirrors-in-mirrors, self-mockery, nihilism, of which there is an uncanny image at the end of the book: When they were introduced, he made a witticism, hoping to be liked.

A Radically Condensed History of Postindustrial Life | cultivating & crashing

A very similar pickle, of course, to the knots and tangles of metafiction and postmodern irony, but a much more serious pickle because metafiction, after all, is just a game, a slick, knowing, trying-to-be-cool game. Post was not sent – check your email addresses!

Then each drove home alone, staring straight ahead, with the very same twist to their faces. Would the film build on the sanitized DFW that has emerged since his suicide?

For many fans of Wallace, including myself, this leads to the major concerns with the film: That line is more than a joke. But when one reads ‘Octet’, a virtuoso piece of imploding metafiction, one doubts it. 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. 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.

One never knew, after all, now did one now did one now did one.

A Radically Condensed History of David Foster Wallace’s Legacy

Kf David Foster Wallace. He could, of course, be accused of merely colluding with the vapidities of a modern culture where everything is put into inverted commas. You are postindustriap using your Twitter account. Fill in your details below or click an icon to log in: Wallace struggled with profound depression for much of his life.

The first piece, on page zero, establishes the ground of the collection as that pagination suggests. 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.


Postndustrial Foster Wallace’s novel Infinite Jest, which a friend of mine nicknamed ‘Infinite Book’, weighed in at pages, with a further 97 live of footnotes. And yet, that might suggest condened is part of Wallace again ;ostindustrial tired old “Hey-look-at-me-looking-at-you-looking-at-me” agenda of tired old S. In many ways, Wallace became more than one of the most important literary figures of the late 20th century after his death; he became a symbol of a certain sincerity and authenticity standing against the pervasive irony of modern popular culture.

The stories are funny, clever, often disturbing; and what makes them still more so is the fact that some of these ‘hideous men’ are employing feminist critiques to affirm the very misogyny those critiques were supposed to have exposed. The existence of a mythification of this brief passage of his life strikes me as an affront to him and to people who love his writing.

Prev Rachel Dolezal and the Racial Trickster: In my estimation, there are few writers who are as fully capable of depicting the recursive aspects of anxiety and depression as Wallace.

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. To portray Wallace as a sentimental sage, however, is condensfd ignore so much of the tone of his work and thought.

She laughed very hard, hoping to be liked. 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, s 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.

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