The Howling Fantods

David Foster Wallace News and Resources Since March 97

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What is Andy Fox Reading?

What is Andy Fox reading in Bill Amend's latest Foxtrot?

@billamend gives us a closer look.

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L.A. Review of Books - Good Old Wallace

Tim Peters looks deeply at Good Old Neon (from Oblivion) for the Los Angeles Review of Books suggesting allusions to Hawthorne, Hemingway, Salinger and Tolstoy as well as a reading re: the state of prose fiction today in his essay, Good Old Wallace:

[...]

Is “Good Old Neon” then a sort of vivid, pessimistic prophecy? A vision of a psyche that for some troublingly deep, fundamental, almost a priori reason is both unable and unwilling to grow up and to evolve and to participate in the world as a responsible adult? Could it be that this anxiety is also what’s hiding behind prose fiction’s societal malaise, and behind the troubles Wallace was having while he worked on The Pale King? That plain old unadorned narrative prose has just become more or less culturally impotent and exhausted and unable to extricate itself from the spiral of inauthenticity?

[...]

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Last Updated on Monday, 05 May 2014 13:19
 

Infinite Jest Cameo in The Amazing Spider-Man 2

Apparently Infinite Jest appears in The Amazing Spider-Man 2 (it's mentioned in this Guardian review and heaps of you have let me know).

Can anyone who has seen the film confirm that this is the moment?

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Last Updated on Saturday, 03 May 2014 22:52
 

Texas Bar Journal Reviews Quack This Way

Nice review of Garner's Quack This Way by John Browning over in the Texas Bar Journal, Quack This Way: David Foster Wallace & Bryan A. Garner Talk Language and Writing (pdf).

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Last Updated on Saturday, 03 May 2014 15:07
 

David Foster Wallace and the Trouble with Public Image

Evan Kindley's piece article forThe Paris Review, I Did Not Approve This Message, considers similarities between the Wallace estate's opinions of The End of the Tour and the case of James Joyce and Samuel Roth back in 1926:

In 2010, just under two years after David Foster Wallace’s death, the journalist David Lipsky published Although Of Course You End Up Becoming Yourself: A Road Trip with David Foster Wallace, a memoir of transcripts from an interview he’d conducted with Wallace in 1996 for Rolling Stone. The book was well reviewed—it made the Times best-seller list—and late last year it was announced that it would become a film starring Jesse Eisenberg as Lipsky and Jason Segel as Wallace. The End of the Tour is already in postproduction and slated for release in late 2014, but last week, the Wallace Literary Trust issued a public statement making it “clear that they have no connection with, and neither endorse nor support” the film: “There is no circumstance under which the David Foster Wallace Literary Trust would have consented to the adaptation of this interview into a motion picture, and we do not consider it an homage.”

I was struck by similarities between this situation and the case of James Joyce and Samuel Roth, which began in 1926. In his recent book Without Copyrights: Piracy, Publishing, and the Public Domain, the scholar Robert Spoo devotes two chapters to Joyce’s desperate attempts to defend his intellectual property against Roth, an infamous American “booklegger” who reprinted the entire text of Ulysses, as well as large portions of Finnegans Wake, without permission. Roth’s actions, like those of the filmmakers of The End of the Tour, were not illegal: Joyce didn’t possess the U.S. copyright on his works, which were originally published in Europe and—after a brief window during which he could have established copyright by securing American publication—fell immediately into the U.S. public domain.

[...]

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Karen Green Wins 2013 Believer Poetry Award

Karen Green has won the 2013 Believer Poetry Award for Bough Down.

[Previous thoughts and reviews]

From The Believer:

“Karen Green’s raw, elegant first book—a mixture of verse paragraphs, images of miniature mixed-media collages (Green is also a visual artist), and blank pages—is a moving portrait of love, marriage, the untimely death of a spouse, the poet’s ensuing grief, and the marriage that still, somehow, remains. One of the most intimate and effective extended elegies to be published in recent years (joining such notable works as Anne Carson’s Nox and Rebecca Lindenberg’s Love, an Index), Bough Down is also a brilliant case study in psycho-emotional realism: in this case, the way that psychological rupture affects the very experience of experience, and the role of language in finding one’s way back to normalcy… At all junctures, Green’s writing shows life exceeding expectations—exceeding sense—because it exceeds thought. Bough Down is a breathtaking achievement.”

 

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1996 Review of Infinite Jest vs 2006 Foreword

Have you read the foreword to the 2006 edition of Infinite Jest by Dave Eggers? It's a little different to the opinions he shared in his review of Infinite Jest on release...

Edward Champion's over at Edrants explores this in his piece, The Infinite Jest Review That Dave Eggers Doesn’t Want You To Read:

In 2006, Little Brown published a 10th anniversary edition of David Foster Wallace’s Infinite Jest that featured a foreword by Dave Eggers. Eggers’s introduction observed that Infinite Jest was “1,067 pages long and there is not one lazy sentence. The book is drum-tight and relentlessly smart and, though it does not wear its heart on its sleeve, its deeply felt and incredibly moving.” There was one significant problem with this assessment. It did not match, much less acknowledge, a review that Eggers had written for The San Francisco Chronicle on February 11, 1996, which claimed just the opposite:

Besides frequently losing itself in superfluous and wildly tangential flights of lexical diarrhea, the book suffers under the sheer burden of its incredible length.

[...]

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People are allowed to change their opinions, right? But I guess acknowledging you held a differing opinion in the past is important too...

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Last Updated on Thursday, 01 May 2014 13:27
 



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