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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A Radically Condensed History of Postindustrial Life | cultivating & crashing

The man who’d introduced them didn’t like either of them, though he acted as if he did, anxious as he was to preserve good relations at all times. It may be that none of this real-narrative-honesty-v. He was the guy out there describing the world to all of us. Brief Interviews with Hideous Men is, well, briefer, being a collection of, short stories or, more accurately, as Wallace himself puts it, ‘not vignettes or scenarios or allegories or fables, exactly, though neither are they really qualifiable as postindustfial stories not even as those upscale microbrewed Flash Fictions that have become so popular in recent years – even though these belletristic pieces are really short, they just don’t work like Flash Fictions are supposed to.

In my estimation, there are few writers who are as fully capable hiatory depicting the recursive aspects of anxiety and depression as Wallace. He could, of course, be accused of merely colluding with the vapidities of condemsed modern culture where everything is put into inverted commas. Wallace struggled with profound depression for much of his life.


You are commenting using your WordPress. The question of how much honesty is possible or appropriate in relationships pervades the volume.

Buy it at BOL. Fill in your details below or click an icon to log in: The double- or triple-bind of the situation – that infinite, spiralling recession in those rsdically words – is the dilemma of any ‘relationship’: ;ostindustrial yet, that might suggest it is part of Wallace again ‘the tired old “Hey-look-at-me-looking-at-you-looking-at-me” agenda of tired old S.

Topics David Foster Wallace.

A Radically Condensed History of Post Industrial Life, David Foster Wallace | The Stuff of Fiction

And though they are very very funny, they are also deadly serious. 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. No not ever q. The first piece, on page zero, establishes the ground of the collection as that pagination suggests. That line is more than a joke.


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 friends.

On this point, Kenny also agreed. To histkry Wallace as a sentimental sage, however, is to ignore so much of the tone of his work and thought.

They’ll do anything to get you into bed

For many fans of Wallace, including myself, this leads to the major concerns with postindusyrial film: There is a moral tone to the work that belies its facility with the tricksiness of postmodernism. 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.

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: One never knew, after all, now did one now did one now did one. In the two pieces titled ‘The Devil Is A Busy Man’, two anecdotes treat a similar problem from different angles; is altruism possible, given how suspicious we are of each other’s – and even our own – motivation? DFW frequently lamented the solipsistic nature of experience.

Indeed, at one point he says: But, wading through the more difficult parts is well worth it. Wallace comes as close as is possible to asking for trust, offering sincerity, dealing with empathy and the writer-reader relationship. Leave a Reply Cancel reply Enter your comment here Early in the movie, while sitting at a diner across from LipskyWallace tables this concern: And, how would Wallace — a deeply complex, even inscrutable person — and his ideas be portrayed, given that that The Tour is based off transcripts from a very discrete and unique moment in his life?

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. And a movie like The End of the Tour simply tries to eschew all the tough stuff and present us with a moral paragon, an American saint. Ultimately, we can only experience the world in our own head; we are radically and fundamentally disconnected from each other in that specific way.


She laughed extremely loudly, hoping to be liked. Notify me of new posts via email. Eventually, Lipsky would publish a book based on the transcripts of his interviews with a very DFW-inspired sounding title: 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.

Wallace’s loathing of the speed with which popular entertainment can appropriate criticism and repackage it as yet more entertainment recurs in his work, but seems particularly venomous here, beneath some rather neat jokes. You are commenting using your Twitter account. Wallace plays on the problem from different angles, in different styles and formats, with different characters. Sorry, your blog cannot share posts by email. Now, who knows how happy or depressed or angst-ridden or ennui-consumed Wallace really was at the time of these conversations with Lipsky.

He hung himself in after weaning himself off an anti-depressant he had relied on for years and blamed for muddling his hiztory brain and, he thought, styming his writing. When they were introduced, he made a witticism, hoping to be liked.

Post was not sent – check your email addresses! One never knew, after all, did one now did one now did one.

The Stuff of Fiction

The early clips I saw of Segel as Wallace horrified me. 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 note about the performances: Email required Address never made public.