Posts Tagged ‘David Foster Wallace’
January 11, 2015 | by Dan Piepenbring
Michel Houellebecq defends his controversial new novel, Soumission.
How did the future look from the past? Jason Z. Resnikoff sees the sixties and seventies through 2001 and Alien.
Dan Piepenbring on the demise of R&B groups and the promise of D’Angelo’s new album, Black Messiah.
“Being interesting, at a very basic level, is sort of the point of telling a story in the first place.” Thomas Pierce talks to James Yeh.
Michael Thomson on The Evil Within, a horror video game that breaks all the rules.
Five new paintings by Mamma Andersson.
Ben Mauk visits Berlin‘s art book fair.
January 6, 2015 | by Dan Piepenbring
In the fall of 1990, years before he published Infinite Jest, David Foster Wallace came on as an adjunct professor at Emerson College, in Boston. As D. T. Max writes in his biography, Every Love Story Is a Ghost Story, this wasn’t such a hot time for Wallace. He was mentally unstable in those years, and actively ashamed of his latest collection of stories, Girl with Curious Hair; when the Emerson English department posted an advertisement for it, he tore it down. And teaching offered no reprieve from the problems he had with his writing and the culture at large. In a letter to Jonathan Franzen, he called his students “infants”: “you almost have to cradle their heads to help their necks support the skull’s weight.” Were the youth simply too enamored of TV’s easy charms? Max writes,
The students he was teaching made him feel the problem was worse than he had known. They were the Letterman generation he had imagined in [his short story] “My Appearance,” proud of their knowingness. “They’re all ‘television’ majors, whatever that means,” he complained to [David] Markson, adding that he’d had his wrist slapped by his department for “ ‘frustrating’ the students” with a DeLillo novel (he does not say which) by which he meant to wake them up … Wallace knew he did not want to stay at Emerson long.
Still, because he was fluent in TV, Wallace found himself popular with the students. And at least one of them came away emboldened by that “frustrating” experience with DeLillo: Paul Thomas Anderson, whose latest film, Inherent Vice, is in wide release this week. Read More »
October 31, 2014 | by The Paris Review
The book I find myself most often recommending—Grace Krilanovich’s The Orange Eats Creeps—is perfect reading for tonight, or for any chilly evening, when the fallen leaves outside have begun to mold and decay in wet piles. I may originally have read it in the summer, but so thoroughgoing is its tone of paranoia, cold, rot, and subsumed violence that you can’t easily separate yourself from the refracted narrative of the book’s protagonist, an ESP-endowed teenage girl running with a group of “vampire hobo junkies” in the Pacific Northwest. She’s searching for her foster sister, Kim, along the “highway That Eats People,” and the novel reads like an Orphic descent into a bad dream within a bad dream, with the physical landscape—loamy, waterlogged, and dank—doubling as the psychic landscape: “The land was not to be trusted. Its climate had the potential to make those teetering on the edges of decency spill over into murderville … Psychos tried to plug up cracks with bodies, cloth, whatever’s at hand.” —Nicole Rudick
Scary things I remember: a hand coming out of a box on The Electric Company, the dying boar on the cover of my parents’ Four Seasons LP (made them skip the Autumn movement), “Ode to Billy Joe,” reading The Dead Zone by flashlight under the blanket at camp, The Shining (movie), The Exorcist (book), the prophecies of Nostradamus (had to hide the book), Let’s Scare Jessica to Death on TV on a Sunday afternoon (Sunday afternoon movie), the Twilight Zone movie (had to leave theater), Eraserhead late at night alone in my parents’ bedroom (“You are sick!”), the diner scene in Mulholland Drive (the compressed audio), the distortion of Laura Dern’s face in Inland Empire, “Don't Crash” by Front 242, in the listening room at the school library (do these still exist?), Don’t Look Now, Francis Bacon, Fleetwood Mac, The White Ribbon, the dream sequence in Amour, and the scary-doll movie Sadie made me see last month. The other things I’ve managed to forget. —Lorin Stein
Taylor Swift’s “Track 3” recently made it to number one on Canadian iTunes. The track was a glitch, eight seconds of white noise. I’m open-minded, so I gave it a try, and by lunchtime I realized, rather suddenly, that “Track 3” was stuck in my head; Swift seemed to follow me into the void, filling it with something familiar yet indefinable. In “Track 3” she’s mastered the Freudian uncanny, something that’s frighteningly unknown but brings us back to something familiar. Freud once quoted Ernst Jentsch: “One of the most successful devices for easily creating uncanny effects is to leave the [listener] in uncertainty whether or not a particular figure … is a human being or an automaton.” I maintain that Swift released “Track 3” in all its uncanniness to confess that she is, in fact, an automaton. If you think your costume is good, stew on that: Swift’s has been better, every day, since 1989. —Alex Celia
Alex jests, but I do not: I really adore Taylor Swift. And that’s scary. She’s just released the best pop record of 2014: the most exhilarating, the most addictive, and also the most inscrutable, the most frustrating. Carl Wilson, the best pop critic writing today, understands—his review of 1989 uses Swift’s famously undisclosed bellybutton as a metaphor through which to apprehend the entire Swiftian zeitgeist. He gazes into her navel “as umbilical nub,” “as median point and sore spot,” “as Jell-O shot dispenser,” “as contemplative locus,” “as camera aperture,” “as teen-pop erogenous zone,” “as pretty hate machine,” “as the whitest thing on Earth,” and “as the omphalos of capital,” among others. No one has better identified the qualities that make her such a vital force in pop, so lucid and so obscure. “You could tug forever at the ends of Swift’s elusive, invisible abdominal bundle of avarice and sentiment, art, ego, envy, love and hate, drought and flood, truth and fiction, savior and monster,” Wilson writes, “and it would never come undone.” If that’s not horrifying … —Dan Piepenbring
There once was a time when the scariest thing imaginable was what one never saw: creaks in the floorboard, the rustling of branches against the window, whispers floating in the wind. It used to be that the monsters in horror films were never seen, which got under your skin: think of the spiral staircase of the original The Haunting, the eerie sobs of an unseen woman in The Uninvited, the psychological violence in later films like The Entity. Then slasher flicks and the “video nasties” of the early 1980s came, and we evolved into the terror porn of the Hostel series to laughable films like The Human Centipede. These films are indeed horrific, but are they scary? It’s pretty unlikely that I’ll stumble upon some sadistic German surgeon, but I turn the lights off every night. So it totally makes sense that The Blair Witch Project made millions of dollars—that last image in the basement is still ingrained in my head because—besides being absolutely terrifying—you never know who was behind the terror. (I still can’t go camping without thinking of the film.) One recent film that stands out, and one that gets better with repeated viewings, is The Orphanage (2007). There’s nothing innovative in the storytelling—haunted house, missing child—but it expertly builds the atmosphere of the remote orphanage and the characters who inhabit it. There aren’t as many thrills as something like The Descent—a great example of what is still possible within creature features–but when the scares come they are genuine. The rest is waiting, anticipating, dreading; there’s nothing scarier than what haunts one’s imagination. —Justin Alvarez Read More »
July 21, 2014 | by Dan Piepenbring
I think that the difference right now between good art and bad art is that the good artists are the people who are, in one way or another, creating, out of deep and honest concern, a vision of life in the twentieth century that is worth pursuing. And the bad artists, of whom there are many, are whining or moaning or staring, because it’s fashionable, into the dark abyss. If you believe that life is fundamentally a volcano full of baby skulls, you’ve got two main choices as an artist: You can either stare into the volcano and count the skulls for the thousandth time and tell everybody, “There are the skulls; that’s your baby, Mrs. Miller.” Or you can try to build walls so that fewer baby skulls go in. It seems to me that the artist ought to hunt for positive ways of surviving, of living.
That’s John Gardner, from his Art of Fiction interview, which The Paris Review published in 1979—three years before Gardner died in a motorcycle accident. As far as lines in the literary sand go, this one seems defensible enough: make salutary art, wall off the volcano, protect the crania of your babies, et cetera. But here Gardner has given us the distillate of what had been, a few years earlier, a very controversial opinion; he’s paraphrasing his thesis from On Moral Fiction, a polemical book of criticism in which he took to task nearly every prominent American writer, pissing off a good number of them in the process. As Dwight Garner wrote a few years ago, “It wasn’t Gardner’s thesis, exactly, that made him enemies. It was the way he indiscriminately fired buckshot in the direction of many of American literature’s biggest names.”
Pynchon? Too inclined to “winking, mugging despair.”
Updike? “He brings out books that don’t say what he means them to say. And you can’t tell his women apart.”
Barthelme? Merely a disciple of “newfangledness.”
And the whole New Yorker crowd? Too into “that cold, ironic stuff … I think it’s just wrapping for their Steuben glass.”
If you’re thinking that picking fights is a pretty poor way of seeding one’s literary philosophy, you’re completely correct. As Per Winther, the author of The Art of John Gardner, has written, “One cannot help but think that Gardner’s cause would have benefited from less stridency of tone … What Gardner risked in couching his arguments in such bellicose terms was a hasty dismissal of his book and all its views.” Read More »
June 26, 2014 | by Zack Newick
The playwright Donald Margulies is at what he describes as a “delicious” point in his career. He’s written the screenplay for The End of the Tour, an adaptation of David Lipsky’s Although of Course You End Up Becoming Yourself that recently completed filming. His newest play, The Country House, opened June 3 in Los Angeles at the Geffen Playhouse, and begins New York previews September 9 at The Manhattan Theater Club’s Samuel J. Friedman Theater. It’s an “homage” to Chekhov, employing themes and images from Margulies’s favorites: Uncle Vanya, The Cherry Orchard, and The Seagull. It’s also his first play ostensibly about the theater itself. The play is an ‘off-stage comedy’ set during the Williamstown Theatre Festival, focusing on a family of actors who have returned to a familiar house in the Berkshires after the recent death of a beloved family member.
Margulies is the author of over a dozen plays, including The Model Apartment, Sight Unseen, and Dinner With Friends, which won the Pulitzer Prize for Drama in 2000. He lives in New Haven with his wife; he has a son at college in Minnesota. His workspace is a series of rooms on the third floor of his home, walled by books, with windows overlooking his abundant backyard. When we spoke, first in his “bill-paying” room and then over fat sandwiches in New York, he appeared energized by his career’s activity, as if even its description gave him inspiration. He is now at work on the book for a musical, an adaptation of Father of the Bride, which would be a first.
Has any of your writing for the screen begun as writing for the stage?
I’ve adapted three of my plays into screenplays—Sight Unseen, which has not been filmed, and Collected Stories and Dinner With Friends, both of which were produced for television—but I have never begun a play that I decided would be better served as a screenplay. In the case of my most recent screenplay, The End of the Tour, my long-time manager, David Kanter, sent me David Lipsky’s book, Although Of Course You End Up Becoming Yourself, with a note that said, “Take a look at this, there might be a play in it,” because the book is almost entirely dialogue, the transcription of a four-day conversation between Lipsky and David Foster Wallace. I started reading it and was excited because I thought it did lend itself to adaptation—not for the stage but for the screen. I saw its potential as something much more expansive than two guys sitting around talking—namely a road picture. I was intrigued by the idea of seeing this iconic figure on the American landscape. The End of the Tour is consistent with themes that have interested me as a dramatist for forty years, which is what no doubt attracted me to it. Read More »
June 20, 2014 | by The Paris Review
After reading David Constantine’s story “In Another Country,” which the Canadian publisher Biblioasis passed along to me, I can’t figure out why a U.S. press hasn’t caught on to his work. He’s won a number of big prizes, including the Frank O’Connor International Short Story award twice—last year, he beat out Joyce Carol Oates, Deborah Levy, and Peter Stamm—and no wonder: this story has me wanting more. (Thankfully, Biblioasis will publish a selection of his stories next year.) The sentences are restrained, the tone muted. The remoteness between the husband and wife of the story is never described but is made palpable through the stillness in their interactions and the spareness of the prose, but the tension created by the slow unraveling of the past within the present is innervating: “What worried Mrs. Mercer suddenly took shape. Into the little room came a rush of ghosts. She sat down opposite him and both felt cold. That Katya, she said. Yes, he said. They’ve found her in the ice. I see, said Mrs. Mercer.” If you get excited, as I do, by stories in which very little happens, then this one is for you. —Nicole Rudick
In 1949, Niki de Saint Phalle and Harry Mathews eloped together, both a bit shy of their twentieth birthdays. The ten-year marriage that followed saw joy, sorrow, electroshock therapy, disapproving parents, reprimanding neighbors, two children, suicidal episodes, numerous infidelities, artistic awakenings, homes in more than four countries, and, ultimately, insurmountable growing pains. In Harry and Me: 1950–1960, The Family Years, de Saint Phalle chronicles their famous, tumultous relationship in verse and image. A remarkably generous portrait of their time together—it includes sidebars of text written by Mathews in response to de Saint Phalle’s account, in which he corrects and addends but never criticizes—this book is a must-read for anyone interested in the work of either artist. Their developmental years were spent in stride, and the naïveté that brought them together (and eventually drove them apart) was instrumental in shaping their artistic desires, particularly the whimsy and color that marks de Saint Phalle’s sculpture. Though the relationship ends, the children suffer, and the hurt never truly goes away, neither party, many years later, seems to regret the marriage. Instead, they go to bat for the young, reckless love that directed the course of their lives. —Clare Fentress
Lots of people are nostalgic for rotary phones and handwritten letters. Not so many have the same wistfulness for the telegraph. But William Saroyan’s “1, 2, 3, 4, 5, 6, 7, 8,” from his 1934 short story collection The Daring Young Man on the Flying Trapeze, has left me rethinking the old teletype machine and its nuanced relation to our digital age. The story tells of two telegraph operators, who meet—virtually—by striking up a conversation over the wires. Saroyan’s depiction of the giddy thrill of instantaneous, faceless communication, in which half the fun is in the imagined possibilities, seems oddly anachronistic to the modern reader, but it also predicts the appeal of instant messaging and texting. From the first hello hello hello, the narrator realizes the untapped opportunity of his teletype machine as a personal device of contact, of love: “I had never thought of the machine as being related in any way to me … I began to try to visualize the girl. I began to wonder if she would go out with me to this house I wanted and help me fill it with our lives together.” —Chantal McStay Read More »