Дэвид Фостер Уоллес цитаты

страница 5

Источник: The Broom of the System

Источник: This Is Water: Some Thoughts, Delivered on a Significant Occasion, about Living a Compassionate Life

Источник: Infinite Jest (1996)

Источник: The Pale King

Источник: Infinite Jest

Источник: The Pale King

Источник: Infinite Jest

Источник: The Broom of the System

Источник: Infinite Jest

Источник: Infinite Jest

Источник: Infinite Jest

Источник: The Best American Essays 2007

Источник: The Pale King

Источник: Infinite Jest (1996)

Источник: The Pale King

Источник: Girl With Curious Hair

Источник: Brief Interviews with Hideous Men

Источник: Infinite Jest

Источник: This Is Water: Some Thoughts, Delivered on a Significant Occasion, about Living a Compassionate Life

Источник: Infinite Jest

Источник: This Is Water: Some Thoughts, Delivered on a Significant Occasion, about Living a Compassionate Life

E Unibus Pluram: Television and U.S. Fiction
Essays
Источник: A Supposedly Fun Thing I'll Never Do Again: Essays and Arguments
Контексте: The emergence of something called Metafiction in the American '60s was hailed by academic critics as a radical aesthetic, a whole new literary form, literature unshackled from the cultural cinctures of mimetic narrative and free to plunge into reflexivity and self-conscious meditations on aboutness. Radical it may have been, but thinking that postmodern Metafiction evolved unconscious of prior changes in readerly taste is about as innocent as thinking that all those college students we saw on television protesting the Vietnam war were protesting only because they hated the Vietnam war (They may have hated the war, but they also wanted to be seen protesting on television. TV was where they'd seen the war, after all. Why wouldn't they go about hating it on the very medium that made their hate possible?) Metafictionists may have had aesthetic theories out the bazoo, but they were also sentient citizens of a community that was exchanging an old idea of itself as a nation of do-ers and be-ers for a new vision of the U. S. A. as an atomized mass of self-conscious watchers and appearers. For Metafiction, in its ascendant and most important phases, was really nothing more than a single-order expansion of its own theoritcal nemesis, Realism: if Realism called it like it saw it, Metafiction simply called it as it saw itself seeing it. This high-cultural postmodern genre, in other words, was deeply informed by the emergence of television and the metastasis of self-conscious watching.

Federer as Religious Experience, New York Times, August 20, 2006
Essays

Infinite Jest (1996)