Echoes

Echoes between DFW's other work (early-unfinished prose and interviews) and Infinite Jest.

238 total.

Girl with Curious Hair (1989)

• The final commercial after which no one leaves — an entertainment/ad that consumes its whole audience at once (the… — gwch-westward → Scene 029: marathe steeply entertainment
• "For whom is the Funhouse fun?" — metafiction critiqued from inside, and the story-as-Funhouse-that-wounds-a-lover… — gwch-westward → Scene 020: joi bio eta founding
• A protagonist who cannot access his own emotions — the interior/exterior split that prefigures Hal's condition — gwch-westward → Scene 135: anhedonia and it
• Solipsism as the explicit spine — "the only person in the world who feels like the only person in the world" — gwch-westward → Scene 005: professional conversationalist
• TV as vapid comfort — "a womb with a view," the entertainment you've already seen, watched as the only escape — gwch-westward → Scene 087: hal tv ad interlace history
• Fear manufactured and sold, turned into desire — with children as a special, guarded market — gwch-westward → Scene 087: hal tv ad interlace history
• The seductive lulling "You are loved" — the pacifying maternal address that closes the story — gwch-westward → Scene 159: notkin spills
• The spinning wheel and the reclaiming curve — the annular/spin imagination — gwch-westward
• The author's art licensed into commerce — Ambrose's Funhouse as franchise blueprint, the artwork's afterlife as… — gwch-westward → Scene 029: marathe steeply entertainment

Signifying Rappers (1990)

• The entertainment market as a closed appetite-loop — the audience has "decided what it wants to need" and the only… — signifying-rappers → Scene 072: marathe steeply choosing
• Timelessness without a future — art of the eternal present — signifying-rappers
• The drug economy as the neighborhood's other entertainment industry — signifying-rappers → Scene 040: yrstruly xmas eve
• On-demand, self-inserted home entertainment predicted "right around the millennium" — signifying-rappers → Scene 087: hal tv ad interlace history
• Freedom as constraint, and US "freedom" curdling into purchasing power — signifying-rappers → Scene 035: marathe steeply temple
• Irony and self-parody as the era's only safe carapace — signifying-rappers
• The stardom urge and the ontologizing Stare — you exist insofar as you are watched — signifying-rappers → Scene 082: lyle weight room supplicants
• White Boston writer voicing black experience — the Entitlement problem, theorized in the open — signifying-rappers → Scene 008: clenette wardine
• Segregated Boston as documented ground — the city IJ sets itself in and mostly edits out — signifying-rappers → Scene 008: clenette wardine
• Spectation across glass — noticing-by-not-noticing, the watched Other, the gladness that the glass is there — signifying-rappers → Scene 069: poor tony seizure
• Entertainment escalating toward death — the predicted "snuff" record — signifying-rappers → Scene 072: marathe steeply choosing

A Supposedly Fun Thing I'll Never Do Again (1997)

• Total managed pleasure that removes the self — the Entertainment's logic as consumer critique — asft-cruise-essay
• Pampering as infantilization — "uterine stasis" and the crib's-eye Entertainment — asft-cruise-essay
• The Insatiable Infant — relief that recreates need (the addiction structure) — asft-cruise-essay
• Despair beneath the managed fun — the anhedonic substrate — asft-cruise-essay
• The autobiographical tennis-prodigy substrate under Hal and E.T.A. — asft-derivative-sport
• Tennis-as-mathematics — the mind that turns a court into a plane — asft-derivative-sport
• Wind and bad conditions — mastery through the disruptor others resent — asft-derivative-sport
• The "fugue-state" — the self that watches its own body perform — asft-derivative-sport
• Wallace's anti-"death of the author" position — the ideational ground of the wraith-narrator — asft-greatly-exaggerated
• The author whose intentions are responsible for a text's meaning — JOI's coded filmography — asft-greatly-exaggerated
• The auteur genetics under James Incandenza — final cut, personal vision, the film as the maker's skull — asft-lynch
• The film that buries private meaning heedless of the audience — the coded-message model — asft-lynch
• Cinema as coercion — the authoritarian medium that gets inside your head — asft-lynch
• Grotesques as figurants; violence that means something — the anti-spectacle aesthetic — asft-lynch
• The Show and its invisible substructure — the world under E.T.A.'s telos — asft-michael-joyce
• The surrender of the whole self to one pursuit — the bargain E.T.A. and AA both demand — asft-michael-joyce
• Grotesquerie and completeness — the mutilation that is also transcendence — asft-michael-joyce
• Choice made irrelevant — happiness through the foreclosure of alternatives — asft-michael-joyce
• Spectacle as engineered mass pleasure — the Entertainment cluster's consumer sibling — asft-state-fair
• The managed induction of terror — pay-to-be-managed, the pampering-to-death mechanism inverted — asft-state-fair
• Autobiographical Midwest substrate — the flat gridded plain, corn, wind — asft-state-fair
• Despair beneath the managed fun — the anhedonic substrate — asft-state-fair

Brief Interviews with Hideous Men (1999)

• The impossibility of sharing pain — communication-solipsism at monologue length — bi-depressed-person
• Depression as clinical, killing pain — the Kate Gompert / anhedonia register — bi-depressed-person → Scene 135: anhedonia and it
• New-sincerity as fiction — naked address past exhausted metafiction — bi-octet
• The perfect, self-loathing, enmeshing mother — the Avril devouring-mother dynamic — bi-suicide-as-present
• The hideous-men cycle as the primary fiction of the wallace-misogyny crux — bi-title-cycle
• The erased questioner — silenced-feminine and the interrogated-male form — bi-title-cycle
• Empty predation as solipsism — B.I. #20 and the GON continuity — bi-title-cycle

Oblivion (2004)

• The keyhole — solipsism and the failure of language to convey the interior — oblivion-good-old-neon
• Fraudulence, anhedonic emptiness, and the sealed self — the Hal-condition register outside the novel — oblivion-good-old-neon
• The David Wallace coda — author-into-character, and the autobiographical technique the IJ reading imputes — oblivion-good-old-neon
• The Suffering Channel as the Entertainment's logic restated — engineered spectacle escalating toward lethal total… — oblivion-suffering-channel
• The attention economy — the will to be seen as the engine of the spectacle — oblivion-suffering-channel
• Media ecology and the ad-as-entertainment — the EUP lane restated — oblivion-suffering-channel

Consider the Lobster (2005)

• SNOOT-genetics — Avril the grammar-fanatic and the Militant Grammarians of Massachusetts — ctl-authority-usage
• The SNOOT household and the SNOOTlet — Avril's family regime and the Incandenza prodigies — ctl-authority-usage
• The Democratic Spirit — rigor-plus-humility as DFW's language-politics ethic — ctl-authority-usage
• Pleasure used as a drug that numbs and reduces the self — the Entertainment's anesthetic function — ctl-big-red-son
• The appetite-ratchet — desire that outruns any possible satisfaction — ctl-big-red-son
• Spectacle, abjection, and the conspiracy of pretended joy — the industry of pleasure watched anyway — ctl-big-red-son
• The lonely audience and the used performers — attention economy at its most abject — ctl-big-red-son
• The moral-fiction manifesto — risk moral passion, against the fear of ridicule — ctl-frank-dostoevsky
• Dostoevsky / Karamazov as model — the DFW-side source of the archive's Karamazov-frame — ctl-frank-dostoevsky
• The pleasure/pain calculus and the love-vs-need bind — the interpolations IJ dramatizes — ctl-frank-dostoevsky
• Total presence / self-forgetting — the E.T.A. ideal and its cost — ctl-tracy-austin
• Inarticulacy — the gap between doing, saying, and being — ctl-tracy-austin
• The spectator's yardstick — the amateur who can see what the genius cannot — ctl-tracy-austin
• The emotional solipsist and the "great self" — the cage-of-the-self critique in Wallace's own voice — ctl-updike
• The rejection of self-celebrating fiction — the anti-rebel / new-sincerity program stated as a verdict — ctl-updike

Both Flesh and Not (2012)

• Solipsism at essay length — the Wittgensteinian frame — bfn-empty-plenum
• Communication vs. solipsism — writing as the "I EXIST" signal out of the sealed head — bfn-empty-plenum
• The head as prison-world — "the sixteen-inch diameter of bone" — bfn-empty-plenum
• Gender, crosswriting, and objectification — an on-record Wallace datum — bfn-empty-plenum
• The book that demands vs. the entertainment epoch — "Deep Nonsense" that shows what can't be said — bfn-empty-plenum
• The body one watches perform — kinetic beauty, altered perception, and reconciliation with having a body — bfn-federer
• The kinesthetic-drilling regime — the documentary substrate of E.T.A. — bfn-federer
• TV vs. live, and the Show as spectacle — mediation and Show-economics texture — bfn-federer
• Beauty as grace under limitation — the near-religious frame and the theodicy of suffering — bfn-federer
• Television as constitutive of consciousness — the EUP genetics seedbed — bfn-fictional-futures
• Entertainment that denies death — the loss of eschatology — bfn-fictional-futures
• Engaging vs. demanding — the anti-entertainment ethic and the prostitution analogy — bfn-fictional-futures
• Watchableness and the self as actor — "God is named Nielsen" — bfn-fictional-futures
• The post-metafiction turn — self-reference exhausted, the "fall into time" — bfn-fictional-futures
• Wallace's demonstrated higher-math fluency — the context row under the "were IJ's math errors intentional?" question — bfn-math-melodrama
• Professional solipsism vs. the community/gift-economy — Petros's withdrawal restated in nonfiction — bfn-math-melodrama
• The anti-seduction ethic — wanting readers to love the work vs. wanting to *fool* them — bfn-nature-of-fun
• Writing as going into what you don't want to see — the purge / truth-telling reading — bfn-nature-of-fun
• The fun→dread composition arc — Wallace's own account of what writing IJ-scale fiction costs — bfn-nature-of-fun
• The DeLillo *Mao II* "damaged infant" — a named influence for the writer-and-work relation — bfn-nature-of-fun

Interviews & broadcasts

• The Year of Glad's commercial-brand connotation — Glad as a U.S. cling-film brand, whose meaning the flat Spanish… — allau-infinite-translation-2012
• Dissociation between the novel's body and its endnotes — the Spanish edition renders the same term differently in… — allau-infinite-translation-2012
• Enfield is a deliberate map-fiction — the Allston/Brighton/Newton area "reconfigured", named for the Massachusetts… — bdcwire-dfw-boston → Scene 063: enfield topography
• Boston AA's open meetings and walk-in halfway houses are Wallace's stated reason IJ is set in Boston — bdcwire-dfw-boston → Scene 074: white flag aa meeting
• The recovery biography behind the Ennet House material — Somerville collapse, Harvard health services, McLean detox… — bdcwire-dfw-boston
• Blumenbach's craft testimony is firsthand evidence for the encyclopedic, hyper-precise density of Infinite Jest — 28… — blumenbach-trashpool-2011
• Wallace's late style dials the Infinite Jest mannerisms back — the endnote/annotation apparatus shrinks to a single… — blumenbach-trashpool-2011
• Wallace's books were always moral, only more cryptic than in The Pale King — the ironist/immature label (including… — blumenbach-trashpool-2011
• The novel enacts E Unibus Pluram's program — it forces the reader to notice "the strategies that regular… — bostonphoenix-donahue-1996
• The writer-reader relationship reframed as sincere intimacy — from "sexual" (when younger) to "a late-night… — bostonphoenix-donahue-1996
• Reception-era plot-and-apparatus description — the review names the samizdat film as fatally entertaining, tallies… — bostonphoenix-donahue-1996
• AA's "Irony-free zone" does not resolve Infinite Jest into sincerity — Gately's ongoing struggle to accept AA… — bresnan-work-of-play
• Reading as a lonely child's relationship with a sensed intelligence, and writing judged alive only when it feels like… — city-arts-lectures-2004-kipen
• The 2004 diagnosis that deep single-object attention is dying under movies, TV, and the internet — EUP's attention… — city-arts-lectures-2004-kipen
• God-concepts built by deleting limitations — E&M's infinity/divinity analogy glossed live, with the Kroneckerian… — crain-2003-tape
• Pleasure and beauty so total they verge on the unbearable — the near-fatal ecstasy that Infinite Jest literalizes in… — dfw-all-that-new-yorker-2009 → Scene 007: attache receives cartridge
• Filmed entertainment as the medium of the father-son bond — dfw-all-that-new-yorker-2009 → Scene 005: professional conversationalist
• Reverence toward the unverifiable, against corrosive skepticism — the stance Infinite Jest's AA doctrine also… — dfw-all-that-new-yorker-2009 → Scene 074: white flag aa meeting
• Wallace's own case against reading a novel back out of its author's biography — the "intentional fallacy" trap a… — dfw-borges-on-the-couch
• fiction "designed primarily as metaphysical arguments," impersonal, folded into "a cabalistic Book that includes its… — dfw-borges-on-the-couch
• the pleasure that requires not thinking about the suffering behind it — the ethical structure the Entertainment… — dfw-consider-the-lobster-gourmet → Scene 007: attache receives cartridge
• the sentience and pain of the other, and the discipline of not looking away — against Gately's choice to abide in his… — dfw-consider-the-lobster-gourmet → Scene 175: fackelmann scam wraith returns
• a full footnote apparatus in a mainstream magazine — the formal signature IJ's endnotes carry — dfw-consider-the-lobster-gourmet
• entertainment as isolated "sensuous payoff" strung on "flat, dead" narrative — the mechanism the Entertainment… — dfw-fx-porn → Scene 007: attache receives cartridge
• the Inverse Cost and Quality Law — commerce hollowing the auteur, against J.O. Incandenza's anti-commercial cinema — dfw-fx-porn → Scene 020: joi bio eta founding
• the child who, under unbearable pain, "learned to leave himself" and lived "untenanted" — the… — dfw-incarnations-of-burned-children-esquire → Scene 092: gately higher power bob death
• "its self's soul so much vapor aloft" — the self as a tenant of the body it can no longer reach, the novel's opening… — dfw-incarnations-of-burned-children-esquire → Scene 001: hal admissions interview
• the burned/blank child and the parent's dread of a silent, vacated son — the father-fear behind the Entertainment — dfw-incarnations-of-burned-children-esquire → Scene 005: professional conversationalist
• "entertainment as reassurance" and art as self-forgetting — the discursive twin of the Entertainment's fatal escape — dfw-laughing-with-kafka → Scene 007: attache receives cartridge
• "a self is something you just have" vs. the self as a struggle to be built — Hal's hollowness and AA's effortful… — dfw-laughing-with-kafka → Scene 001: hal admissions interview
• adolescent terror of "a narrowing system of responsibilities" fled through drink, drugs, and reckless pleasure — the… — dfw-laughing-with-kafka → Scene 135: anhedonia and it
• "Sincerity is out. The joke is now on people who're sincere" — the tyranny of irony over sincerity, eight years… — dfw-my-appearance → Scene 074: white flag aa meeting
• a self manufactured to be seen, made "true" only by being watched — appearance vs. being, and the figurant — dfw-my-appearance → Scene 001: hal admissions interview
• television as the medium that dissolves the sincere self — the anti-show and the entertainment critique — dfw-my-appearance
• A father and son who cannot communicate about the thing between them — the wordless look, and "anything is possible… — dfw-nothing-happened-open-city → Scene 005: professional conversationalist
• An autonomous internal appetite that strains toward its own self-annihilating fulfilment — an early working of the… — dfw-order-and-flux-northampton → Scene 135: anhedonia and it
• Entropic stasis as the end of the world — the Solomon Stoddard jeremiad prefigures Infinite Jest's terminal-stasis… — dfw-order-and-flux-northampton → Scene 007: attache receives cartridge
• Depression comes in two stages — the numbed antidepressant "planet" versus the active agony of the Bad Thing —… — dfw-planet-trillaphon → Scene 135: anhedonia and it
• Suicide is a trapped person's least-bad exit, argued by a submersion/entrapment analogy that anticipates Infinite… — dfw-planet-trillaphon → Scene 135: anhedonia and it
• The clinical apparatus — E.C.T., tricyclics and M.A.O. inhibitors, the psych ward, the fellow patient — is shared… — dfw-planet-trillaphon → Scene 135: anhedonia and it
• performed likeability masking identical, unshared isolation — the solipsism the novel dramatizes at length — dfw-radically-condensed-history → Scene 001: hal admissions interview
• the abundant footnotes/endnotes are a deliberate device to break narrative linearity — a non-utilitarian beautiful… — dystopia-polyarinov-obsuzhdaya-2018
• the tennis-court reading — the book is itself a court with a net; reading bounces to the endnotes and back, constant… — dystopia-polyarinov-obsuzhdaya-2018
• Wallace effectively predicted the streaming service (getting only the physical-cartridge part wrong) — dystopia-polyarinov-obsuzhdaya-2018
• Stylization confessed as fear-driven armor — the line-by-line light show deployed to avoid sentimental exposure — eye-on-books-1999-biwhm
• A book of twenty-four lonelinesses inside the situations built for love — the communication-and-solipsism spine as… — eye-on-books-1999-biwhm
• Wallace's "anti-eschatology" is not an IJ-only stance but an origin-level aesthetic — begun in the early fiction… — fest-then-out-of-the-rubble
• Wallace's whole literary project is to use the forms of narrative to understand the human being — an empathy ethic… — galindo-graca-infinita-historia-pessoal-2018
• Infinite Jest read as media-prophecy — InterLace prefigures Netflix, binge-watching is foreshadowed, and Johnny… — galindo-graca-infinita-historia-pessoal-2018
• A translator's read on Wallace's syntax — a new syntactic complexity modeled less on the sinuous Proustian sentence… — galindo-graca-infinita-historia-pessoal-2018
• The encyclopedic, heterogeneous texture of the novel — a “brain voice” assembled from shards of orality… — galindo-graca-infinita-historia-pessoal-2018
• Wallace's “typos” are design — the novel is riddled with authorial refusi because its characters cannot speak or… — gobetti-acqua-in-bocca-2013
• The translators' desk testimony to Infinite Jest's encyclopedic, term-loaded construction — physics and math… — gobetti-acqua-in-bocca-2013
• Wallace's acrobatic syntax and monstrous sentence-architecture as a register the translator must rebuild — the… — gobetti-acqua-in-bocca-2013
• The 388-note apparatus and Nesi's decision not to gloss — the endnote mass as a translator's constraint — gobetti-acqua-in-bocca-2013
• Wallace's move from ironist-epigone toward a moral, near-spiritual conception of literature, and the Italian resistance… — gobetti-acqua-in-bocca-2013
• The editorial history itself — the tangled making, attribution, and canonization of Wallace's Italian editions — gobetti-acqua-in-bocca-2013
• the title “Infinite Jest” is a Hamlet quotation (the Yorick graveyard scene), and rendering it in Dutch runs… — henkes-neerlandistiek-2025
• the title names the lethal film-cartridge — viewers watch it on a loop and die — henkes-neerlandistiek-2025
• Wallace's working subtitle “A Failed Entertainment” surfaces — henkes-neerlandistiek-2025
• the title-rendering problem itself, and the Monty-Python source-guess — translation craft and an influence claim with… — henkes-neerlandistiek-2025
• The withheld epiphanies are "enjoinments for reader interaction" — Wallace's aclimactic ending demands that the… — henry-epiphanic-structure-ij
• Genetic-criticism method — reading Infinite Jest through the Ransom Center drafts shows Wallace systematically… — henry-epiphanic-structure-ij
• The determined pursuit of pleasure that Wallace anatomizes in the nonfiction is the same American preoccupation… — isthmus-laskin-1997
• A culture so cynical it reads every virtue as performance — the 2006 restatement of the everything-as-performance… — karmodi-2006
• Corporations as soulless money-machines and a disengaged electorate — the soft-fascism / "backlash" diagnosis behind… — karmodi-2006
• Pure art as a gift outside the money-and-publicity machine — the wife-as-painter parable — karmodi-2006
• The essays as IJ's theory in the wild — addiction as a lattice for American material, advertising as seduction, the… — kcrw-bookworm-1997-asft
• The Markson/Wittgenstein constellation as stated aspiration — marrying intelligence and sadness; the condensed… — kcrw-bookworm-1997-asft
• The writer as companion and tour guide, not teacher — fellowship with the reader as the reachable good, in an America… — kcrw-bookworm-1997-asft
• The everything-is-rhetoricalized metastasis — me watching you watching me — named as a tremendous engine of… — kcrw-bookworm-1999-biwhm
• Language as pre-emptive image management — the mental chess of triaging responses before speaking, and the… — kcrw-bookworm-1999-biwhm → Scene 005: professional conversationalist
• Cold vs. warm media — commercial entertainment as a contemptuous economic transaction, art as gift — E Unibus… — kcrw-bookworm-2000-phoner
• Loneliness named again as the unifier of everything he writes — here specialized to double binds inside relationships — kcrw-bookworm-2000-phoner
• The sentimentality-versus-cynicism argument in its mature 2006 form — sentimentality colonized by cynical commercial… — kcrw-bookworm-2006-lobster
• Talk radio analyzed as entertainment rather than journalism — anger and stimulation as entertainment products… — kcrw-bookworm-2006-lobster
• Attention as the essays' method and moral unit — dropping every filter, examining one's own templates, and the PETA… — kcrw-bookworm-2006-lobster
• The translator's testimony to Infinite Jest's fragmented, digression-laden construction — a “roman morcelé, tout… — kerline-books-2015
• A reception/translator-desk sighting of the novel's monumental, encyclopedic, research-heavy construction — kerline-vice-2015
• the title's Hamlet provenance — Yorick of infinite jest (5.1), and why the Polish edition becomes *Niewyczerpany… — kozak-dwutygodnik-2017
• the endnote apparatus as language overflowing its own frame — a translator's functional account of why the notes exist — kozak-dwutygodnik-2017
• the macro-shape as a nested, self-generating casket structure — story births story, a hundred-sided cube — kozak-dwutygodnik-2017
• the main action dated to the 2020s — kozak-dwutygodnik-2017
• Wallace's excess as a war on the banality of language; sickness as a truth about the world; the whole method figured in… — kozak-dwutygodnik-2017
• The cruise material spoken with the self-critical frame intact — managed fun, the professional smile, and the cold… — kut-forum-1997
• The not-a-journalist self-description, on tape — he chose Lynch precisely because no interview was wanted, and he… — kut-forum-1997
• Blue Velvet as a generational event — the spoken version of the Lynch essay's premise — kut-forum-1997
• A reception witness to Infinite Jest's encyclopedic, labyrinthine construction — a 1,500-page “monument du… — lapresse-infinie-comedie-2015
• The novel's difficulty as reputation, not obstacle — a belatedly-translated cult “pavé”, an American classic… — lapresse-infinie-comedie-2015
• Wallace's own stated poetics — good writing comforts the disturbed and disturbs the comfortable — read as the… — letraslibres-no-necrologica-2008
• The novel's difficulty as reputation, not obstacle — difficult to write but easy to read; the hype-campaign… — letraslibres-no-necrologica-2008
• Blumenbach's craft testimony is firsthand evidence for the encyclopedic, hyper-precise density of Infinite Jest — a… — mokita-blumenbach-passage-2017
• The Anonymous Alcoholics become the novel's positive centre of meaning precisely because their rituals are… — mokita-blumenbach-passage-2017
• Wallace's polyphony — every figure speaking in an idiosyncratic register, error rendered correctly wrong — is a… — mokita-blumenbach-passage-2017
• The translator's firsthand testimony to Infinite Jest's dense, term-loaded, encyclopedic construction — American… — nesi-minimaetmoralia-intervista
• Wallace's prose runs at double speed yet stays legible — long dialogues in which the speaker is always identifiable… — nesi-minimaetmoralia-intervista
• Beneath the difficulty, Wallace's work is carried by an enormous underlying humanity — the warmth/earnestness read… — nesi-minimaetmoralia-intervista
• Wallace's anti-irony project read approvingly — irony deployed toward, not away from, human pain; the… — news247-kaltsas-2026
• A reception/translator witness to Infinite Jest's encyclopedic scale — 1079 dense pages, ~98 of them endnotes (a… — news247-kaltsas-2026
• The lethal Entertainment as plot summary — a film so entertaining its viewers watch it “to death,” and terrorists… — news247-kaltsas-2026
• The hysterical-realism label revisited — James Wood's coinage, Wood's recanting, and Kaltsas's reframe of Infinite… — news247-kaltsas-2026
• The cruise as paid consciousness-obliteration and the amnion of pure pleasure — the Entertainment's… — npr-freshair-1997 → Scene 178: joelle q interview master
• Recursive self-consciousness as paralysis — the infalling trap, the choking athlete, and the philosopher with the… — npr-freshair-1997
• The sad lucky generation — anhedonic misery amid privilege as IJ's donnée, stated as the book's origin — npr-freshair-1997 → Scene 135: anhedonia and it
• Tennis at its limit as beauty testimony — Federer as a body whose relation to physical law looks like another… — npr-wesat-2006-federer → Scene 026: schtitt and mario
• Television's privileged, clinical mediation hides its own loss — the flattered viewer who cannot see what the screen… — npr-wesat-2006-federer
• Wallace's own taste for anesthetic television — Baywatch and The Love Boat as "soothing, like a narcotic" — is the… — nyt-magazine-bruni-1996
• Wallace's editorial refusal to deliver Broom's set-piece payoff prefigures the designed non-closure of Infinite Jest — observer-gerry-howard-editing-dfw-2008
• The German feuilleton receives Infinite Jest as an encyclopedic maximal novel — ~1,500 pages that burst any literary… — perlentaucher-pressespiegel-2009
• the translators tell readers the book is annular — on reaching the end you must return to the beginning and re-read… — pervoe-polyarinov-karpov-2020
• several ending variants exist; the translators point readers to Aaron Swartz's reconstruction and the Reddit variants — pervoe-polyarinov-karpov-2020
• Karpov's caution — half the plot is deliberately absent; you decode at the level of episodes, not of the whole book — pervoe-polyarinov-karpov-2020
• several endings exist — the Wallacewiki fans hold four “canonical,” equally probable interpretations of the… — polyarinov-lj-2014-2016
• IJ enacts Wallace's essayistic call — the novel as a manifesto against postmodern irony, a bid for sincerity — polyarinov-lj-2014-2016
• the title is Hamlet's phrase over Yorick's skull — Wallace wrote his opus looking at the bare skull of postmodernism — polyarinov-lj-2014-2016
• the endnote apparatus as a purposeful anti-linear device — deliberate reader-slowing sabotage in the… — qq-yubingxia-jinfanyijia-2024
• the Eschaton set-piece as adolescent private grudge swamping strategy — the little referee's God-like madness — qq-yubingxia-jinfanyijia-2024
• the Hamlet correspondence (Hal/Hamlet, Avril/Gertrude, Charles/Claudius) and the title's Hamlet provenance — reported… — qq-yubingxia-jinfanyijia-2024
• the three Incandenza brothers ↔ the three Karamazov brothers — reported, then disclaimed — qq-yubingxia-jinfanyijia-2024
• IJ as a work of the American postmodern tradition — DeLillo, Gaddis, Barth as sources; Wallace's strong… — qq-yubingxia-jinfanyijia-2024
• Wallace as founder of the New Sincerity and author of E Unibus Pluram (合一为众) — a loneliness-solving manifesto — qq-yubingxia-jinfanyijia-2024
• the character-web as a Deleuzian rhizome / consciousness-network rather than a flat relationship map — qq-yubingxia-jinfanyijia-2024
• walking out of one's own «牢笼» (cage) — the recovery-group discovery of shared pain — qq-yubingxia-jinfanyijia-2024
• a rejection of the IJ/Ulysses comparison — qq-yubingxia-jinfanyijia-2024
• The footnotes are the formal embodiment of Wallace's excess consciousness — "remnants of his consciousness that he… — roiland-getting-away-ljs
• Wallace's nonfiction is modernist and earnest, not postmodern or ironic — irony impedes literary journalism's goal… — roiland-getting-away-ljs
• The despair was present in the nonfiction all along — Wallace's biographers (Lipsky, Max) misread it as absent; the… — roiland-getting-away-ljs
• An endorsed reading of Infinite Jest's annular / circular structure — the ring as a figure for characters cyclically… — thepaper-wujin-wanxiao-2023
• The composition theory — Wallace wrote three novels in the same period and twisted them into one, with the endnotes… — thepaper-wujin-wanxiao-2023
• The endnote apparatus as the carrier of Wallace's tangents — over a hundred pages holding what length and structure… — thepaper-wujin-wanxiao-2023
• Wallace's project as anti-anti-irony realism — overturning postmodern over-irony to write something truthful — thepaper-wujin-wanxiao-2023
• Reception / reputation — the million-character how many people can really finish it difficulty, and the… — thepaper-wujin-wanxiao-2023
• Wallace's hideous men speak a fluent, controlled, self-justifying language that conceals reality — and the reader's… — theuwis-vuur-herontdekt-2017
• Brief Interviews as a critique of male self-glorification — the “afgrijselijke mannen” read as an indictment… — theuwis-vuur-herontdekt-2017
• the footnote apparatus of “De depressieve persoon” as a difficulty the reader must survive — a half-page sentence… — theuwis-vuur-herontdekt-2017
• the narrative-void reading and the character-folding style — an aesthetic account of Wallace's whole method — theuwis-vuur-herontdekt-2017
• The sad-book intent stated at full length — American sadness rooted in loneliness, a culture teaching… — wbur-connection-1996-lydon
• The tax rant — an electorate that demands services, punishes tax-raisers, and encourages the lying it despises… — wbur-connection-1996-lydon
• The snoot family autobiography told live — parents' acronym gag, genetically inherited snootitude — the real-life… — wbur-usage-wars-2001
• Black English named on air as rule-governed dialect — the conviction underneath the Wardine-voice debate, stated by… — wbur-usage-wars-2001 → Scene 008: clenette wardine
• Dialect fluency as class destiny — the playground price of monodialectalism and standard English as the dialect of… — wbur-usage-wars-2001 → Scene 040: yrstruly xmas eve
• Corporate-demographic homogenization of speech — the media accent that vacuums out regional difference, and errors… — wbur-usage-wars-2001
• Serious art must make us confront difficulty; the danger is a pleasure-conditioned culture in which "the commercial… — wiley-minnesota-daily-1997
• DFW names Hal the book's "purely inactive" hero — word-ezine-1996-chat
• DFW declines to locate IJ's redemption and rules out Dostoevskian Christian redemption as still usable — word-ezine-1996-chat
• The Mold Thing raised as an "unsolvable puzzle" — DFW gives no answer (cut off) — word-ezine-1996-chat
• The intimacy program — fiction as a mind the reader is in relation with, whose sound the reader recognizes as his own — zeit-2007
• Literature must achieve more, aesthetically, than movies and TV to stay alive — the EUP media-competition thesis in… — zeit-2007