David Foster Wallace Quotes

The true thoughts that go on inside us are just too fast and huge and all interconnected for words to do more than barely sketch the outlines of, at most, one tiny little part of us at any given instant.

This wise old whiskery fish swims up to three young fish and goes, 'Morning, boys, how's the water?' and swims away; and the three young fish watch him swim away and look at each other and go, 'What the fuck is water?' and swim away.

How can even the idea of rebellion against corporate culture stay meaningful when Chrysler Inc. advertises trucks by invoking “The Dodge Rebellion”? How is one to be bona fide iconoclast when Burger King sells onion rings with “Sometimes You Gotta Break the Rules”? How can an Image-Fiction writer hope to make people more critical of televisual culture by parodying television as a self-serving commercial enterprise when Pepsi and Subaru and FedEx parodies of self-serving commercials are already doing big business? It’s almost a history lesson: I’m starting to see just why turn-of-the-century Americans’ biggest fear was of anarchist and anarchy. For if anarchy actually wins, if rulelessness become the rule, then protest and change become not just impossible but incoherent. It’d be like casting a ballot for Stalin: you are voting for an end to all voting.

Abstruse dullness is actually a much more effective shield than is secrecy. For the great disadvantage of secrecy is that it’s interesting.

You teach the reader that he’s way smarter than he thought he was. I think one of the insidious lessons about TV is the meta-lesson that you’re dumb. This is all you can do. This is easy, and you’re the sort of person who really just wants to sit in a chair and have it easy. When in fact there are parts of us, in a way, that are a lot more ambitious than that. And what we need… is seriously engaged art that can teach again that we’re smart. And that’s the stuff that TV and movies — although they’re great at certain things — cannot give us. But that have to create the motivations for us to want to do the extra work, to get those other kinds of art… Which is tricky, because you want to seduce the reader, but you don’t want to pander or manipulate them. I mean, a good book teaches the reader how to read it.

Past the flannel plains and blacktop graphs and skylines of canted rust, and past the tobacco-brown river overhung with weeping trees and coins of sunlight through them on the water downriver, to the place beyond the windbreak, where untilled fields simmer shrilly in the A.M. heat: shattercane, lamb's-quarter, cutgrass, sawbrier, nutgrass, jimsonweed, wild mint, dandelion, foxtail, muscadine, spinecabbage, goldenrod, creeping charlie, butter-print, nightshade, ragweed, wild oat, vetch, butcher grass, invaginate volunteer beans, all heads gently nodding in a morning breeze like a mother's soft hand on your cheek. An arrow of starlings fired from the windbreak's thatch. The glitter of dew that stays where it is and steams all day. A sunflower, four more, one bowed, and horses in the distance standing rigid and still as toys. All nodding. Electric sounds of insects at their business. Ale-colored sunshine and pale sky and whorls of cirrus so high they cast no shadow. Insects all business all the time. Quartz and chert and schist and chondrite iron scabs in granite. Very old land. Look around you. The horizon trembling, shapeless. We are all of us brothers.

Some crows come overhead then, three or four, not a murder, on the wing, silent with intent, corn-bound for the pasture's wire beyond which one horse smells at the other's behind, the lead horse's tail obligingly lifted. Your shoes' brand incised in the dew. An alfalfa breeze. Socks' burrs. Dry scratching inside a culvert. Rusted wire and tilted posts more a symbol of restraint than a fence per se. NO HUNTING. The shush of the interstate off past the windbreak. The pasture's crows standing at angles, turning up patties to get at the worms underneath, the shapes of the worms incised in the overturned dung and baked by the sun all day until hardened, there to stay, tiny vacant lines in rows and inset curls that do not close because head never quite touches tail. Read these.

she committed suicide by putting her extremities down the garbage disposal-first one arm and then, kind of miraculously if you think about it, the other arm.

It took years after I’d graduated from Amherst to realize that people were actually far more complicated and interesting than books, that almost everyone else suffered the same secret fears and inadequacies as I, and that feeling alone and inferior was actually the great valent bond between us all. I wish I’d been smart enough to understand that when I was an adolescent.

My worst character flaw that I'm conscious of is that I tend to think my way into circles instead of resolving anything. It's paralyzing and boring for people around me.

"In a way, what Tarantino has done with the French New Wave and with David Lynch is what Pat Boone did with rhythm and blues: He's found (ingeniously) a way to take what is ragged and distinctive and menacing about their work and homogenize it, churn it until it's smooth and cool and hygienic enough for mass consumption. Reservoir Dogs, for example, with its comically banal lunch chatter, creepily otiose code names, and intrusive soundtrack of campy pop from decades past, is a Lynch movie made commercial, i.e., fast, linear, and with what was idiosyncratically surreal now made fashionably (i.e., "hiply") surreal [...] D. Lynch is an exponentially better filmmaker than Q. Tarantino. For, unlike Tarantino, D. Lynch knows that an act of violence in an American film has, through repetition and desensitization, lost the ability to refer to anything but itself. A better way to put what I just tried to say: Quentin Tarantino is interested in watching somebody's ear getting cut off; David Lynch is interested in the ear."

Mario'd fallen in love with the first Madam Psychosis programs because he felt like he was listening to someone sad read out loud from yellow letters she'd taken out of a shoebox on a rainy P.M, stuff about heartbreak and people you loved dying and U.S. woe, stuff that was real. It is increasingly hard to find valid art that is about stuff that is real in this way. The older Mario gets, the more confused he gets about the fact that everyone at E.T.A. over the age of about Kent Blott finds stuff that's really real uncomfortable and they get embarrassed. It's like there's some rule that real stuff can only get mentioned if everybody rolls their eyes or laughs in a way that isn't happy.

...that, to repeat what I heard for years and years and suspect you’ve been hearing over and over, yourself, something’s meaning is nothing more or less than its function. Et cetera et cetera et cetera. Has she done the thing with the broom with you? No? What does she use now? No. What she did with me — I must have been eight, or twelve, who remembers — was to sit me down in the kitchen and take a straw broom and start furiously sweeping the floor, and she asked me which part of the broom was more elemental, more fundamental, in my opinion, the bristles or the handle. The bristles or the handle. And I hemmed and hawed, and she swept more and more violently, and I got nervous, and finally when I said I supposed the bristles, because you could after a fashion sweep without the handle, by just holding on to the bristles, but couldn’t sweep with just the handle, she tackled me, and knocked me out of my chair, and yelled into my ear something like, ’Aha, that’s because you want to sweep with the broom, isn’t it? It’s because of what you want the broom for, isn’t it?’ Et cetera. And that if what we wanted a broom for was to break windows, then the handle was clearly the fundamental essence of the broom, and she illustrated with the kitchen window, and a crowd of the domestics gathered; but that if we wanted the broom to sweep with, see for example the broken glass, sweep sweep, the bristles were the thing’s essence. No? What now, then? With pencils? No matter. Meaning as fundamentalness. Fundamentalness as use. Meaning as use. Meaning as fundamentalness.

She took a sort of abject pride in her mecilessness toward herself.

Look. Listen. Use ears I'd be proud to call our own. Listen to the silence behind the engines' noise. Jesus, Sweets, listen. Hear it? It's a love song.

For whom?

You are loved.

Worship your body, beauty, and sexual allure and you will die a million deaths before they finally grieve you.