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" "The next suitable person you’re in light conversation with, you stop suddenly in the middle of the conversation and look at the person closely and say, “What’s wrong?” You say it in a concerned way. He’ll say, “What do you mean?” You say, “Something’s wrong. I can tell. What is it?” And he’ll look stunned and say, “How did you know?” He doesn’t realize something’s always wrong, with everybody. Often more than one thing. He doesn’t know everybody’s always going around all the time with something wrong and believing they’re exerting great willpower and control to keep other people, for whom they think nothing’s ever wrong, from seeing it. This is the way of people. Suddenly ask what’s wrong and whether they open up and spill their guts or deny it and pretend you’re off, they’ll think you’re perceptive and understanding. They’ll either be grateful, or they’ll be frightened and avoid you from then on. Both reactions have their uses, as we’ll get to. You can play it either way. This works over 90 percent of the time.
David Foster Wallace (21 February 1962 – 12 September 2008) was an American novelist, essayist, and short story writer. His works include The Broom of the System (novel), Infinite Jest (novel), The Girl With Curious Hair (short story collection), Brief Interviews with Hideous Men (short story collection), A Supposedly Fun Thing I'll Never Do Again (essay collection), and the posthumously-published The Pale King (novel) and Both Flesh and Not (essay collection).
Biography information from Wikiquote
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The next suitable person you’re in light conversation with, you stop suddenly in the middle of the conversation and look at the person closely and say, “What’s wrong?” You say it in a concerned way. He’ll say, “What do you mean?” You say, “Something’s wrong. I can tell. What is it?” And he’ll look stunned and say, “How did you know?” He doesn’t realize something’s always wrong, with everybody. Often more than one thing. He doesn’t know everybody’s always going around all the time with something wrong and believing they’re exerting great willpower and control to keep other people, for whom they think nothing’s ever wrong, from seeing it.
It’s one of those unpleasant opioid feverish half-sleep states, more a fugue-state than a sleep-state, less a floating than like being cast adrift on rough seas, tossed mightily in and out of this half-sleep where your mind’s
still working and you can ask yourself whether you’re asleep even as you dream. And any dreams you do have seem ragged at the edges, gnawed on, incomplete.