Feeds:
Posts
Comments

Archive for the ‘Work’ Category

David Foster Wallace–[Week 11] Infinite Jest (1996)

Posted in Big Books, Canadian Content, Colin Meloy, Consumerism, Contests, Corporate skewering, David Foster Wallace, David Lynch, Death, Demons, Dreams, Drinking, Drugs, Eschaton, Funny (ha ha), Funny (strange), Infinite Summer, Marriage Trouble, Meta, Neurotics, Noir, Postmoderism, Set at School, Short Story, Smarty Pants, Sonic Youth, Sports, Sports Illustrated, Suicide, Technology, Tennis, The Future, Violence, Wikipedia, Work, Yuck! on September 4, 2009| 5 Comments »

dfwSOUNDTRACK: SONIC YOUTH-NYC Ghosts & Flowers (2000).

nycIn the midst of all of the experimentation with the SYR discs. Sonic Youth released this “proper” release.

At the time, it was actually the impetus for me to stop buying Sonic Youth records.  Between the experimental discs and the expanding palate of 1,000 Leaves, it felt like Sonic Youth were sort of drifting away from rock altogether.  It was certainly a way to alienate fans of Goo and Dirty.

You get two two songs over seven minutes and three over five (there are two short blasts in the middle which add some heaviness to the proceedings). But for the most part, this is a very spare, almost atmospheric affair.

Prior to recording the disc, the bands custom gear was stolen.  So they started from scratch for this recording.  And that may have something to do with the ambient, almost spatial sound.  It is quite mellow, (although still angular and dissonant) with a number of spoken word/beat poetry vocals.

Whether it’s pretentious or artsy depends on your take for recited lyrics (and SY’s lyrics are inscrutable anyhow).  Although Lee’s piece “NYC Ghosts and Flowers” seems to fit the style best (he has done a number of spoken vocal pieces in the past).  And “Nevermind (What Was It Anyway)” has a sort of commercial appeal.  The closing tack “Lightnin'” even features a trumpet, which I assume is played by Kim.  It’s the most noisy piece on the disc, with all kinds of fun sound effects showing up.

I’ve been listening to this disc a lot lately.  I think because I’ve revisited the experimental discs, this one makes more sense.  It’s not what I’d call a typical Sonic Youth album, or even the best Sonic Youth album.  It is certainly their most jazzy/mellow experiment (especially compared to the noise of says the SYR discs) and is about as far from their commercial peak as they could get.

The strangest thing to me though is that, despite all of the experimentation and slow-building songs, the whole disc is under 45 minutes.  So, they aren’t just making noise to fill space.

[READ: Week of August 31] Infinite Jest (to page 808)

In all of the talk about DFW’s “psychic” abilities with regard to technologies, one thing no one has mentioned–that I’ve seen–is his love of Venus Williams. Her name keeps popping up (I’d say at least a half dozen references so far).  And in many ways one doesn’t think too much of it (she is the #3 player right now, bested by her sister Serena who is #2).  But the amazing thing about his embrace of Venus is that as venusof 1996, when the book was published, she had barely played any pro tournaments.

Look a these tidbits from Sports Illustrated:

October 31, 1994: Venus wins her first pro match, defeating Shaun Stafford at the Bank of the West Classic in Oakland. … Venus faces Arantxa Sanchez Vicario, the No. 2 player in the world, in her next match. Venus races out to a 6-3, 3-1 lead but then folds as Sanchez Vicario wins 11 consecutive games. In an interview after the match, Venus is asked how the loss compares with previous defeats. She answers bemusedly that she has never before lost a match.

May 22, 1995: Reebok announces it has signed Venus to a five-year, $12 million deal. Thus far, Venus has played in one pro tournament.

Although much has been speculated (by me and others) about when he was actually writing this book (and when he was able to send in last minute changes), she would not break into the Top 20 until 1998.  He clearly saw something in her.

ijdot1

I write these posts as I go along.  So, I read the day’s pages take notes and then type them up.  This is why I get moments of speculation in the posts.  But mostly it means that when I start writing I don’t know how much there will be in total.  This is now the second week in a row where the early reading started off, if not slowly, then certainly without all too much happening.  The notes I took were very simple, along the lines of: Marathe in Ennet House or Kate & Marathe talk.  I knew I could remember what they were talking about, but there wasn’t a lot of notable moments.

And then, we get the trifecta of Endnotes and Tine’s interview. Holy cow, a torrent of information flooding out at once.  It doubled my word count almost immediately. Phew.

ijdot1
As this week’s reading starts out we see Marathe trying to check into Ennet House.  Okay, actually he’s there as the final part of his recon looking for the veiled girl who was in the Entertainment and is now in rehab.

His new-eyes-looking-at-the-place is rather enlightening as I hadn’t realized just how dreary and drab the House is (nor just how weird most of the residents would be).  The supporting cast is in good form: some of them sleeping, some of them talking loudly, others just staring.  And Marathe takes it all in. (more…)

Read Full Post »

David Foster Wallace–[Week 5] Infinite Jest (1996)

Posted in Big Books, Canadian Content, Canadian Music, Consumerism, Corner Gas, Corporate skewering, David Foster Wallace, Death, Digression, Dreams, Drinking, Drugs, End of the World, Eschaton, Funny (ha ha), Funny (strange), Infinite Summer, Neurotics, Postmoderism, Rick Mercer, Set at School, Smarty Pants, Suicide, Technology, Tennis, The Future, The Kids in the Hall, The Tragically Hip, The Walrus, Toilets, Violence, Work, Yuck! on July 24, 2009| 6 Comments »

in hereSOUNDTRACK: THE TRAGICALLY HIP-We Are the Same (2009).

Itragically hip first heard of The Hip when I saw their video for “Nautical Disaster.” This is back in the day when I first got Canada’s MuchMusic on my Brighton, MA cable system, and when I actually watched Music channels. Anyhow, the song was intense and very cool and it built to a great climax, and I was totally hooked.

I got their back catalog and continued to get their new releases.  Since then they’ve released some really good songs, and some pretty good discs.  It almost feels like since their live disc they decided to switch from intense songwriting to more simple, straightforward rock. This is a little disappointing to fans of their intense stuff, and yet if you accept the change in style, the music is quite solid.

So this disc seems to be shooting for an even broader, more commercial appeal.  And, in the first half, at least, they emphasize a more folksy/country feel.  All of this should make me flee from the disc, and I think longtime fans are pretty disappointed by it.  And yet, I can’t get over how much I like it. There’s something slightly off about the Tragically Hip that keeps them from being overtly commercial.  So that even when they release a disc like this, which is quite mellow in places, it still sounds alternative.  Maybe it’s Gord Downie’s voice, maybe it’s something in the melodies; whatever it is, it keeps this disc from being blah.

The final track, Country Day” seems to sum up the overall feel of the disc: meandering country roads.  And “Queen of the Furrows” is about farming.  The opening few songs have a Neil Young folkish feel, since “Morning Moon” and “Honey Please” have big catchy choruses with folky verses

“Coffee Girl” actually reminds me of a serious Barenaked Ladies type song, which is disconcerting coming from the Hip, but could possibly become a hit (it’s probably their most overtly commercial song I can think of since “My Music at Work”).  Actually, I take that back, one of the final tracks on the disc, “Love is  a Curse” sounds like it’s their last ditch attempt to have a big hit in the States.  And if they were a more well known (or on a bigger label) it would be a huge hit.  It rocks pretty hard and screams radio friendly.

The Hip of old do surface on two songs though: “Now the Struggle Has a Name” is one of those great sounding Hip songs:  as you’re singing along to the swelling chorus you wonder why they aren’t huge down here, and then you realize the song is 6 minutes long and will never get on the radio.   There’s also a 9 minute song, and the good news is that it doesn’t get boring (no mean feat).

The second half of the disc has more loud guitars.  The cool riff of “The Exact Feeling” is pretty great.  While “Frozen in My Tracks” is probably the weirdest track on the disc, with a very cool, off-sounding chorus.

So yeah, the disc has horns and strings and is maybe a little too polished and produced.  But the songwriting is still stellar.  I’m sure that if I had heard these songs now without knowing the Hip, I wouldn’t be all that impressed.  Maybe as I get older I’m less critical, or maybe I’m just happy to mellow out a bit more.

[READ: Week of July 20] Infinite Jest (to page 367)

Even though last week I said I would keep to the Spoiler Line Page, I am breaking the promise already.  I just couldn’t stand the thought of leaving a passage unfinished, so I just continued to the section break of Gately’s A.A. meeting.

When I first read IJ way back in 1996 I, like most Americans, didn’t really think too much about Canada.  I liked a lot of Canadian music and The Kids in the Hall were awesome, but beyond that I was pretty oblivious to our neighbors to the north.  Since then, I have become something of a Canuckophile.  I did Curling for two years and have visited up North a number of times.  We even had a Canadian satellite dish where we watched most of our TV (like Corner Gas and The Rick Mercer Report) until that moderately legal company was sued out of business.  Now I subscribe to The Walrus which keeps me well informed. Anyhow, this is all to say that I have a greater understanding of Quebec separatists and the state of US border relations.  This makes this whole Marathe-Steeply section more interesting to me this time around.  I sort of went from Hal (apolitical) to a quarter of the way to Avril in my understanding.

But before we get to that, lets get into the book and learn about Orin. (more…)

Read Full Post »

Lorrie Moore–“Childcare” (New Yorker, July 6 & 13, 2009)

Posted in Alice Munro, Bob Mould, Grant Hart, Hüsker Dü, Jesus and Mary Chain, Lorrie Moore, New Yorker, Short Story, Work on July 17, 2009| Leave a Comment »

ny7SOUNDTRACK: HÜSKER DÜ-Candy Apple Grey (1986).

candyThis disc seems to be universally panned as the worst Hüsker Dü disc (meaning it only gets 4 stars instead of 5) and yet I disagree.  Perhaps it’s because it was the second disc of theirs that I had heard and so it has always been more familiar, or maybe it’s because I think the sounds is fuller.

“Don’t Want to Know if You Are Lonely” is like the culmination of Grant Hart’s pop songwriting career.  Some say that the song is too stereotypically Hüsker Dü since all the parts fit together so well (as if that’s a bad thing).  “Sorry Somehow” is another shouting Mould gem that retains its pop sheen even with the noise.  And speaking of noise, the buzzsaw guitars that open the disc sound like nothing so much as the Jesus and Mary Chain.  Warner Bros must have been wondering what they got themselves into that their newly signed band opened their disc with that.

What’s most surprising about this disc though are the two acoustic numbers.  Hüsker Dü had obviously experimented before (see Zen Arcade) but these are the most delicate pieces they had written.  I mean, Bob’s voice is so delicate, it cracks in “Too Far Down” for goodness sake.  And “Hardly Getting Over It” would certainly be musically  familiar to anyone who knows Mould’s solo album Workbook.

It may not be a masterpiece, and I know that most Hüsker Dü fans don’t think that much of it, but it totally rocks my world.

[READ: July 6, 2009] “Childcare”

I had heard great things about Lorrie Moore. I bought her Birds of America and then just never read it. Then one day I was in my car waiting for some interminable thing or another and really wished I had a book with me. I decided to put Birds of America in my car. It’s a collection of short stories, so it seemed perfect. And then I never got in another situation where I was at an interminable wait and didn’t have some other book, too. So basically her book is still unread although now it is nicely beaten up. Sigh.

So this is my first Lorrie Moore story. She reminds me, at first thought, of Alice Munro (although she is not Canadian, nor quite so dark), because they both tend to focus on little events in people’s lives and how they can become defining.  Their stories are also small in scope, (in that not a lot “happens”), but are powerfully written and show a lot more going on underneath the surface.

In this story, Tassie Keltjin, a young woman who is just out of college goes in search of a job. She is looking specifically in the “childcare” area because she doesn’t really know what she wants to do for a real career. (more…)

Read Full Post »

Danny Gregory–Change Your Underwear Twice a Week: Lessons from the Golden Age of Classroom Filmstrips (2004)

Posted in Black Flag, Bob Mould, Danny Gregory, Dip-in Books, Funny (ha ha), Grant Hart, Hüsker Dü, Minnesota, Outer Space, Racism, Set at School, Short Films, Work on July 12, 2009| Leave a Comment »

changeSOUNDTRACK: HÜSKER DÜ-New Day Rising (1985).

new dayAfter Zen Arcade, who would have guessed that Hüsker Dü would finally release a regular album…not live, not an EP, not a double record, just a standard platter of 40 minutes of music.

For the longest time, “New Day Rising” was one of my favorite songs.  I think its simplicity combined with its basic absurdity really struck a chord with me.  It starts with a  pummeling drum and then is all distorted guitars chugging away at a single chord while Bob Mould screams, really screams “new day RI-sing” over and over again.  The chord changes from time to time and eventually Grant Hart busts in with backing chanting and hollering while Mould gets even more berserk with his screams.  And then it ends.  Just like that.  Two and a half minutes of noisy bliss.

That fuzzy guitar is a really a trademark of Hüsker Dü, something I tend to forget when I think about the songs themselves.  I’m not sure what Mould did with his settings, but his guitar is always loud, kind of tinny and heavy on the distortion.  It’s a good way to mask some simple pop songs as raging punk.

And the songs on New Day Rising are quite poppy. Grant Hart continues his great songwriter streak with “The Girl Who Lives on Heaven Hill” and the ridiculously poppy “Books About UFOs,” while Mould’s pop side is really starting to peek through: “I Apologize” and “Celebrated Summer” hit some great poppy strides (and the distorted guitar is toned down a little bit too).

There’s also another favorite: the weird and creepy “How to Skin a Cat.”  It’s something of a nonsense/throwaway song and yet the music is so weird that they must have had a lot of fun playing it.  “Feed the cats to the rats and the rats to the cats and get the cat skins for nothing.”  The song also makes me think of SST records in general.  If you follow music labels, SST was the home to some seminal punk bands like Black Flag and Hüsker Dü, but they also had a lot of weird punky-California bands.  And all the records have a similar soud quality.  “How to Skin a Cat” to me is the encapsulation of the SST sound.

SST is also a thorn in everyone’s side because they won’t release any of the Hüsker’s disc for remastering. I wonder what a remastered Hüsker disc would sound like? Would it still be as noisy and tinny?

[READ: July 3, 2009] Change Your Underwear Twice a Week

When we went visiting my brother-in-law in Vermont, he took us to an awesome local bookstore called Brown Dog Books.  Sarah and I made sure to do our part for the local economy.  One of the books that I bought was this one.  Tim was also very interested in reading it, as would anybody else who grew up in the 60s and 70s.

As the subtitle suggests, this is a book that looks at a number of the filmstrips shown in grade school. (more…)

Read Full Post »

McSweeney’s #5 [Timothy McSweeney’s Small Trembling Thing That You Hold in Your Hand and Pet Slowly with Your Dirty Fingers/Timothy McSweeney’s Small Box Half-Full of Shiny Gems and Itching/Timothy McSweeney is Staring Like That, Why Does He Keep Staring?/Timothy McSweeney’s Fervent Hope That Things Build from Here and Stay Good for You and Those You Love/Sometimes Not Believing How Great This All Is/Ted Koppel’s Very Very Special Thing] (2000)

Posted in 6500, Alastair Reed, Ann Cummins, Ben Greenman, Ben Marcus, Bible, Bob Mould, Books about writers, Camera Obscura, Chad Willenborg, Colleen Werthmann, Consuetudinary, Consumerism, Courtney Eldridge, Daniel O'Mara, David Foster Wallace, Denis Johnson, Donald Barthelme, Dreams, Dystopia, Elizabeth Klemm, Essays, Flash Fiction, Funky Web Sites, Funny (ha ha), Funny (strange), Grant Hart, Hüsker Dü, J. Robert Lennon, Jason Ockert, Joshua Bearman, Joshuah Bearman, Lawrence Weschler, Lydia Davis, Marcus Aurelius, Marie Curie, Marriage Trouble, McSweeney's, Meta, Minnesota, Neurotics, Newsweek, Outer Space, Paul Collins, Paul Maliszewski, Rodney Rothman, Sarah Vowell, Sex, Short Story, Steven Barthelme, Susan Minot, Ted Koppel, The Day the Earth Stood Still, This American Life, Uganda, Unlikable main character, Unreliable narrator, Violence, Wikipedia, Work on July 1, 2009| 3 Comments »

back coverSOUNDTRACK: HÜSKER DÜ-Metal Circus EP (1983).

HuskerDuMetalCircusAfter the insane hardcore mess of Land Speed Record, this EP is a bit of a change.  It’s still pretty hardcore, but now you can tell that the noisiness of the guitar is deliberate.  Bob Mould is playing around with multiple layers of feedback and distortion to create a wall of noise that sometimes hides, sometime accentuates the overall sound.

What strikes me as odd in retrospect is that I think of Bob Mould as one of alternative rock’s poppier songwriters.  And yet when you listen to this disc the two poppiest (which is a relative term to be sure) tracks are by Grant Hart.

The first two tracks are fast and furious.  But what separates them from 4 x 4 hardcore is, mostly Greg Norton’s bass.  He’s all over the place.  There’s also some diversity within the songs themselves (a little guitar squeal in “Deadly Skies”).

“It’s Not Funny Anymore” (Hart’s song) is surprisingly upbeat (with guitar harmonics) and is not quite as noisy (although it’s still pretty noisy, and is not going on the radio anytime soon).

The next two track are more of Mould’s screamy hardcore.

The longest song (4 and a half minutes) is also by Hart. “Diane” is a creepy song about abduction and murder (yet with something of a  singalong chorus).  I actually know the Therapy? version better because I had listened to that disc a lot when it came out.  But the Hüsker’s version is even creepier.  Wikipedia says it is about a real incident (which makes it less creepy than if Hart has made it up, I suppose).

It ends with Mould’s least hardcore song, although the guitar solo is pretty insane.

And then it’s over.  7 songs in twenty minutes.  That’s nearly half as many as on Land Speed Record.  You can see the songs changing already.  Just wait till the next disc!

[READ: June 29, 2009] McSweeney’s #5

McSweeney’s #5 plays with cover ideas again.  On this one, frontthe cover idea is actual different covers and slipcovers.  The book is hardcover, with three different cover designs.  It also has 4 different slipcover designs. The colophon explains that if one wanted one could have requested for free) each of the cover designs because they did not intend to make people buy multiple issues.  Click on the covers to see them enlarged on flickr (all images are copyright McSweeney’s).

This is the Koppel front cover.

I will quote from the McSweeney’s site their description of the covers:

As many of you know, the new issue of our print version is out, and by now is in most stores. This issue is a hardcover book, and features four different dust jackets. One dust jacket has on it a man who seems to be suffering from terrible skin lesions. The second cover looks very much like the cover of Issue No. 1, with the addition of a medical drawing of a severed arm. The third cover is blank, with all of its images hiding on the back. Hiding from the bad people. The last cover is just red. Or, if you will, simply red.

In addition, under each dust jacket is a different cover. One features pictures of Ted Koppel. One features new work by Susan Minot. And a third features a variation on the second cover, described above, though this version is legible only with aid of mirror. This inner cover also is featured under the red dust jacket.

I was quite surprised when I took the slipcover off mine, (more…)

Read Full Post »

Periodical: Geek Monthly

Posted in Arcade Fire, Artists, Authors, Book Reviews, Corporate skewering, Fantasy, Film & TV, Food, Foreign Books, Funky Web Sites, Funny (ha ha), Funny (strange), Futurama, Geek Monthly, Graphic Novel, Magazines, Magic, Music, Smarty Pants, Technology, TiVo, Video Games, Work, Yuck! on April 1, 2009| Leave a Comment »

geek1I have a Periodicals page already, but I rarely look at it or update it.  So, over the next few months I’m going to mention a magazine that I subscribe to.  When I’m all caught up, I’ll remove that page.

I was inspired to do this when I got the latest Geek Monthly. I stumbled upon Geek magazine last year when I was gathering magazines for the library’s annual magazine survey.  I really enjoyed it and when I saw the next issue it was a Futurama feature, so naturally I had to subscribe right then and there.

And since then I have not been disappointed.

They have fun geek quotes from famous and non-famous people.  Some short articles about tech gadgets and new products. And an Ask Alienware category for high tech and gaming questions.

geek2They’ve also started a Green section (this latest one has a computer built into a cardboard CPU unit…very cool).

They also have a music section (six album reviews and an interview with a cool geeky person).  This latest issue has a great interview with Will Oldham & The Arcade Fire.

There’s obviously the interview with the cover person (Zach Braff & Nathan Fillion are recent cover stars).  Plus, there’s other film-related articles.  (An interview with Wallace Shawn and an inevitable piece on Battlestar Galactica).  There also usually an opinion piece about a film or TV topic, and sometimes a debate on a subject (Film Adaptations of Books).  There’s also a regular Rant from Mark Altman, and Secrets of a Lady Geek.

As you get near the back, you get film reviews (mostly sci fi & horror, but there’s also some comedies and documentaries), and DVD reviews.   And, of course book reviews (comics and otherwise).

And then you get one of my favorite sections: product reviews.  The Office Arsenal shows awesome gadgets that you can bring to work (sadly I don’t work in an environment where Nerf rockets and Super Soakers would be appreciated.)  But the best part has to be random reviews at the back of the magazine.  Things like: MyGlowKeys, or Van Dorn Gourmets Onion Dip and Bath Bomb, or the thing that’s been making me laugh for days: FX Neo: Hard Minty Eyedrops, which has the hilarious review: “Hard. Minty. Eyedrops.  I can’t think of two more terrible adjectives for something I’m supposed to stick in my eye.  Hot stabby eyedrops?  Grating infectious eyedrops?  Nope, can’t do it.” (more…)

Read Full Post »

David Foster Wallace–“Wiggle Room” & D.T. Max “The Unfinished: David Foster Wallace’s struggle to surpass Infinite Jest (New Yorker, March 9, 2009)

Posted in Big Books, Books about writers, Boredom, Corporate skewering, D.T. Max, David Foster Wallace, Demons, Love, New Yorker, Rush, Short Story, Smarty Pants, Suicide, Work on March 6, 2009| 1 Comment »

newyorkerSOUNDTRACK: LOVE-Da Capo (1967).

dacapoA few years ago, my friend John gave me Love’s Forever Changes. I’ve enjoyed that disc very much and decided to get some other Love music.  I chose Da Capo (their second album, and the one just prior to Forever Changes) for two reasons.  One: Rush did a cover of “Seven and Seven Is” on their Flashback CD and two: there’s an 18 minute song on it, and I love me an eighteen minute song.

The first side is a bunch of shorter songs; each one is quite charming. In fact, “Orange Skies” is so sweet, complete with flute solo, that you can pretty much hear Arthur Lee smiling all the way through it.  The song is borderline cheesy, and yet I can’t help but find myself walking around singing “orange skies, carnivals and cotton candy and you….and I love you too.”

“Stephanie Knows Too” is kind of angular with a weird jazzy interlude.  And “Que Vida” is just a poppy little number that is fun and interesting.  It fits well with “The Castle,” another stop/start song that has a beautiful guitar melody at the opening.  The side ends with a classic psychedelic track “She Comes in Colors.”

The only oddball of the side is, paradoxically, the single “Seven and Seven Is.” It’s a fast rocking number with the fascinating chorus of “Oop ip ip Oop ip ip, yeah!”  Perhaps the only line that’s stranger is “If I don’t start crying it’s because I have got no eyes.” And this was the single?  Clearly Arthur Lee liked his psychedelia.

Then we move to the 18 minute gem.  Well, in fact, “Revelation” (the first song ever to take up an entire side of an album) is something of a disappointment to me.  It is basically a jam that sounds like it was done in one take, although since Arthur Lee was a taskmaster I doubt very much that it was one take.

It’s starts promisingly enough with a rapid harpsichord intro, but it moves into a fairly mundane jam session. There’s a great line from a Paul F. Tompkins skit, in which he says that jazz is just music of solos: “everybody gets one, it’s not like regular music where only the best dude gets one, in jazz everybody gets one.”

And that’s the case with this song.  The solos go: guitar, harmonica, vocals (Arthur Lee improvising some pretty lame segments (Mostly about how he feels good), and let me tell you, he’s no Jim Morrison when it comes to this sort of thing), another guitar solo, a clarinet solo (!), then a bass solo and finally a drum solo, rounded all out with a harpsichord outro that mimics the beginning.  The problem is that none of the solos (excepting the guitar) is particularly noteworthy, and it’s not recorded especially well.  It’s all rather flat.  In particular the sing along part, where Lee is screaming and whatnot, it’s just not convincing, especially since the band doesn’t seem all that excited about the proceedings.  I got tired of it at after about 5 minutes (although the opening of the clarinet solo which sounds an awful ot like a flock of geese is pretty cool).  It’s a shame really, because I wanted to like this track a lot.  Nevertheless, it hasn’t put me off of Love.

[READ: March 3, 2009] “Wiggle Room”

This week’s New Yorker featured not only a story by David Foster Wallace but also a sort of biography/obituary of him.  D.T. Max, a name straight out of Wallace’s imagination, writes a moving and depressing epilogue to the story of DFW.  (It’s available here) The main thrust of the article is that DFW had a hard time writing fiction after Infinite Jest, but that he had been working on a new book (which, although unfinished, is due to be published sometime this year). (more…)

Read Full Post »

« Newer Posts