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A Supposedly Fun Thing I'll Never Do Again: Essays and Arguments, by David Foster Wallace
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In this exuberantly praised book - a collection of seven pieces on subjects ranging from television to tennis, from the Illinois State Fair to the films of David Lynch, from postmodern literary theory to the supposed fun of traveling aboard a Caribbean luxury cruiseliner - David Foster Wallace brings to nonfiction the same curiosity, hilarity, and exhilarating verbal facility that has delighted readers of his fiction, including the bestselling Infinite Jest.
- Sales Rank: #33144 in eBooks
- Published on: 2009-10-31
- Released on: 2009-11-23
- Format: Kindle eBook
Amazon.com Review
David Foster Wallace made quite a splash in 1996 with his massive novel, Infinite Jest. Now he's back with a collection of essays entitled A Supposedly Fun Thing I'll Never Do Again. In addition to a razor-sharp writing style, Wallace has a mercurial mind that lights on many subjects. His seven essays travel from a state fair in Illinois to a cruise ship in the Caribbean, explore how television affects literature and what makes film auteur David Lynch tick, and deconstruct deconstructionism and find the intersection between tornadoes and tennis.
These eclectic interests are enhanced by an eye (and nose) for detail: "I have seen sucrose beaches and water a very bright blue. I have seen an all-red leisure suit with flared lapels. I have smelled what suntan lotion smells like spread over 21,000 pounds of hot flesh . . ." It's evident that Wallace revels in both the life of the mind and the peculiarities of his fellows; in A Supposedly Fun Thing I'll Never Do Again he celebrates both.
From Publishers Weekly
Like the tennis champs who fascinate him, novelist Wallace (Infinite Jest; The Broom of the System) makes what he does look effortless and yet inspired. His instinct for the colloquial puts his masters Pynchon and DeLillo to shame, and the humane sobriety that he brings to his subjects-fictional or factual-should serve as a model to anyone writing cultural comment, whether it takes the form of stories or of essays like these. Readers of Wallace's fiction will take special interest in this collection: critics have already mined "Derivative Sport in Tornado Alley" (Wallace's memoir of his tennis-playing days) for the biographical sources of Infinite Jest. The witty, insightful essays on David Lynch and TV are a reminder of how thoroughly Wallace has internalized the writing-and thinking-habits of Stanley Cavell, the plain-language philosopher at Harvard, Wallace's alma mater. The reportage (on the Illinois State Fair, the Canadian Open and a Caribbean Cruise) is perhaps best described as post-gonzo: funny, slight and self-conscious without Norman Mailer's or Hunter Thompson's braggadocio. Only in the more academic essays, on Dostoyevski and the scholar H.L. Hix, does Wallace's gee-whiz modesty get in the way of his arguments. Still, even these have their moments: at the end of the Dostoyevski essay, Wallace blurts out that he wants "passionately serious ideological contemporary fiction [that is] also ingenious and radiantly transcendent fiction." From most writers, that would be hot air; from one as honest, subtle and ambitious as Wallace, it has the sound of a promise.
Copyright 1996 Reed Business Information, Inc.
From Library Journal
This collection of eight diverse articles, following on the heels of Foster's immense, popular novel, Infinite Jest (LJ 1/96), opens with "Derivative Sport in Tornado Alley," an autobiographical sketch that skillfully interweaves mathematics and tennis with the vicissitudes of Midwestern meteorology. A brilliant analysis of television's role in popular culture, a look at the Illinois State Fair, a review of filmmaker David Lynch, and a report on Wallace's week-long adventure on a luxury cruise are among the pieces that follow. Wallace's style is highly personal?some might say eccentric?but his writing is always intelligent, witty, and engaging. Libraries serving discriminating readers will want this book in their collections..?William Gargan, Brooklyn Coll. Lib., CUNY
Copyright 1997 Reed Business Information, Inc.
Most helpful customer reviews
3 of 3 people found the following review helpful.
Very different
By Harold Holcombe
I have read a lot of books, stories, essays in my life. While I have not finished the book, for reasons which I am not sure I can name I find this collection memorable and different. One essay I will describe -- Why is it different? Probably because it is a kind of travelogue of the author's experiences. It is very straightforward, very clear and an astonishingly different take on the experience of being professionally coddled by an inanimate object -- a cruise ship. Wallace is a gifted writer dissecting an experience, an experience which is created to be and delivered for one's enjoyment by a commercial enterprise, a luxury cruise ship line. So how does one describe this experience? He, not a gregarious person but a very observant one, simply details the accoutrements of the ship, the public areas and the food service, his cabin, and the service (particularly that of his cabin steward). He also describes the passengers, at least a large portion of them. The ship, the service, the food are clearly superior. The passengers are less appealing. Overall one is left with the feeling that amidst the 'fun,' and shadowing it, is the fear of non-existence. The mass of passengers are retired people and they are, in their efforts to have fun, exhibiting the human fear of approaching death.
Not a fun read, but a very interesting read.
Harold E. Holcombe
3 of 3 people found the following review helpful.
An Intelligent Must Read
By The Best Out West
I absolutely loved this book of essays by DFW. I had read Consider the Lobster first, and found this one to be a lot better. Like all essay books, some were winners, two were, meh, and there was a bit of filler. However, the ones that were winners absolutely knocked it out of the park on this one. I haven't read all of his work yet, so I can't say that this one is better than that one, but I found these essays to be informative, intelligent, entertaining and engaging. If you like to look at the world with the veneer washed off, this book is for you!
4 of 4 people found the following review helpful.
Art & Alienation
By Doug Anderson
A Supposedly Fun Book That Is Occasionally Fun (for select audiences):
"Derivative Sport in Tornado Alley": DFW has the kind of self-effacing charm that allows him to forge an instant bond with readers. When he discusses relatable things like athletic ability, being a late bloomer, and the strange connection he feels (and then does not feel) toward his natural environs, the reader is instantly hooked. The fact that DFW resents nature for not endowing him with more physical strength & beauty is plenty interesting, but DFW also has another quality that is just the opposite of self-effacing and not nearly as charming, and that's his excessive brainyness. DFW often ruins perfectly good essays with excessive brainyness (apparently his revenge for not having enough brawn or beauty). The math babble threaded throughout the essay just reads like intellectual showboating. Luckily, in this essay, the brainyness doesn't spoil whats good, but in other essays it sometimes does. Some readers seem attracted to the brainyness, the learned references, the intellectual display (which becomes a kind of replacement sport for the tennis that he so loves), but to me those are not the qualities that make him worth reading.
"E Unibas Pluram: Television and US Fiction": If you are interested in answering the question of whether DFW was a postmodernist or not, this is an essential essay. This 60+ page essay is a ramble about alienation and irony. DFW admits that like many writers of fiction he is a compulsive watcher/observer and that this habit makes him feel alienated. TV, he says, seems to offer a release from alienation and so many alienated writers are tv addicts, but he decides that tv does nothing to alleviate the problem. He also contends that writers of his generation (the ones he mentions are all postmodernists) incorporate tv (and other pop references) into their work because its part of modern/postmodern life, but that this replicating of modern/postmodern life in fiction still offers no relief from the alienation that it explores/configures. DFW claims that irony/ironic detachment was a favorite writerly device/attitude for the early postmodern writers (a group that he sees as his forebears) but that irony which is also a favorite device/attitude of his generation of writers also offers no relief from alienation. Although he does make a Marx joke (in the State Fair essay), which may or may not indicate that he sees alienation as a universal condition, it would seem that his own alienation is due more to a personal than a sociological pathology. Reading between the lines (as well as the other essays in this collection), one gets the feeling that DFW is not particularly interested in connecting to any of the communities that he describes, nor that he is particularly interested in connecting to other alienated artists. Quite the contrary. It seems that DFW is rather fond of his alienated status as its the subject of virtually everything that he writes, and his trademark. Even though the essay eventually morphs into a call for a new kind of art that would deliver writers & presumably readers from their alienation, one wonders if relief from alienation (the very thing that provides the impetus for his writing) is really what he seeks. So is he a postmodernist? I think the answer is yes. Even though he often voices nostalgia for a time before the postmodern, this nostalgia is itself a key component of postmodern consciousness/writing. DFW is very good at mapping the impasse where postmodern writing leads, but the reason that he knows this impasse so well is because it is his own.
"Getting Away from Being Pretty Much Away from It All": Another extremely long 60+ page essay that is more consistently enjoyable than the previous essay, but so full of filler (endless descriptive passages of cows & horses & pigs) that one finds oneself wondering whether DFW ever cuts or deletes anything. This along with the cruise ship essay are the author at his most accessible, and his funniest. DFW is a reluctant traveler (some of the funniest bits are about his own discomfort) but he is very entertaining when summing up human types.
"Greatly Exaggerated": As in 'the rumors of my death have been...'. Despite that title, this is a humorless synopsis/review of H.L Hix's Morte d' Author: An Autopsy. The book & the book review summarize and assess the long battle over whether authorship as a concept is alive or dead. Hix is not on either side of the fence really, and believes that the argument revolves around a misuse of the word "author." Authors, Hix argues and DFW echoes, are not completely autonomous agents (no one ever really thought they were), but are influenced by culture, language, and even tv. So, as Hix explains it, there's no real side to be on. Ok, I went to grad school a few years ago and remain somewhat interested in this kind of grad school inquiry, but like many (not all) academic exercises/arguments this essay takes a very long time to say very little and certainly nothing new and most readers will do well to simply skip this one.
"David Lynch Keeps His Head": Premiere magazine asked DFW to visit the set of Lost Highway and although the author never says one word to David Lynch, he writes nearly 70 pages about him. Instead of talking to the director, DFW analyzes each and every one of his films. The interesting thing here is not the film criticism which is not particularly insightful but watching one alienated artist watch another albeit from a distance. DFW admires the work, but he is suspicious of the man behind the work who he describes as creepy. But what makes Lynch "creepy" is the same thing that makes many artists "creepy"--the strange distance they keep.
Accompany this essay with the earlier one about TV & US Fiction and you have two very interesting meditations on alienation. Again, I would say that this is DFW's main theme. Even in the travel pieces, its the author's alienation from his subject that gives the work its unique charm (we all love someone who feels even more alienated than we do) and force.
"Tennis Player Michael Joyce's Professional Artistry...": Tennis reportage that is really a meditation on the price paid for being obscenely good at one thing. Although DFW admires their art, he decides that Joyce and pros like him are "grotesques" ie., freakishly one-dimensional creatures.
"A Supposedly Fun Thing I'll Never Do Again": This near-100 page essay deserves its reputation as a masterpiece of travel literature, and is the reason most people buy this book. If these essays prove anything its that DFW is a masterful and witty observer of humans at their most absurd (I only wish that DFW had a sense of humor about some of the topics that he treats seriously because when he's funny he is sublime and when he's serious he sounds just like any other academic/critic). If you've never been on a cruise ship this will make you book a cruise just to see whether DFW is exaggerating or not. All of these essay will appeal to the DFW fan, but this is the only "must read" for the general reader.
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