READING NOTES FROM:

Although of Course You End Up Becoming Yourself: A Road Trip With David Foster Wallace

2015-02-17

[…] the cognitive texture, of our lives changes. And as, um, as the different media by which our lives are represented change. And it’s the avant-garde or experimental stuff that has the chance to move the stuff along. And that’s what’s precious about it. And the reason why I’m angry at how shitty most of it is, and how much it ignores the reader, is that I think it’s very very very very precious. Because it’s the stuff that’s about what it feels like to live. Instead of being a relief from what it feels like to live.

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2015-02-17

What writers have is a license and also the freedom to sit—to sit, clench their fists, and make themselves be excruciatingly aware of the stuff that we’re mostly aware of only on a certain level. And that if the writer does his job right, what he basically does is remind the reader of how smart the reader is. Is to wake the reader up to stuff that the reader’s been aware of all the time. And it’s not a question of the writer having more capacity than the average person. [James Brown: “I Feel Good” in background, on the restaurant sound system.] It’s that the writer is willing I think to cut off, cut himself off from certain stuff, and develop … and just, and think really hard. Which not everybody has the luxury to do.

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2015-03-22

The thing that I think a lot of us forget is, part of the fault of that is books. Is that probably as, you know — you get this sort of cycle, as they become less important commercially and in the mainstream, they’ve begun protecting their ego by talking more and more to each other. And establishing themselves as this tight kind of cloistered world that doesn’t really have anything to do, you know, with real regular readers.

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