David Foster Wallace Quote
I’ve claimed—so far sort of vaguely—that what makes televisions hegemony so resistant to critique by the new Fiction of Image is that TV has coopted the distinctive forms of the same cynical, irreverent, ironic, absurdist post-WWII literature that the new Imagists use as touchstones. The fact is that TV’s re-use of postmodern cool has actually evolved as an inspired solution to the keep-Joe-at-once-alienated-from-and-part-of-the-million-eyed-crowd problem. The solution entailed a gradual shift from oversincerity to a kind of bad-boy irreverence in the Big Face that TV shows us. This in turn reflected a wider shift in U.S. perceptions of how art was supposed to work, a transition from art’s being a creative instantiation of real values to art’s being a creative rejection of bogus values. And this wider shift, in its turn, paralleled both the development of the postmodern aesthetic and some deep and serious changes in how Americans chose to view concepts like authority, sincerity, and passion in terms of our willingness to be pleased. Not only are sincerity and passion now out, TV-wise, but the very idea of pleasure has been undercut. As Mark C. Miller puts it, contemporary television no longer solicits our rapt absorption or hearty agreement, but—like the ads that subsidize it—actually flatters us for the very boredom and distrust it inspires in us. 24
I’ve claimed—so far sort of vaguely—that what makes televisions hegemony so resistant to critique by the new Fiction of Image is that TV has coopted the distinctive forms of the same cynical, irreverent, ironic, absurdist post-WWII literature that the new Imagists use as touchstones. The fact is that TV’s re-use of postmodern cool has actually evolved as an inspired solution to the keep-Joe-at-once-alienated-from-and-part-of-the-million-eyed-crowd problem. The solution entailed a gradual shift from oversincerity to a kind of bad-boy irreverence in the Big Face that TV shows us. This in turn reflected a wider shift in U.S. perceptions of how art was supposed to work, a transition from art’s being a creative instantiation of real values to art’s being a creative rejection of bogus values. And this wider shift, in its turn, paralleled both the development of the postmodern aesthetic and some deep and serious changes in how Americans chose to view concepts like authority, sincerity, and passion in terms of our willingness to be pleased. Not only are sincerity and passion now out, TV-wise, but the very idea of pleasure has been undercut. As Mark C. Miller puts it, contemporary television no longer solicits our rapt absorption or hearty agreement, but—like the ads that subsidize it—actually flatters us for the very boredom and distrust it inspires in us. 24
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About David Foster Wallace
Wallace grew up in Illinois. He graduated from Amherst College and the University of Arizona. His honors thesis at Amherst, about modal logic, was adapted into his debut novel The Broom of the System (1987). In his writing, Wallace intentionally avoided tropes of postmodern art such as irony or forms of metafiction, saying in 1990 that they were "agents of a great despair and stasis" in contemporary American culture. Infinite Jest, his second novel, is known for its unconventional narrative structure and extensive use of endnotes.
Wallace published three short story collections: Girl with Curious Hair (1989); Brief Interviews with Hideous Men (1999), which was adapted into a 2009 film; and Oblivion: Stories (2004). His short stories and essays were published in outlets like The New Yorker and Rolling Stone magazines, and three collections of his essays were published as books: A Supposedly Fun Thing I'll Never Do Again (1997); Consider the Lobster (2005); and Both Flesh and Not (2012). Wallace also taught English and creative writing at Emerson College, Illinois State University, and Pomona College.
In 2008, after struggling with depression for many years, Wallace died by suicide at age 46. His unfinished novel The Pale King was published in 2011 and was a finalist for the 2012 Pulitzer Prize for Fiction.