ALTHOUGH OF COURSE YOU END UP BECOMING YOURSELF ~ A Road Trip with David Foster Wallace
Book review and technical detail ALTHOUGH OF COURSE YOU END UP BECOMING YOURSELF ~ A Road Trip with David Foster Wallace David Lipsky
|Technical detail of ALTHOUGH OF COURSE YOU END UP BECOMING YOURSELF ~ A Road Trip with David Foster Wallace|
|Title||ALTHOUGH OF COURSE YOU END UP BECOMING YOURSELF ~ A Road Trip with David Foster Wallace|
|Publishing Date||1st January, 1970|
My Dinner with Andre in a rental car—Rolling Stone accidental editor Lipsky (Absolutely American: Four Years at West Point, 2003, etc.) turns in a splintered account of the late, abundant novelist.In 1996, the columnist got the alarm to drive into the Illinois countryside to acquisition David Foster Wallace (1962–2008) and battle a contour of the then-budding band hero of literature. “I’m thirty years old, he’s thirty-four,” writes Lipsky. “We both accept continued hair.” They are (were) additionally both avid consumers of culture, from the novels of John Updike (Wallace hates him, Lipsky doesn’t) and Stephen King (vice versa) to Saturday-morning cartoons, Steven Spielberg’s films and the latest sonic complaints of Alanis Morissette (Wallace loves her, Lipsky not so much) and the bleatings of Sheryl Crow (says Wallace, “made me appetite to vomit, from the actual beginning”). The two set off on a whirlwind, almost-missed-the-plane bout of the ice-encrusted Upper Midwest, a amount of blurred windows, glossy anchorage and Wallace’s connected spitting of tobacco abstract into assorted corrupt containers. Eventually they anguish up at a account in Minnesota that, if annihilation else, illustrates how soul-wearying such things are to writers, abnormally with the assured aboriginal catechism from the audience: “Where do you get your account from?” In Wallace’s case, the acknowledgment is refracted beyond pages adherent to his wrestlings with abasement and brainy illness, alternate by reminiscences of visits to brainy hospitals and electroshock treatments. At added times he appears happier, if sometimes addled by the business of acclaim and the aberrant apparatus of the publishing business—but actual abundant on top of the dollars and cents and at the top of his bold as a writer. Lipsky does acceptable assignment in befitting up with Wallace, but in the end his book is a staccato constitutional fabricated annoying by his aberration for pointing out, endlessly, Wallace’s Midwestern pronunciations and with one too abounding digressions on Lipsky’s own life.Still, a accurately communicative central appearance of a writer’s apple and a admirable yet afflicted mind.
SOON TO BE A MAJOR MOTION PICTURE, STARRING JASON SEGAL AND JESSE EISENBERG, DIRECTED BY JAMES PONSOLDTAn indelible portrait of David Foster Wallace, by turns funny and inspiring, based on a five-day trip with award-winning writer David Lipsky during Wallace’s Infinite Jest tour In David Lipsky’s view, David Foster Wallace was the best young writer in America. Wallace’s pieces for Harper’s magazine in the ’90s were, according to Lipsky, “like hearing for the first time the brain voice of everybody I knew: Here was how we all talked, experienced, thought. It was like smelling the damp in the air, seeing the first flash from a storm a mile away. You knew something gigantic was coming.”Then Rolling Stone sent Lipsky to join Wallace on the last leg of his book tour for Infinite Jest, the novel that made him internationally famous. They lose to each other at chess. They get iced-in at an airport. They dash to Chicago to catch a make-up flight. They endure a terrible reader’s escort in Minneapolis. Wallace does a reading, a signing, an NPR appearance. Wallace gives in and imbibes titanic amounts of hotel television (what he calls an “orgy of spectation”). They fly back to Illinois, drive home, walk Wallace’s dogs. Amid these everyday events, Wallace tells Lipsky remarkable things—everything he can about his life, how he feels, what he thinks, what terrifies and fascinates and confounds him—in the writing voice Lipsky had come to love. Lipsky took notes, stopped envying him, and came to feel about him—that grateful, awake feeling—the same way he felt about Infinite Jest. Then Lipsky heads to the airport, and Wallace goes to a dance at a Baptist church.A biography in five days, Although Of Course You End Up Becoming Yourself is David Foster Wallace as few experienced this great American writer. Told in his own words, here is Wallace’s own story, and his astonishing, humane, alert way of looking at the world; here are stories of being a young writer—of being young generally—trying to knit together your ideas of who you should be and who other people expect you to be, and of being young in March of 1996. And of what it was like to be with and—as he tells it—what it was like to become David Foster Wallace."If you can think of times in your life that you’ve treated people with extraordinary decency and love, and pure uninterested concern, just because they were valuable as human beings. The ability to do that with ourselves. To treat ourselves the way we would treat a really good, precious friend. Or a tiny child of ours that we absolutely loved more than life itself. And I think it’s probably possible to achieve that. I think part of the job we’re here for is to learn how to do it. I know that sounds a little pious."—David Foster Wallace
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