The Howling Fantods

David Foster Wallace News and Resources Since March 97

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David Foster Wallace and the Trouble with Public Image

Evan Kindley's piece article forThe Paris Review, I Did Not Approve This Message, considers similarities between the Wallace estate's opinions of The End of the Tour and the case of James Joyce and Samuel Roth back in 1926:

In 2010, just under two years after David Foster Wallace’s death, the journalist David Lipsky published Although Of Course You End Up Becoming Yourself: A Road Trip with David Foster Wallace, a memoir of transcripts from an interview he’d conducted with Wallace in 1996 for Rolling Stone. The book was well reviewed—it made the Times best-seller list—and late last year it was announced that it would become a film starring Jesse Eisenberg as Lipsky and Jason Segel as Wallace. The End of the Tour is already in postproduction and slated for release in late 2014, but last week, the Wallace Literary Trust issued a public statement making it “clear that they have no connection with, and neither endorse nor support” the film: “There is no circumstance under which the David Foster Wallace Literary Trust would have consented to the adaptation of this interview into a motion picture, and we do not consider it an homage.”

I was struck by similarities between this situation and the case of James Joyce and Samuel Roth, which began in 1926. In his recent book Without Copyrights: Piracy, Publishing, and the Public Domain, the scholar Robert Spoo devotes two chapters to Joyce’s desperate attempts to defend his intellectual property against Roth, an infamous American “booklegger” who reprinted the entire text of Ulysses, as well as large portions of Finnegans Wake, without permission. Roth’s actions, like those of the filmmakers of The End of the Tour, were not illegal: Joyce didn’t possess the U.S. copyright on his works, which were originally published in Europe and—after a brief window during which he could have established copyright by securing American publication—fell immediately into the U.S. public domain.

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Karen Green Wins 2013 Believer Poetry Award

Karen Green has won the 2013 Believer Poetry Award for Bough Down.

[Previous thoughts and reviews]

From The Believer:

“Karen Green’s raw, elegant first book—a mixture of verse paragraphs, images of miniature mixed-media collages (Green is also a visual artist), and blank pages—is a moving portrait of love, marriage, the untimely death of a spouse, the poet’s ensuing grief, and the marriage that still, somehow, remains. One of the most intimate and effective extended elegies to be published in recent years (joining such notable works as Anne Carson’s Nox and Rebecca Lindenberg’s Love, an Index), Bough Down is also a brilliant case study in psycho-emotional realism: in this case, the way that psychological rupture affects the very experience of experience, and the role of language in finding one’s way back to normalcy… At all junctures, Green’s writing shows life exceeding expectations—exceeding sense—because it exceeds thought. Bough Down is a breathtaking achievement.”

 

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1996 Review of Infinite Jest vs 2006 Foreword

Have you read the foreword to the 2006 edition of Infinite Jest by Dave Eggers? It's a little different to the opinions he shared in his review of Infinite Jest on release...

Edward Champion's over at Edrants explores this in his piece, The Infinite Jest Review That Dave Eggers Doesn’t Want You To Read:

In 2006, Little Brown published a 10th anniversary edition of David Foster Wallace’s Infinite Jest that featured a foreword by Dave Eggers. Eggers’s introduction observed that Infinite Jest was “1,067 pages long and there is not one lazy sentence. The book is drum-tight and relentlessly smart and, though it does not wear its heart on its sleeve, its deeply felt and incredibly moving.” There was one significant problem with this assessment. It did not match, much less acknowledge, a review that Eggers had written for The San Francisco Chronicle on February 11, 1996, which claimed just the opposite:

Besides frequently losing itself in superfluous and wildly tangential flights of lexical diarrhea, the book suffers under the sheer burden of its incredible length.

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People are allowed to change their opinions, right? But I guess acknowledging you held a differing opinion in the past is important too...

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Last Updated on Thursday, 01 May 2014 13:27
 

The Dead Cannot Consent - The Awl

From The Awl by Maria Bustillos, The Dead Cannot Consent:

There is every reason to anticipate that the movie will be great: It stars Jason Segel as Wallace, and Jesse Eisenberg as Lipsky. (Anyone who supposes that Segel is too lightweight to play Wallace credibly, I will assume, has not seen him in the 2011 Jeff, Who Lives At Home, though Segel’s genius is equally apparent in many a deceptively goofy performance.) The director is James Ponsoldt, whose splendid The Spectacular Now contains a sensitive and idiosyncratically observant treatment of substance abuse, among many other things. I will certainly see the movie (Si Dios quiere, as my grandma used to say) and even if it is not as great as I hope, I am sure there will be a lot of pleasure to be had in seeing a favorite book come to life.

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Last Updated on Friday, 25 April 2014 16:13
 

DFW Literary Trust Neither Endorse Nor Support 'The End of The Tour'

Jacket Copy Blog, Los Angeles Times, David Foster Wallace's estate comes out against 'The End of the Tour':

"The David Foster Wallace Literary Trust, David's family, and David's longtime publisher Little, Brown and Company wish to make it clear that they have no connection with, and neither endorse nor support 'The End of the Tour.' This motion picture is loosely based on transcripts from an interview David consented to eighteen years ago for a magazine article about the publication of his novel, 'Infinite Jest.' That article was never published and David would never have agreed that those saved transcripts could later be repurposed as the basis of a movie. The Trust was given no advance notice that this production was underway and, in fact, first heard of it when it was publicly announced. For the avoidance of doubt, there is no circumstance under which the David Foster Wallace Literary Trust would have consented to the adaptation of this interview into a motion picture, and we do not consider it an homage."

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[Previously, Opinions about 'The End of the Tour'.]

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15 Thoughts on The Pale King

The Quivering Pen reviews The Pale King in the post, 15 Random, Belated Thoughts on The Pale King by David Foster Wallace:

I started writing this "review" two years ago shortly after I finished reading The Pale King.  Why I never followed through and put all my initial thoughts down on paper at that time, I don't know.  Distraction, I guess.  Maybe I was on sweaty, bowel-cramping deadline to finish filing my taxes.  Maybe I got bored with my own words of conflicted praise about The Pale King.  Whatever.  But now I'm trying one more time because....well, because it's April 15--Tax Day here in the U.S.--and that is the fulcrum of The Pale King.  It seemed fitting to resurrect my fading memories of DFW's last book today of all days.
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In His Own Words - Track List

8 discs! Track list update via Megan Fitzpatrick [@mitzpa]

The discs with Wallace's handwriting in background (below):

In His Own Words - Selected Pieces - (Pre-order via Amazon) Audio CD - Read by the Author. Includes live and studio recordings. Introduction written and read by John Jeremiah Sullivan of Pulphead: Essays (and his review of The Pale King, Too Much Information). Hachette Book Group page.

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Last Updated on Tuesday, 15 April 2014 17:59
 



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