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Home News by Category Conferences Seven New Directions for Wallace Studies

Seven New Directions for Wallace Studies

Seven New Directions for Wallace Studies (Infinite Wallace 2014 Day 3)

Photo - T. McMahon

-Ariane Mak

At the end of this thrilling three day conference, seven new directions seem to have emerged in the study of David Foster Wallaces work, whether sketched during the conference or called for. Tonys brilliant post started to evoke some of them, and todays concluding discussion have pointed towards more stimulating new avenues for Wallace scholarship.

1. As already mentioned, the scope of Wallace studies have clearly broadened and are deeply connected with new explorations of DFWs nonfiction work, particularly Signifying Rappers and Everything and More.

2. Adam Kelly pointed the potential of the opposite process, asking what Wallace has to say and bring to other disciplines (what Wallace has to say to Buddhism, etc.).

3. The archives at the Harry Ransom Centre have been a crucial step in opening up Wallace studies. As Lee Konstantinou highlighted, they allow for an analysis of the process of thought in DFWs works, and are particularly vital in relations with The Pale King.

4. Mary Holland addressed the possibility for Wallace scholars today to examine the limits of DFWs works.

5. She remarked on the curious absence of any thorough analysis of DFWs work in terms of race, class and gender.

6. Mary Holland also suggested that the affect dimension might be particularly fruitful to Wallace studies.

7. Finally, Ralph Clare pointed at the interest of analysing DFWs work in relation to animal studies.

During the conference, Adam Kelly addressed the conception of Wallace studies as group mind undertaking a collective work towards a better understanding of David Foster Wallace and his work. There is no doubt that the Paris conference revealed promising new horizons to this community of readers and Wallace scholars.

-Ariane Mak

(Point 1. Updated 15/9/14)

Last Updated on Monday, 15 September 2014 11:26  

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