A Supposedly Fun Thing I'll Never Do Again: Essays and Arguments » (~)

Best known as the author of the audacious, shelf-bending postmodern masterpiece Infinite Jest, novelist, essayist, and short story writer David Foster Wallace (1962-2008) was one of the most influential writers of the late 20th century.

A collection of stories from David Foster Wallace is occasion to celebrate. These stories — which have been prominently serialized in Harper's, Esquire, the Paris Review, and elsewhere — explore intensely immediate states of mind, with the attention to voice and the extraordinary creative daring that have won Wallace his reputation as one of the most talented fiction writer of his generation.Among the stories are "The Depressed Person", a dazzling portrayal of a woman's mental state; "Adult World", which reveals a woman's agonized consideration of her confusing sexual relationship with her husband; and "Brief Interviews with Hideous Men", a dark, hilarious series of portraits of men whose fear of women renders them grotesque.

Publishers Weekly

Like the tennis champs who fascinate him, novelist Wallace (Infinite Jest; The Broom of the System) makes what he does look effortless and yet inspired. His instinct for the colloquial puts his masters Pynchon and DeLillo to shame, and the humane sobriety that he brings to his subjects-fictional or factual-should serve as a model to anyone writing cultural comment, whether it takes the form of stories or of essays like these. Readers of Wallace's fiction will take special interest in this collection: critics have already mined "Derivative Sport in Tornado Alley" (Wallace's memoir of his tennis-playing days) for the biographical sources of Infinite Jest. The witty, insightful essays on David Lynch and TV are a reminder of how thoroughly Wallace has internalized the writing-and thinking-habits of Stanley Cavell, the plain-language philosopher at Harvard, Wallace's alma mater. The reportage (on the Illinois State Fair, the Canadian Open and a Caribbean Cruise) is perhaps best described as post-gonzo: funny, slight and self-conscious without Norman Mailer's or Hunter Thompson's braggadocio. Only in the more academic essays, on Dostoyevski and the scholar H.L. Hix, does Wallace's gee-whiz modesty get in the way of his arguments. Still, even these have their moments: at the end of the Dostoyevski essay, Wallace blurts out that he wants "passionately serious ideological contemporary fiction [that is] also ingenious and radiantly transcendent fiction." From most writers, that would be hot air; from one as honest, subtle and ambitious as Wallace, it has the sound of a promise. (Feb.)