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Quote by Harold Bloom

“Stephen King is Cervantes compared with David Foster Wallace. We have no standards left.”

Quote by Harold Bloom

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Harold Bloom

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“But and so things are slow, and like you they have this irritating suspicion that any real satisfaction is still way, way off, and it’s frustrating; but like basically decent kids they suck it up, bite the foil, because what’s going on is just plain real; and no matter what we want, the real world is pretty slow, at present, for kids our age. It probably gets less slow as you get older and more of the world is behind you, and less ahead, but very few people of our generation are going to find this exchange attractive, I’ll bet.”

Dfw
Book:Girl With Curious Hair
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“This was the first thing I ever said, "All right, I'm gonna try to do the very best I can." Instead of doing this, "All right, I'll work at like three-quarters speed, and then I can always figure that if I just hadn't been a fuckup, the book coulda been really good." You know that defense system? You write the paper the night before, so if it doesn't get a great grade, you know that it could've been better. And this worked--I worked as hard as I could on this. And in a weird way, you might think that would make me more nervous about whether people would like it. But there was this weird--you know like when you work out really well, there's this kind of tiredness that's real pleasant, and it's sort of placid.”

Dfw
Book:Although Of Course You End Up Becoming Yourself: A Road Trip with David Foster Wallace
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“Something they seem to omit to mention in Boston AA when you're new and out of your skull with desperation and ready to eliminate your map and they tell you how it'll all get better and better as you abstain and recover: they somehow omit to mention that the way it gets better and you get better is through pain. Not around pain, or in spite of it. They leave this out, talking instead about Gratitude and Release from Compulsion. There's serious pain in being sober, though, you find out, after time. Then now that you're clean and don't even much want Substances and feeling like you want to both cry and stomp somebody into goo with pain, these Boston AAs start in on telling you you're right where you're supposed to be and telling you to remember the pointless pain of active addiction and telling you that at least this sober pain now has a purpose. At least this pain means you're going somewhere, they say, instead of the repetitive gerbil-wheel of addictive pain. They neglect to tell you that after the urge to get high magically vanishes and you've been Substanceless for maybe six or eight months, you'll begin to start to 'Get In Touch' with why it was that you used Substances in the first place. You'll start to feel why it was you got dependent on what was, when you get right down to it, an anesthetic. 'Getting In Touch With Your Feelings' is another quilted-sampler-type cliche that ends up masking something ghastly deep and real, it turns out. [178: A more abstract but truer epigram that White Flaggers with a lot of sober time sometimes change this to goes something like: 'Don't worry about getting in touch with your feelings, they'll get in touch with you.’] It starts to turn out that the vapider the AA cliche, the sharper the canines of the real truth it covers.”

AddictionDfwRevovery
Book:Infinite Jest
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“He made a gesture I can't describe: 'Gentlemen, welcome to the world of reality--there is no audience. No one to applaud, to admire. No one to see you. Do you understand? Here is the truth --actual heroism receives no queues up to see it. No one is interested.' He paused again and smiled in a way that was not one bit self-mocking. True heroism is you, alone, in a designated work space. True heroism is minutes, hours, weeks, year upon year of the quiet, precise, judicious exercise of probity and care--with no one there to see or cheer. This is the world. Just you and the job, at your desk. You and the return, you and the cash-flow data, you and the inventory protocol, you and the depreciation schedules, you and the numbers.' His tone was wholly matter-of-fact.”

PostmodernismDfw
Book:Something to Do with Paying Attention
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“Eyes the broad-shouldered faceless character that symbolizes Men’s Room, does Sternberg, and struggles with himself. He’s needed a bowel movement for hours, and since the LordAloft 7:10 lifted things have gotten critical. He tried, back at O’Hare. But he was unable to, because he was afraid to, afraid that Mark, who has the look of someone who never just has to, might enter the rest room and see Sternberg’s shoes under a stall door and know that he, Sternberg, was having a bowel movement in that stall, infer that Sternberg had bowels, and thus organs, and thus a body. Like many Americans of his generation in this awkwardest of post-Imperial decades, an age suspended between exhaustion and replenishment, between input too ordinary to process and input too intense to bear, Sternberg is deeply ambivalent about being embodied; an informing fear that, were he really just an organism, he’d be nothing more than an ism of his organs.”

HumorDfwPost Modernism
Book:Girl With Curious Hair
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“The problem is going to be, "Let's see, I spent all day staring at a computer screen and then at night my most meaningful relationships are with the two-dimensional characters who aren't in fact two-dimensional characters . . . Gee, I wonder why I'm lonely and doing a lot of drugs? Could there be any connection between the fact that I've got nothing to do with other people, that I don't really have a fucking clue what it is to have a real life, and the fact that most of my existence is mediated by entertainment that I passively choose to receive?”

ConnectionModern LifePassivityDfw
Book:David Foster Wallace: The Last Interview and Other Conversations
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