"The truth will set you free. But not until it is finished with you."
— David Foster Wallace

"If you are bored and disgusted by politics and don't bother to vote, you are in effect voting for the entrenched Establishments of the two major parties, who please rest assured are not dumb, and who are keenly aware that it is in their interests to keep you disgusted and bored and cynical and to give you every possible reason to stay at home doing one-hitters and watching MTV on primary day. By all means stay home if you want, but don't bullshit yourself that you're not voting. In reality, there is no such thing as not voting: you either vote by voting, or you vote by staying home and tacitly doubling the value of some Diehard's vote."
— David Foster Wallace (Up, Simbal!: 7 Days on the Trail of an Anticandidate)

""I read," I say. "I study and read. I bet I've read everything you read. Don't think I haven't. I consume libraries. I wear out spines and ROM-drives. I do things like get in a taxi and say, "The library, and step on it." My instincts concerning syntax and mechanics are better than your own, I can tell, with all due respect. But it transcends the mechanics. I'm not a machine. I feel and believe. I have opinions. Some of them are interesting. I could, if you'd let me, talk and talk."
— David Foster Wallace

"The really important kind of freedom involves attention, and awareness, and discipline, and effort, and being able truly to care about other people and to sacrifice for them, over and over, in myriad petty little unsexy ways, every day."
— David Foster Wallace (This Is Water: Some Thoughts, Delivered on a Significant Occasion, about Living a Compassionate Life)

"Fiction is one of the few experiences where loneliness can be both confronted and relieved. Drugs, movies where stuff blows up, loud parties -- all these chase away loneliness by making me forget my name's Dave and I live in a one-by-one box of bone no other party can penetrate or know. Fiction, poetry, music, really deep serious sex, and, in various ways, religion -- these are the places (for me) where loneliness is countenanced, stared down, transfigured, treated."
— David Foster Wallace

"Because here's something else that's weird but true: in the day-to day trenches of adult life, there is actually no such thing as atheism. There is no such thing as not worshipping. Everybody worships. The only choice we get is what to worship. And the compelling reason for maybe choosing some sort of god or spiritual-type thing to worship -- be it JC or Allah, bet it YHWH or the Wiccan Mother Goddess, or the Four Noble Truths, or some inviolable set of ethical principles -- is that pretty much anything else you worship will eat you alive. If you worship money and things, if they are where you tap real meaning in life, then you will never have enough, never feel you have enough. It's the truth. Worship your body and beauty and sexual allure and you will always feel ugly. And when time and age start showing, you will die a million deaths before they finally grieve you. On one level, we all know this stuff already. It's been codified as myths, proverbs, clichés, epigrams, parables; the skeleton of every great story. The whole trick is keeping the truth up front in daily consciousness."
— David Foster Wallace

"Both destiny's kisses and its dope-slaps illustrate an individual person's basic personal powerlessness over the really meaningful events in his life: i.e. almost nothing important that ever happens to you happens because you engineer it. Destiny has no beeper; destiny always leans trenchcoated out of an alley with some sort of Psst that you usually can't even hear because you're in such a rush to or from something important you've tried to engineer."
— David Foster Wallace

"There are these two young fish swimming along and they happen to meet an older fish swimming the other way, who nods at them and says "Morning, boys. How's the water?" And the two young fish swim on for a bit, and then eventually one of them looks over at the other and goes "What the hell is water?""
— David Foster Wallace

"I have filled 3 Mead notebooks trying to figure out whether it was Them or Just Me."
— David Foster Wallace (A Supposedly Fun Thing I'll Never Do Again: Essays and Arguments)

""Te Occidere Possunt Sed Te Edere Non Possunt Nefas Est" ("They can kill you, but the legalities of eating you are quite a bit dicier")."
— David Foster Wallace (Infinite Jest: A Novel)

""Whatever you get paid attention for is never what you think is most important about yourself.""
— David Foster Wallace

"Literary fiction and poetry are real marginalized right now. There's a fallacy that some of my friends sometimes fall into, the ol' "The audience is stupid. The audience only wants to go this deep. Poor us, we're marginalized because of TV, the great hypnotic blah, blah." You can sit around and have these pity parties for yourself. Of course this is bullshit. If an art form is marginalized it's because it's not speaking to people. One possible reason is that the people it's speaking to have become too stupid to appreciate it. That seems a little easy to me."
— David Foster Wallace

"If what's always distinguished bad writing--flat characters, a narrative world that's clichéd and not recognizably human, etc.--is also a description of today's world, then bad writing becomes an ingenious mimesis of a bad world. If readers simply believe the world is stupid and shallow and mean, then [Bret] Ellis can write a mean shallow stupid novel that becomes a mordant deadpan commentary on the badness of everything. Look man, we'd probably most of us agree that these are dark times, and stupid ones, but do we need fiction that does nothing but dramatize how dark and stupid everything is? In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this world and to illuminate the possibilities for being alive and human in it.

Postmodern irony and cynicism's become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what's wrong, because they'll look sentimental and naive to all the weary ironists. Irony's gone from liberating to enslaving. There's some great essay somewhere that has a line about irony being the song of the prisoner who's come to love his cage… The postmodern founders' patricidal work was great, but patricide produces orphans, and no amount of revelry can make up for the fact that writers my age have been literary orphans throughout our formative years.

We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it’s stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naïveté. Sentiment equals naïveté on this continent.

You burn with hunger for food that does not exist.

A U. S. of modern A. where the State is not a team or a code, but a sort of sloppy intersection of desires and fears, where the only public consensus a boy must surrender to is the acknowledged primacy of straight-line pursuing this flat and short-sighted idea of personal happiness."
— David Foster Wallace

"...in real life I always seem to have a hard time winding up a conversation or asking somebody to leave, and sometimes the moment becomes so delicate and fraught with social complexity that I'll get overwhelmed trying to sort out all the different possible ways of saying it and all the different implications of each option and will just sort of blank out and do it totally straight -- 'I want to terminate the conversation and not have you be in my apartment anymore' -- which evidently makes me look either as if I'm very rude and abrupt or as if I'm semi-autistic and have no sense of how to wind up a conversation gracefully...I've actually lost friends this way."
— David Foster Wallace (Consider the Lobster: And Other Essays)

""Mario, what do you get when you cross an insomniac, an unwilling agnostic and a dyslexic?"

"I give."

"You get someone who stays up all night torturing himself mentally over the question of whether or not there's a dog.""
— David Foster Wallace (Infinite Jest: A Novel)

"The next real literary “rebels” in this country might well emerge as some weird bunch of anti-rebels, born oglers who dare somehow to back away from ironic watching, who have the childish gall actually to endorse and instantiate single-entendre principles. Who treat of plain old untrendy human troubles and emotions in U.S. life with reverence and conviction. Who eschew self-consciousness and hip fatigue. These anti-rebels would be outdated, of course, before they even started. Dead on the page. Too sincere. Clearly repressed. Backward, quaint, naive, anachronistic. Maybe that’ll be the point. Maybe that’s why they’ll be the next real rebels. Real rebels, as far as I can see, risk disapproval. The old postmodern insurgents risked the gasp and squeal: shock, disgust, outrage, censorship, accusations of socialism, anarchism, nihilism. Today’s risks are different. The new rebels might be artists willing to risk the yawn, the rolled eyes, the cool smile, the nudged ribs, the parody of gifted ironists, the “Oh how banal.” To risk accusations of sentimentality, melodrama. Of overcredulity. Of softness. Of willingness to be suckered by a world of lurkers and starers who fear gaze and ridicule above imprisonment without law. Who knows. "
— David Foster Wallace ("E Unibus Pluram: Television and U.S. Fiction")

"There's a kind of Ah-ha! Somebody at least for a moment feels about something or sees something the way that I do. It doesn't happen all the time. It's these brief flashes or flames, but I get that sometimes. I feel unalone -- intellectually, emotionally, spiritually. I feel human and unalone and that I'm in a deep, significant conversation with another consciousness in fiction and poetry in a way that I don't with other art. "
— David Foster Wallace

""In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this world and to illuminate the possibilities for being alive and human in it."
"
— David Foster Wallace

"There are no choices without personal freedom, Buckeroo. It's not us who are dead inside. These things you find so weak and contemptible in us---these are just the hazards of being free."
— David Foster Wallace (Infinite Jest: A Novel)

"I had kind of a midlife crisis at twenty which probably doesn’t augur well for my longevity"
— David Foster Wallace

"You have decided being scared is caused mostly by thinking. "
— David Foster Wallace

"“Fiction’s about what it is to be a fucking human being." "
— David Foster Wallace

"An ad that pretends to be art is -- at absolute best -- like somebody who smiles warmly at you only because he wants something from you. This is dishonest, but what's sinister is the cumulative effect that such dishonesty has on us: since it offers a perfect facsimile or simulacrum of goodwill without goodwill's real spirit, it messes with our heads and eventually starts upping our defenses even in cases of genuine smiles and real art and true goodwill. It makes us feel confused and lonely and impotent and angry and scared. It causes despair."
— David Foster Wallace

"What goes on inside is just too fast and huge and all interconnected for words to do more than barely sketch the outlines of at most one tiny little part of it at any given instant."
— David Foster Wallace (Oblivion: Stories)

"Are we not all of us fanatics? I say only what you of the U.S.A. pretend you do not know. Attachments are of great seriousness. Choose your attachments carefully. Choose your temple of fanaticism with great care. What you wish to sing of as tragic love is an attachment not carefully chosen. Die for one person? This is a craziness. Persons change, leave, die, become ill. They leave, lie, go mad, have sickness, betray you, die. Your nation outlives you. A cause outlives you."
— David Foster Wallace (Infinite Jest: A Novel)

"Try to let learn to let what is unfair teach you."
— David Foster Wallace (Infinite Jest: A Novel)

"All I'm saying is that it's shortsighted to blame TV. It's simply another symptom. TV didn't invent our aesthetic childishness here any more than the Manhattan Project invented aggression."
— David Foster Wallace

""So which is the lie? Hard or soft? Silence or time?""
— David Foster Wallace

"The interesting thing is why we're so desperate for this anesthetic against loneliness."
— David Foster Wallace

"Te occidere possunt sed te edere possunt nefas est."
— David Foster Wallace (Infinite Jest: A Novel)

"Most really pretty girls have pretty ugly feet, and so does Mindy Metalman, Lenore notices, all of a sudden."
— David Foster Wallace (The Broom of the System)

"I do things like get in a taxi and say, "The library, and step on it.""
— David Foster Wallace

"And Lo, for the Earth was empty of Form, and void. And Darkness was all over the Face of the Deep. And We said: 'Look at that fucker Dance.'"
— David Foster Wallace (Infinite Jest: A Novel)

"The really important kind of freedom involves attention, and awareness, and discipline, and effort, and being able truly to care about other people and to sacrifice for them, over and over, in a myriad of petty little unsexy ways, every day."
— David Foster Wallace (This Is Water: Some Thoughts, Delivered on a Significant Occasion, about Living a Compassionate Life)

"“How come she never got sad?”
“She did get sad, Booboo. She got sad in her way instead of yours and
mine. She got sad, I’m pretty sure.”
“Hal?”
“You remember how the staff lowered the flag to half-mast out front by
the portcullis here after it happened? Do you remember that? And it
goes to half-mast every year at Convocation? Remember the flag, Boo?”
“Hey Hal?”
“Don’t cry, Booboo. Remember the flag only halfway up the pole?
Booboo, there are two ways to lower a flag to half-mast. Are you
listening? Because no shit I really have to sleep here in a second. So
listen - one way to lower the flag to half mast is just to lower the
flag. There’s another way though. You can also just raise the pole.
You can raise the pole to like twice its original height. You get me?
You understand what I mean, Mario?”
“Hal?”
“She’s plenty sad, I bet.”"
— David Foster Wallace (Infinite Jest: A Novel)

"A nurse’s aid threw the contents of a patient’s water glass out a window, the mass of water hitting the ground dislodging a pebble which rolled across the angled pavement and fell with a click on a stone culvert in the ditch below, startling a squirrel having at some sort of nut right there on the concrete pipe, causing the squirrel to run up the nearest tree, in doing which it disturbed a slender brittle branch and surprised a few nervous morning birds, of of which, preparatory to flight released a black-and-white glob of droppings, which glob fell neatly on the windshield of the tiny car of one Lenore Beadsman, just as she pulled into a parking space. Lenore got out of the car while birds flew away, making sounds."
— David Foster Wallace (The Broom of the System)

"I am concentarting docilely on the question why U.S. restrooms always appear to us as infirmaries for public distress, the place to reagain control."
— David Foster Wallace (Infinite Jest: A Novel)

"The integrity of my sleep has been forever compromised, sir."
— David Foster Wallace

"Dr. Ambrose himself told Mark Nechtr...that the problem with young people, starting sometime in about the 1960s, is that they tend to live too intensely inside their own social moment, and thus tend to see all existence past age thirty or so as somehow postcoital. It's then that they'll relax, settle back, sad animals, to watch- and learn, as Ambrose himself said he learned from hard artistic and academic experience- that life instead of being rated a hard R, or even a soft R, actually rarely even makes it into distribution. Tends to be too slow.
"
— David Foster Wallace (La niña del pelo raro)

"It did what all ads are supposed to do: create an anxiety relievable by purchase."
— David Foster Wallace (Infinite Jest: A Novel)

"Acceptance is usally more a matter of fatigue than anything else."
— David Foster Wallace

"What the really great artists do is they're entirely themselves. They're entirely themselves, they've got their own viston, they have their own way of fracturing reality, and if it's authentic and true, you will feel it in your nerve endings."
— David Foster Wallace

"In ways that certain of us are uncomfortable about, SNOOTs’ attitudes about contemporary usage resemble religious/political conservatives’ attitudes about contemporary culture. We combine a missionary zeal and a near-neural faith in our beliefs’ importance with a curmudgeonly hell-in-a-handbasket despair at the way English is routinely manhandled and corrupted by supposedly educated people. The Evil is all around us: boners and clunkers and solecistic howlers and bursts of voguish linguistic methane that make any SNOOT’s cheek twitch and forehead darken. A fellow SNOOT I know likes to say that listening to most people’s English feels like watching somebody use a Stradivarius to pound nails: We are the Few, the Proud, the Appalled at Everyone Else."
— David Foster Wallace (Consider the Lobster: And Other Essays)

"I'd tell you all you want and more, if the sounds I made could be what you hear"
— David Foster Wallace

""Hal Incandenza has an almost obsessive dislike for deLint, whom he tells Mario he sometimes cannot quite believe is even real, and tries to get to the side of, to see whether deLint has a true z coordinate or is just a cutout or projection." "
— David Foster Wallace (Infinite Jest: A Novel)

"But when you talk about Nabokov and Coover, you’re talking about real geniuses, the writers who weathered real shock and invented this stuff in contemporary fiction. But after the pioneers always come the crank turners, the little gray people who take the machines others have built and just turn the crank, and little pellets of metafiction come out the other end. The crank-turners capitalize for a while on sheer fashion, and they get their plaudits and grants and buy their IRAs and retire to the Hamptons well out of range of the eventual blast radius. There are some interesting parallels between postmodern crank-turners and what’s happened since post-structural theory took off here in the U.S., why there’s such a big backlash against post-structuralism going on now. It’s the crank-turners fault. I think the crank-turners replaced the critic as the real angel of death as far as literary movements are concerned, now. You get some bona fide artists who come along and really divide by zero and weather some serious shit-storms of shock and ridicule in order to promulgate some really important ideas. Once they triumph, though, and their ideas become legitimate and accepted, the crank-turners and wannabes come running to the machine, and out pour the gray pellets and now the whole thing’s become a hollow form, just another institution of fashion. Take a look at some of the critical-theory Ph.D. dissertations being written now. They’re like de Man and Foucault in the mouth of a dull child. Academia and commercial culture have somehow become these gigantic mechanisms of commodification that drain the weight and color out of even the most radical new advances. It’s a surreal inversion of the death-by-neglect that used to kill off prescient art. Now prescient art suffers death-by acceptance. We love things to death, now. Then we retire to the Hamptons."
— David Foster Wallace

"...the so-called real world will not discourage you from operating on your default settings, because the so-called real world of men and money and power hums along quite nicely on the fuel of fear and contempt and frustration and craving and the worship of self. Our own present culture has harnessed these forces in ways that have yielded extraordinary wealth and comfort and personal freedom. The freedom all to be lords of our own tiny skull-size kingdoms, alone at the center of all creation. This kind of freedom has much to recommend it. But of course there are all different kinds of freedom, and the kind that is most precious you will not hear talked about much in the great outside world of winning and achieving and displaying. The really important kind of freedom involves attention, and awareness, and discipline, and effort, and being able truly to care about other people and to sacrifice for them, over and over, in myriad petty little unsexy ways, every day. That is real freedom. That is being taught how to think. The alternative is unconscious, the default setting, the rat race -- the constant, gnawing sense of having had and lost some infinite thing.

--Kenyon Commencement Speech"
— David Foster Wallace

"But of course there are all different kinds of freedom, and the kind that is most precious you will not hear much talked about in the great outside world of winning and achieving and displaying. The really important kind of freedom involves attention, and awareness, and discipline, and effort, and being able truly to care about other people and to sacrifice for them, over and over, in myriad petty little unsexy ways, every day. That is real freedom. The alternative is unconsciousness, the default-setting, the "rat race" -- the constant gnawing sense of having had and lost some infinite thing."
— David Foster Wallace (This Is Water: Some Thoughts, Delivered on a Significant Occasion, about Living a Compassionate Life)

"This is apparently a little promotional ¶ where we’re supposed to explain “how and why we came to” the subject of our GD series book (the stuff in quotations is the editor’s words). The overall idea is to humanize the series and make the books and their subjects seem warmer and more accessible. So that people will be more apt to buy the books. I’m pretty sure this is how it works. The obvious objection to such promotional ¶s is that, if the books are any good at all, then the writers’ interest and investment in their subjects will be so resoundingly obvious in the texts themselves that these little pseudo-intimate Why I Cared Enough About Transfinite Math and Where It Came From to Spend a Year Writing a Book About It blurblets are unnecessary; whereas, if the books aren’t any good, it’s hard to see how my telling somebody that as a child I used to cook up what amounted to simplistic versions of Zeno’s Dichotomy and ruminate on them until I literally made myself sick, or that I once almost flunked a basic calc course and have seethed with dislike for conventional higher-math education ever since, or that the ontology and grammar of abstractions have always struck me as one of the most breathtaking problems in human consciousness—how any such stuff will help. The logic of this objection seems airtight to me. In fact, the only way the objection doesn’t apply is if these ¶s are really nothing more than disguised ad copy, in which case I don’t see why anyone reading them should even necessarily believe that the books’ authors actually wrote them—I mean, maybe somebody in the ad-copy department wrote them and all we did was sort of sign off on them. There’d be a kind of twisted integrity about that, though—at least no one would be pretending to pretend."
— David Foster Wallace

"...morning is the soul's night."
— David Foster Wallace (Infinite Jest: A Novel)