Presents David Foster Wallace critiques philosopher Richard Taylor's work implying that humans have no control over the future and includes essays linking Wallace's critique with his later works of fiction.

This book breaks new ground by showing that the work of David Foster Wallace originates from and functions in the space between philosophy and literature. Philosophy is not a mere supplement to or decoration of his writing, nor does he use literature to illustrate pre-established philosophical truths. Rather, for Wallace, philosophy and literature are intertwined ways of experiencing and expressing the world that emerge from and amplify each other. The book does not advance a fixed or homogenous interpretation of Wallace’s oeuvre but instead offers an investigative approach that allows for a variety of readings. The volume features fourteen new essays by prominent and promising Wallace scholars, divided into three parts: one on general aspects of Wallace’s oeuvre – such as his aesthetics, form, and engagement with performance – and two parts with thematic focuses, namely ‘Consciousness, Self, and Others’ and ‘Embodiment, Gender, and Sexuality’.

Asked in 2006 about the philosophical nature of his fiction, the late American writer David Foster Wallace replied, "If some people read my fiction and see it as fundamentally about philosophical ideas, what it probably means is that these are pieces where the characters are not as alive and interesting as I meant them to be." Gesturing Toward Reality looks into this quality of Wallace's work?when the writer dons the philosopher's cap?and sees something else. With essays offering a careful perusal of Wallace's extensive and heavily annotated self-help library, re-considerations of Wittgenstein's influence on his fiction, and serious explorations into the moral and spiritual landscape where Wallace lived and wrote, this collection offers a perspective on Wallace that even he was not always ready to see. Since so much has been said in specifically literary circles about Wallace's philosophical acumen, it seems natural to have those with an interest in both philosophy and Wallace's writing address how these two areas come together.

In David Foster Wallace: Fiction and Form, David Hering analyses the structures of David Foster Wallace's fiction, from his debut The Broom of the System to his final unfinished novel The Pale King. Incorporating extensive analysis of Wallace's drafts, notes and letters, and taking account of the rapidly expanding field of Wallace scholarship, this book argues that the form of Wallace's fiction is always inextricably bound up within an ongoing conflict between the monologic and the dialogic, one strongly connected with Wallace's sense of his own authorial presence and identity in the work. Hering suggests that this conflict occurs at the level of both subject and composition, analysing the importance of a number of provocative structural and critical contexts – ghostliness, institutionality, reflection – to the fiction while describing how this argument is also visible within the development of Wallace's manuscripts, comparing early drafts with published material to offer a career-long framework of the construction of Wallace's fiction. The final chapter offers an unprecedentedly detailed analysis of the troubled, decade-long construction of the work that became The Pale King.

The acclaimed New York Times–bestselling biography and “emotionally detailed portrait of the artist as a young man” (Michiko Kakutani, The New York Times) In the first biography of the iconic David Foster Wallace, D.T. Max paints the portrait of a man, self-conscious, obsessive and struggling to find meaning. If Wallace was right when he declared he was “frightfully and thoroughly conventional,” it is only because over the course of his short life and stunning career, he wrestled intimately and relentlessly with the fundamental anxiety of being human. In his characteristic lucid and quick-witted style, Max untangles Wallace’s anxious sense of self, his volatile and sometimes abusive connection with women, and above all, his fraught relationship with fiction as he emerges with his masterpiece Infinite Jest. Written with the cooperation of Wallace’s family and friends and with access to hundreds of unpublished letters, manuscripts and journals, this captivating biography unveils the life of the profoundly complicated man who gave voice to what we thought we could not say.

The book Fate, Time, and Language: An Essay on Free Will, published in 2010 by Columbia University Press, presented David Foster Wallace's challenge to Richard Taylor's argument for fatalism. In this anthology, notable philosophers engage directly with that work and assess Wallace's reply to Taylor as well as other aspects of Wallace's thought. With an introduction by Steven M. Cahn and Maureen Eckert, this collection includes essays by William Hasker (Huntington University), Gila Sher (University of California, San Diego), Marcello Oreste Fiocco (University of California, Irvine), Daniel R. Kelly (Purdue University), Nathan Ballantyne (Fordham University), Justin Tosi (University of Arizona), and Maureen Eckert. These thinkers explore Wallace's philosophical and literary work, illustrating remarkable ways in which his philosophical views influenced and were influenced by themes developed in his other writings, both fictional and nonfictional. Together with Fate, Time, and Language, this critical set unlocks key components of Wallace's work and its traces in modern literature and thought.

Part of the Penguin Orange Collection, a limited-run series of twelve influential and beloved American classics in a bold series design offering a modern take on the iconic Penguin paperback Winner of the 2016 AIGA + Design Observer 50 Books | 50 Covers competition For the seventieth anniversary of Penguin Classics, the Penguin Orange Collection celebrates the heritage of Penguin’s iconic book design with twelve influential American literary classics representing the breadth and diversity of the Penguin Classics library. These collectible editions are dressed in the iconic orange and white tri-band cover design, first created in 1935, while french flaps, high-quality paper, and striking cover illustrations provide the cutting-edge design treatment that is the signature of Penguin Classics Deluxe Editions today. The Broom of the System The “dazzling, exhilarating” (San Francisco Chronicle) debut novel from one of the most groundbreaking writers of his generation, The Broom of the System is an outlandishly funny and fiercely intelligent exploration of the paradoxes of language, storytelling, and reality.

Since its publication in 2003, Understanding David Foster Wallace has served as an accessible introduction to the rich array of themes and formal innovations that have made Wallace's fiction so popular and influential. A seminal text in the burgeoning field of David Foster Wallace studies, the original edition of Understanding David Foster Wallace was nevertheless incomplete as it addressed only his first four works of fiction—namely the novels The Broom of the System and Infinite Jest and the story collections Girl with Curious Hair and Brief Interviews with Hideous Men. This revised edition adds two new chapters covering his final story collection, Oblivion, and his posthumous novel, The Pale King. Tracing Wallace's relationship to modernism and postmodernism, this volume provides close readings of all his major works of fiction. Although critics sometimes label Wallace a postmodern writer, Boswell argues that he should be regarded as the nervous leader of some still-unnamed (and perhaps unnamable) third wave of modernism. In charting a new direction for literary practice, Wallace does not seek to overturn postmodernism, nor does he call for a return to modernism. Rather his work moves resolutely forward while hoisting the baggage of modernism and postmodernism heavily, but respectfully, on its back. Like the books that serve as its primary subject, Boswell's study directly confronts such arcane issues as postmodernism, information theory, semiotics, the philosophy of Ludwig Wittgenstein, and poststructuralism, yet it does so in a way that is comprehensible to a wide and general readership—the very same readership that has enthusiastically embraced Wallace's challenging yet entertaining and redemptive fiction.

In the stories that make up Oblivion, David Foster Wallace joins the rawest, most naked humanity with the infinite involutions of self-consciousness -- a combination that is dazzlingly, uniquely his. These are worlds undreamt of by any other mind. Only David Foster Wallace could convey a father's desperate loneliness by way of his son's daydreaming through a teacher's homicidal breakdown (The Soul Is Not a Smithy). Or could explore the deepest and most hilarious aspects of creativity by delineating the office politics surrounding a magazine profile of an artist who produces miniature sculptures in an anatomically inconceivable way (The Suffering Channel). Or capture the ache of love's breakdown in the painfully polite apologies of a man who believes his wife is hallucinating the sound of his snoring (Oblivion). Each of these stories is a complete world, as fully imagined as most entire novels, at once preposterously surreal and painfully immediate.

Two friends, both of them vocational snoots, sat down to film an interview in February 2006. Their subjects: language and writing. The interviewee drove more than an hour, from Claremont to downtown Los Angeles. The interviewer flew from Dallas. They spoke on film for 67 minutes and then walked uphill to a nearby seafood restaurant, where they continued the running conversation they had started five years earlier. They liked each other, and they seemed to understand each other. The rest is history. This is the last long interview with David Foster Wallace.