In David Lipsky's view, David Foster Wallace was the best young writer in America. Wallace's pieces for Harper's magazine in the '90s were, according to Lipsky, like hearing for the first time the brain voice of everybody I knew: Here was how we all talked, experienced, thought. It was like smelling the damp in the air, seeing the first flash from a storm a mile away. You knew something gigantic was coming.
Then Rolling Stone sent Lipsky to join Wallace on the last leg of his book tour for Infinite Jest, the novel that made him internationally famous. They lose to each other at chess. They get iced-in at an airport. They dash to Chicago to catch a make-up flight. They endure a terrible reader's escort in Minneapolis. Wallace does a reading, a signing, an NPR appearance. Wallace gives in and imbibes titanic amounts of hotel television (what he calls an orgy of spectation). They fly back to Illinois, drive home, walk Wallace's dogs.
Amid these everyday events, Wallace tells Lipsky remarkable things: everything he can about his life, how he feels, what he thinks, what terrifies and fascinates and confounds him, in the writing voice Lipsky had come to love. Lipsky took notes, stopped envying him, and came to feel about him that grateful, awake feeling the same way he felt about Infinite Jest. Then Lipsky heads to the airport, and Wallace goes to a dance at a Baptist church.
A biography in five days, Although of Course You End Up Becoming Yourself is David Foster Wallace as few experienced this great American writer.
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By Darwin8u on 27-08-12
Leapin' Over That Wall of Self
At first, I thought Lipsky was kind of operating in that opportunist zone (and I'm sure there is a little of that, b/c journalism never can claim to be opportunisticly free). Lipsky had, packed away, tapes and tapes of unused RS interviews with DFW. DFW has just killed himself, wow, a perfect time to rush it to press. The more I read and listened, however, the more I realized in many ways I preferred the rough, transcription-like, quality of the book AND that it wasn't as simple as it first appeared.
The dialogue between Lipsky and Wallace provided an interesting, unfiltered look into Wallace's method and a peek into his head (even though ultimately, I think Wallace was guarding that sanctum sanctorum pretty well). Wallace, during the road-trip interview, once remarked that writing was an intimate connection of the writer's brain voice with the reader's brain voice. Later, he expanded this theme when talking about how there are things that really good fiction can do that other forms of art can't do as well --
"And the big thing, the big thing seems to be, sort of leapin' over that wall of self, and portraying inner experience. And setting up, I think, a kind of intimate coversation between two consciences. And the trick is gonna be finding a way to do it at a time, and for a generation, whose relation to long sustained linear verbal communication is fundamentally different."
So, in that way, Lipsky's piece, while appearing at first to provide just a simple throw-up of all those unused RS interview notes and tapes, actually provides an avenue to see DFW's intimate 'brain voice' conversation. While at one level Lipsky has given us an interesting conversation between the author and DFW, it ultimately seemed to be a conversation DFW is having with himself (Lipsky here seems like a pretty good looking-glass for David Foster Wallace).
20 of 20 people found this review helpful
By Sarah on 26-11-12
The structure and methods of this book were really novel and interesting--like one reviewer said, a four-part piece for typewriter or a Tom Stoppard play in two voices. I enjoyed Lipsky's account of a 5-day road trip with DFW, but the flirtation and flattery and mutual masturbation got a bit tiresome. Maybe I tired of the one-upmanship and competitiveness evident in the interview because I'm female and just don't function this way in conversation, even conversaton with a brilliant and talented person (not that I've had that many of those). I thought the two narrators' voices were excellent and helped to flesh out the give and take and the involuted recursiveness of DFW's thinking. He was very guarded about his biographical details (DT Max's recent bio contradicts several assertions made by DFW in this interview) and obviously wanted to control the essay Lipsky planned to write for Rolling Stone (the essay was never published). But I was surprised at the seeming need to impress his interviewer and convince him that he was just like him, when in fact DFW is like no one else I've ever read or heard speak. To his credit, Lipsky acknowledges the flirtation and flattery going on, with little editorial asides, and I guess this is just the way intellectual males talk to one another, with both trying to establish the pecking order without openly engaging in feats of strength. I wouldn't have guessed DFW had such a need to please! or be admired. In the end, this is an interesting interview done in a novel way, but is probably only going to appeal to completist fans of DFW's work. The DT Max biography is more informative and less irritating.
7 of 9 people found this review helpful