Showing posts with label David Foster Wallace. Show all posts
Showing posts with label David Foster Wallace. Show all posts
Saturday, December 15, 2012
Some thoughts on finishing Fyodor Dostoevsky's Crime and Punishment
1. Story - plot, characters, and action - is paramount.
a. Translated works are the best reminder than novels need more than nifty language to have legs of their own on which to stand.
b. Murder, death, insanity, sex, & scandal are all permissible to write about when done well (and in the right circumstances, are downright encouraged); the very real and raw tension of each should be exploited to their fullest if used.
2. F.D.* was the premier soap opera writer of his time.
3. As far as involuntary facial expressions go, C&P invokes one less experienced when reading modern 'serious' fiction - a sudden widening of the eyes.
a. Today's most frequent involuntary fiction-triggered facial expression is a smug twist of the lips, which I think is a pretty good example of the point David Foster Wallace is trying to make in his essay,"Joseph Frank's Dostoevsky": that the main difference between writers today and writers in D.F.'s era is that today, we as writers seem to lack earnestness, that we resort to casual irony as a self-defense, and that our very hipness and edginess is in fact a response to the fear that perhaps we won't (or fundamentally can't) be taken seriously.
4. Character is best realized as a texture, and less so as a collection or string of ideas. What makes Rodion Romanych Raskolnikov so real is not the assemblage of his personality traits (which are less intentionally-varied and distinct than those of 'exciting' characters in today's fiction), but the texture of his person as created by witnessing R.R.R. through a number of stylistic and situational lenses.
a. The monologues in particular do major work for D.F., giving his characters 3-4 pages (at minimum) to define themselves in a stylistically newish light (1st person), while still driving plot and action, the true bread & butter of D.F.'s work.
5. Upon completion, the only phrase that comes to mind to describe C&P is as follows: "That book be ill as fuck."
*In writing these notes in my journal, it became apparent that though I enjoy speaking (butchering?) Russian names aloud, I can't spell them worth a damn.
Tuesday, June 26, 2012
I Dream of Eidetic Envy
What does it mean to be a writer reading David Foster Wallace? It means you spend an inordinate amount of time in your dictionary, for one. It means that you not only look words up, but that you write them down and - if they're less than six syllables and not an obscure medical term - you consider using them in your own work. It means you begin again to trust in compound (and in extreme cases, run-on) sentences again.
It means that you truly begin to glean what they mean by 'detail,' not as a string of descriptors or an infinite list of character qualities or every scene captured down to the split second; but as small receipts of proof that the content on the page wasn't imagined as much as lived.
It means that you need to be a better writer, and it means that in the best possible way.
It means that you truly begin to glean what they mean by 'detail,' not as a string of descriptors or an infinite list of character qualities or every scene captured down to the split second; but as small receipts of proof that the content on the page wasn't imagined as much as lived.
It means that you need to be a better writer, and it means that in the best possible way.
Labels:
David Foster Wallace,
Dictionary,
logophilia,
Writing
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