Quote

I miss everyone. I can remember being young and feeling a thing and identifying it as homesickness, and then thinking well now that’s odd, isn’t it, because I was home, all the time. What on earth are we to make of that?

David Foster Wallace

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David Foster Wallace
Age: 45 †
Born: 1962
Born: February 21
Died: 2008
Died: February 12
Author
Essayist
Novelist
University Teacher
Writer
Ithica
New York
David Wallace
Young
Odd
Home
Miss
Wells
Missing
Well
Feeling
Thing
Everyone
Make
Feelings
Time
Remember
Homesickness
Thinking
Earth
Identifying

More quotes by David Foster Wallace

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You get to consciously decide what has meaning and what doesn't. You get to decide what to worship.
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The job of the first eight pages is not to have the reader want to throw the book at the wall, during the first eight pages.
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I want to tell you,' the voice on the phone said. 'My head is filled with things to say.' ... 'I don't mind,' Hal said softly. 'I could wait forever.' 'That's what you think,' the voice said. The connection was cut.
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You can be shaped, or you can be broken. There is not much in between. Try to learn. Be coachable. Try to learn from everybody, especially those who fail. This is hard. ... How promising you are as a Student of the Game is a function of what you can pay attention to without running away.
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Everybody is identical in their secret unspoken belief that way deep down they are different from everyone else.
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The way I think about things and experience things is not particularly linear, and it's not orderly, and it's not pyramidical, and there are a lot of loops.
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If you're automatically sure that you know what reality is and who and what is really important - if you want to operate on your default-setting - then you, like me, will not consider possibilities that aren't pointless and annoying.
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Rap's conscious response to the poverty and oppression of U.S. blacks is like some hideous parody of sixties black pride.
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Quentin Tarantino is interested in watching somebody's ear getting cut off David Lynch is interested in the ear.
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Fiction is about what it is to be a human being.
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Pleasure becomes a value, a teleological end in itself. It's probably more Western than U.S. per se.
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I cannot say what color Lenore Beadsman’s eyes are I cannot look at them they are the sun to me.
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Say the whole point of love is to try to get your fingers through the holes in the lover's mask. To get some kind of hold on the mask, and who cares how you do it.
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This is so American, man: either make something your God and cosmos and then worship it, or else kill it.
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Most really pretty girls have pretty ugly feet, and so does Mindy Metalman, Lenore notices, all of a sudden.
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Many people in America throw the term fascism around, particularly for Middle-Eastern terrorists, but in fact what fascism really is is a close alliance between a unitary executive and a state and large corporations and a state.
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Our attachments are our temple, what we worship, no? What we give ourselves to, what we invest with faith. . . . Attachments are of great seriousness. Choose your attachments carefully. Choose your temple of fanaticism with great care.
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I'm screaming for help and everybody's acting as if I'm singing Ethel Merman covers.
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The reason ... our pervasive cultural irony is at once so powerful and so unsatisfying is that an ironist is impossible to pin down.
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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.
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