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David Foster Wallace

"This might be one way to start talking about differences between the early postmodern writers of the fifties and sixties and their contemporary descendants."

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"This might be one way to start talking about differences between the early postmodern writers of the fifties and sixties and their contemporary descendants."

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Brennan Manning

"I am told that I talk in shorthand and then smudge it."

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Brennan Manning

"We need to be around our families not because we have so many shared experiences to talk about, but instead because they know precisely which subjects to avoid."

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Brennan Manning

"We would rather speak ill of ourselves than not talk about ourselves at all."

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Brennan Manning

"We must not always talk in the market-place of what happens to us in the forest."

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Brennan Manning

"I wondered if I would talk about drug use. But I guess, why hide it?"

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Brennan Manning

"The only thing I can talk about is just forgiving yourself, because I do not have everything together. And so I tell people: No, you should see my house, it's a mess."

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Brennan Manning

"I don't sit well. I like to move around as I talk."

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Brennan Manning

"If you want to talk to me, you'll have to put out that cigarette."

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Brennan Manning

"Well, usually when you talk about a mandate, you're talking about an overwhelming win. I don't think by any measurement the 2004 election was an overwhelming win."

Explore more quotes by David Foster Wallace

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David Foster Wallace
"I think TV promulgates the idea that good art is just art which makes people like and depend on the vehicle that brings them the art."
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David Foster Wallace
"I mean, Tarantino is such a SHMUCK 90 percent of the time. But ten percent of the time, I've seen genius shining off the guy."
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David Foster Wallace
"Of course, the fact that Dostoevsky can tell a juicy story isn't enough to make him great. If it were, Judith Krantz and John Grisham would be great fiction writers, and by any but the most commercial standards they're not even very good."
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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."
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David Foster Wallace
"There's a grosser irony about Politically Correct English. This is that PCE purports to be the dialect of progressive reform but is in fact - in its Orwellian substitution of the euphemisms of social equality for social equality itself - of vastly more help to conservatives and the US status quo than traditional SNOOT prescriptions ever were."
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David Foster Wallace
"For me, art that's alive and urgent is about what it is to be a human being."
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David Foster Wallace
"There is no such thing as not worshipping. Everybody worships. The only choice we get is what to worship. And an outstanding reason for choosing some sort of God or spiritual-type thing to worship--be it J.C. or Allah, be it Yahweh or the Wiccan mother-goddess or the Four Noble Truths or some infrangible set of ethical principles--is that pretty much anything else you worship will eat you alive."
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David Foster Wallace
"I guess a bit part of serious fiction's purpose is to give the reader, who like all of us is sort of marooned in her own skull, to give her imaginative access to other selves."
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David Foster Wallace
"What teachers and the administration in that era never seemed to see was that the mental work of what they called daydreaming often required more effort and concentration than it would have taken simply to listen in class. Laziness is not the issue. It is just not the work dictated by the administration."
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David Foster Wallace
"In school I ended up writing three different papers on "The Castaway" section of Moby-Dick, the chapter where the cabin boy Pip falls overboard and is driven mad by the empty immensity of what he finds himself floating in. And when I teach school now I always teach Crane's horrific "The Open Boat," and get all bent out of shape when the kids find the story dull or jaunty-adventurish: I want them to feel the same marrow-level dread of the oceanic I've always felt, the intuition of the sea as primordial nada, bottomless, depths inhabited by cackling tooth-studded things rising toward you at the rate a feather falls."
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