A Quote by Patrick Ness

I like writers who seem to write because they have to. You get the feeling of this burning desire to tell a story. I find it in Peter Carey, Nicola Barker, Ali Smith and David Foster Wallace.
You don't have to write like David Foster Wallace or James Baldwin or Maggie Nelson - indeed, you shouldn't. Those writers are doing it better than you ever could.
While Max appears to greatly admire Wallace as a writer and feel compassion for him as a man, he is never starry-eyed, or pulls his punches. Every Love Story is a Ghost Story is as illuminating, multifaceted, and serious an estimation of David Foster Wallace's life and work as we can hope to find.
Writers such as Richard Powers and the late David Foster Wallace have shown the path to a newer generation of writers for whom all national boundaries are quaint curiosities.
I'm influenced by Jennifer Egan, Dave Eggers, David Foster Wallace: writers who are often not content to just stack paragraphs and have to break out of that.
It's true of so many fiction writers that I much prefer the essayistic work they did, whether it's David Foster Wallace's, or John Cheever's, or Nathaniel Hawthorne's.
Unfortunately, I'm not a history buff. I don't read biographies, except of some of those writers whom I've collected over the years - particularly Samuel Beckett and Henry Miller, people like Charles Bukowski and John Fante and David Foster Wallace.
Work ethic and this determination is all part of escaping the depressive side. Of course I'm manic depressive, maybe not to the degree that Exley was, but I think all writers are. There are highs and lows. Look at David Foster Wallace.
David Foster Wallace, in my opinion, is one of the greatest writers we've ever had, certainly in the last twenty years. His obvious dominance of the English language is partnered with honest moments and the most beautifully dark sensibility.
I love those adult writers with the pranking ethos, [Don] DeLillo and [Donald] Barthelme and David Foster Wallace. I don't see any reason not to bring those kinds of influences to bear on books for children.
And I think that the ultimate way you and I get lucky is if you have some success early in life, you get to find out early it doesn't mean anything. Which means you get to start early the work of figuring out what does mean something -- David Foster Wallace
[Reading Swing Time] made me a feel a little bit like when I used to read David [Foster] Wallace. Like, "I can't play that game. I wish I could, but I can't do it."
David Foster Wallace was a brilliant experimentalist who I deeply admire. His ability to do formalism helped me understand how to tackle stories like "Dictionary" and "Failed Revolution." "Dictionary," in particular, functions against narrative in many ways - each of the definitions are their own mini-story or prose poem, and the collection of them adds up to create a different effect than the traditional Freytagian Pyramid story.
Mr. Franzen said he and Mr. Wallace, over years of letters and conversations about the ethical role of the novelist, had come to the joint conclusion that the purpose of writing fiction was “a way out of loneliness.” (NY Times article on the memorial service of David Foster Wallace.)
I tell aspiring writers that you have to find what you must write. When you find it, you will know, because the subject matter won’t let you go. It’s not enough to write simply because you think it would be neat to be published. You have to be compelled to write. If you’re not, nothing else that you do matters.
That 'writers write' is meant to be self-evident. People like to say it. I find it is hardly ever true. Writers drink. Writers rant. Writers phone. Writers sleep. I have met very few writers who write at all.
I'm ashamed and embarrassed to say that I've read very little of David Foster Wallace's work. It's a huge gap in my education, one of many.
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