A Quote by David Foster Wallace

Fiction is one of the few experiences where loneliness can be both confronted and relieved. — © David Foster Wallace
Fiction is one of the few experiences where loneliness can be both confronted and relieved.
Fiction is one of the few experiences where loneliness can be both confronted and relieved. Drugs, movies where stuff blows up, loud parties - all these chase away loneliness by making me forget my name's Dave and I live in a one-by-one box of bone no other party can penetrate or know. Fiction, poetry, music, really deep serious sex, and, in various ways, religion - these are the places (for me) where loneliness is countenanced, stared down, transfigured, treated.
I started keeping a diary in third grade and, in solidarity with Anne Frank, gave it a name and made it my confidante. To this day, I feel comforted and relieved of loneliness, no matter how foreign my surroundings, if I have a pad and a pen with which to record my experiences.
Almost no one refuses the police when confronted on the street or in a train or plane or train station. When you're confronted by the police, very few - either the foolish or the very brave - will refuse consent when confronted by the police.
A lonely, quiet person has observations and experiences that are at once both more indistinct and more penetrating than those of one more gregarious; his thoughts are weightier, stranger, and never without a tinge of sadness. . . . Loneliness fosters that which is original, daringly and bewilderingly beautiful, poetic. But loneliness also fosters that which is perverse, incongruous, absurd, forbidden.
The General Public is a statistical fiction created by a few exceptional men to make the loneliness of being exceptional a little easier to bear.
I relieved my loneliness with movies and books, and I had a strong desire to express what I felt through acting.
Telling ourselves that fiction is in a sense true and at the same time not true is essential to the art of fiction. It's been at the heart of fiction from the start. Fiction offers both truth, and we know it's a flat-out lie. Sometimes it drives a novelist mad. Sometimes it energizes us.
I'm aware of narrating certain experiences as they happen or obliterating those experiences with narrative and then those stories - not the experiences themselves - might become material for art. This kind of transformation shows up a lot in 10:04 because the book tracks the transposition of fact into fiction in the New Yorker stor
The purpose of fiction is to combat loneliness.
A man who experiences no genuine satisfaction in life does not want peace. Men court war to escape meaninglessness and boredom, to be relieved of fear and frustration.
The menopause is probably the least glamorous topic imaginable; and this is interesting, because it is one of the very few topics to which cling some shreds and remnants of taboo. A serious mention of menopause is usually met with uneasy silence; a sneering reference to it is usually met with relieved sniggers. Both the silence and the sniggering are pretty sure indications of taboo.
How is it that a person could be so relieved and so disappointed, both at the same time.
If the memoirist is borrowing narrative techniques from fiction, shouldn't the novelist borrow a few tricks from successful non-fiction?
I write both fiction and nonfiction. I begin my fiction with the main character. The story comes later.
I read both in French and English and often a couple of books at once, mixing fiction and non-fiction.
I read very widely, both non-fiction and fiction, so I don't think there's a single writer who influences me.
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