A Quote by 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. — © 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.
Feudal Europe is over, but it found its way into film culture. It found its way into postmodern painting culture, and we're all here talking about it today. It still lives. I don't believe in ghosts, but these are contemporary ghosts.
How little those who are schoolgirls of today can realize what it was to be a schoolgirl in the fifties or the early sixties of the last century!
There's going to be biological differences between the genders. There's going to be biological differences between two women or two men. There's biological differences between all of us. My concern is, why are we so concerned about it? Why are we so worried about it? Why, whenever a study comes out about men do this one way and women do this one way, or men's brains and women's brains - why are we so interested in that? You know, what makes us so fascinated by differences between the sexes? And I think more often than not that interest is deeply embedded in sexism.
In the late Fifties and early Sixties, I used to think that most of these fashion creators weren't that great, and if the photograph was good, it was mostly thanks to the photographer.
It might be David Adjaye talking about how the structure of jazz music informs his architecture, it might be the musician Terry Riley talking about how he thinks so much about cinema. I'd love to see more of a rupture between mediums and a flow between them.
I grew up in the Fifties and early Sixties, which were still quite conservative, and I wasn't given any information about sex or anything like that... I went out with girls at school because one had to. I didn't experiment with sex for quite a long time.
I suddenly became aware over the last couple of years that I'm in my sixties. I never thought about it. I thought I'd better start acting my age or find roles that are going to be interesting to me in the sexagenarian repertoire, because it's not what you do in your forties or fifties.
I understand that postmodern literature probably means people like DeLillo, The Fiction Collective, but I don't get it that those writers are really influenced by postmodern theorists.
Well, I actually grew up in the sixties. I feel very lucky, actually, that that was my slice of time that I was dealt. Let's remember that the real motivation in the sixties, and even in the fifties, was the Cold War.
Whatever the press is talking about, they want to keep talking about it. So instead of asking yourself, 'How can I get them to start talking about me?', figure out a way to get yourself involved in what they're already talking about.
As an older person, I do feel an obligation to tell the story about what was really happening in the fifties, sixties, and seventies, as I saw it.
People of my generation who became photographers in the late fifties, early sixties, there were no rewards in photography. There were no museum shows. Maybe MOMA would show something, or Chicago. There were no galleries. Nobody bought photographs.
The great triumph of the Sixties was to dramatize just how arbitrary and constructed the seeming normality of the Fifties had been. We rose up from our maple-wood twin beds and fell onto the great squishy, heated water bed of the Sixties.
What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution. I was in Italy, but completely in love with the nouvelle vague movement, and directors like Godard, Truffaut, Demy. 'The Dreamers' was a total homage to cinema and that love for it.
In the late Fifties and early Sixties, opposition to state terror and aggression and torture and so on was zero. That was a horrible time: the massive Kennedy terror operation against Cuba, the first attacks on Vietnam in 1962, the imposition of national security states in South America.
Before we start talking about genetic differences, you gotta come up with a system where there's equal opportunity.
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