You will become way less concerned with what other people think of you when you realize how seldom they do.
David Foster WallaceRead
Great short stories and great jokes have a lot in common. Both depend on what communication-theorists sometimes called "exformation," which is a certain quantity of vital information removed from but evoked by a communication in such a way as to cause a kind of explosion of associative connections within the recipient.
Interpretation
Great storytelling and humor rely on the omission of information to elicit deeper connections in the audience.
In this quote, David Foster Wallace highlights the similarities between great short stories and great jokes, emphasizing that both forms of communication utilize 'exformation.' This concept involves strategically leaving out certain pieces of information in order to evoke a more profound response and create a richer tapestry of associations in the minds of the audience, leading to a greater emotional or cognitive impact.
In practice
An author discussing the craft of writing in a workshop.
You will become way less concerned with what other people think of you when you realize how seldom they do.
Everything in my own immediate experience supports my deep belief that I am the absolute center of the universe, the realest, most vivid and important person in existence.
It seems important to find ways of reminding ourselves that most 'familiarity' is meditated and delusive.
Under fun's new administration, writing fiction becomes a way to go deep inside yourself and illuminate precisely the stuff you don't want to see or let anyone else see, and this stuff usually turns out (paradoxically) to be precisely the stuff all writers and readers share and respond to, feel.
Acceptance is usually more a matter of fatigue than anything else.
Bliss - a-second-by-second joy and gratitude at the gift of being alive, conscious - lies on the other side of crushing, crushing boredom. Pay close attention to the most tedious thing you can find (Tax Returns, Televised Golf) and, in waves, a boredom like you’ve never known will wash over you and just about kill you. Ride these out, and it’s like stepping from black and white into color. Like water after days in the desert. Instant bliss in every atom.
I know a tree feels it when the wind blows through it. It probably goes, 'Chhhhhh, this is wonderful.' And that's how I feel when I'm singing some songs. It's wonderful.
In Britten or Berg, there's a tension between the sweet and the sour, between the familiar and the unfamiliar, the tonal and the atonal, the happy and the sad. That, to me, is what all western art is about - that tension. It's why we want to say anything at all.
It is my feeling that a story is not finished until it is read, and that the reader finishes it through his or her life experience, prejudices, worldview and thoughts.
With a genre like film noir, everyone has these assumptions and expectations. And once all of those things are in place, that's when you can really start to twist it about and mess around with it.
Stories are there to be told, and each story changes with the telling. Time changes them. Logic changes them. Grammar changes them. History changes them. Each story is shifted side-ways by each day that unfolds. Nothing ends. The only thing that matters, as Faulkner once put it, is the human heart in conflict with itself. At the heart of all this is the possibility, or desire, to create a piece of art that talks to the human instinct for recovery and joy.
I walk on a stage, and I know if it's been a good show or not. You know when it's been a good interview. No one has to tell you. You know it. You feel it. You can feel the air. You can feel everything about it when it's a good show. And you know when you've messed up.
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