Reporting on a lobster festival, he didn't review the food, the crowds. In stories and essays, Wallace was drawn to a conflict: How can you live well, and how do you do it without damaging other people, embarrassing yourself? This comedy was the difference between the benign airbrush we put to experience, and the messes we actually generate. The comedy was of a brain so big, careful and kind it kept tripping over its own lumps.
The feed before the director in the van starts picking cuts and themes. The style - sharp, loaded with footnotes and asides - was the unedited camera.
He invented a new style and a new comedy. The sensation, for a certain number of pages, of being David Foster Wallace. You didn't slip into the books looking for story, information, but for a particular experience. Writers who can do this, like Salinger and Fitzgerald, forge an unbreakable bond with readers. Wallace offered his alive self cutting through our sleepy aquarium - our standard TV, stores, political campaigns. Some writers specialize in the away-from-home experience - they've safaried, eaten across Italy, covered a war. To read David Foster Wallace was to feel your eyelids pulled open. National David Foster Wallace's 'Federer Moment'
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