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Embeds 0 No embeds. No notes for slide. However, he is obsessed not only with the appearance of things but with their true nature, with objects and relationships as they really are, beneath the veils that hide them. Interestingly enough, his ability simply to describe is superb.
Near fine in wrappers with remainder mark to bottom edge and slight wear to edges. I actually really liked most of the stories here, but the ones I didn't like John Billy, Westward the Course of Empire Takes its Way were invariably the longer ones, so on a page by page basis I found it a bit whatever. It was time to reread it and banish those anxieties. Sign in to Purchase Instantly. Mostly, he dissects society by finding narrative chiffres for media and pop culture, and it's intense and wild and fascinating, but unfortunately, he also displays his most annoying tendencies by overwriting some material in the most show-offy way imaginable. The title story is also great, having me bawl with laughter and annoy the other patrons in the waiting room. So I gave this book a try.
And it is when he allows his observations to speak for themselves, when he does not permit himself to become pedantic by overstating the obvious, that he is at his most effective. When showing rather than telling, Mr. Wallace allows his characters to function in both a symbolic and a living context. When showing rather than telling, he is tender enough and strong enough not to shy away from love - whether he's attempting to define it or better yet simply daring to expose it.
Wallace is such a bold writer that his failures can be almost as interesting as his successes. Unfortunately, he sometimes slides into a kind of showboating, a smug display of sheer knowledge and cleverness. And so the pieces that don't work ''Luckily the Account Representative Knew CPR'' and a ponderous novella, ''Westward the Course of Empire Takes Its Way'' come off as the sort of inside jokes that might play best in a creative writing seminar; they're meaningful and witty, perhaps, to those who are willing to sacrifice substance to stylistic or symbolic experimentation, but tiresome to the rest of us.
And yet, when Mr. Wallace is at his best he is undoubtedly among the very best. The most successful fiction in ''Girl With Curious Hair'' has the quality of a dream: powerful, fixating, explosive and mysterious. Wallace brings us, time and again, to hidden, mythic places that are strange yet oddly familiar, larger than life yet inexplicably known - and knowable.
He is definitely interested in what a television executive in one of the stories calls ''the capacity of facts to transcend their internal factual limitations and become, in and of themselves, meaning, feeling. This is especially true of the extraordinary story ''John Billy,'' a luminous explosion into the realm of myth in which a bandylegged Oklahoman is transformed by a near-fatal brush with death and evil into a creature of both darkness and light, one whose damaged eyes extend like the waving ends of antennae from his head, capable of finally seeing things.
Your local Waterstones may have stock of this item. In these stories, the author renders the bizarre normal and the absurd hilarious, from the eerily real , almost holographic evocations of historical figures, to overtelevised game-show hosts and late-night comedians. In the title story, punk nihilism meets Young Republicanism. This collection of ten tales provides ample proof of his virtuosity for the uninitiated This is not a writer for the squeamish Wallace's control of different voices is superb, given the individual style of each tale.
Cleverness and verbosity are additional key ingredients, and the effect is often brilliant. Truly funny surreal humour. Added to basket. The Wych Elm.
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Girl with Curious Hair is a collection of short stories by American writer David Foster Wallace, first published in Though the stories are not related, several. Girl with Curious Hair book. Read reviews from the world's largest community for readers. Remarkable, hilarious and unsettling re-imaginations of rea.