Check out these mind boggling photos of author Will Self’s writing room with post-its, maps, and notes covering nearly every surface. This is how one might try to portray the writer’s mind in three-dimensional space. (via texts & pretexts)
February 23rd marks the 20th anniversary of the original publication of David Foster Wallace’s Infinite Jest, and on that date, his publisher Little, Brown is putting out a new edition of the now classic novel with a new introduction by Tom Bissell. To recognize, as Little, Brown put it, ” the deep way that so many readers have connected with the book over the last twenty years,” the publisher held a contest allowing fans to submit their designs for the new cover.
The winner, we can reveal, is Ohio-based designer Joe Walsh, who has dispensed with the sky imagery that has adorned all prior U.S. editions of Infinite Jest. Walsh’s cover is spare and employs symbolic imagery with a playful undertone. After seeing the cover, we reached out to Michael Pietsch, CEO of Little, Brown parent Hachette Book Group, and David Foster Wallace’s editor, to get his thoughts.
The Millions: Beyond the commercial considerations, why is now the right moment to issue a new edition of Infinite Jest and what does the book have to say to today’s readers?
Michael Pietsch: I’m astonished that ten years have passed since our 10th anniversary edition with a foreword by Dave Eggers. It’s the publisher’s job to find ways to keep books fresh, and an anniversary like this seemed an unmissable occasion to highlight how alive the book still is. Infinite Jest is embraced and discussed by ever larger numbers of readers with each passing year. This new edition is a celebration of that vitality and an invitation to those who haven’t yet turned the first page.
The book’s main ideas—that too much easy pleasure may poison the soul, that we’re awash in an ocean of pain, and that truly knowing another person is the hardest and most worthwhile work in the world—are truer now than they’ve ever been. Tom Bissell’s brilliant new Foreword calls attention to this far better than I can.
TM: Why did Little, Brown decide to go with a fan-designed cover and what would David have made of that decision?
MP: The internet has made it possible to see the massive amount of creative response readers have to Infinite Jest. I’d seen a lot of art connected to the book online, and it seemed that allowing readers who have loved it to submit cover designs for the anniversary edition was a way of honoring and highlighting all that creativity.
I never presume to comment on what David would have made of this or any other aspect of our work. The David Foster Wallace Literary Trust wholeheartedly supported the idea of inviting fans to submit cover art.
MP: David sometimes made suggestions for cover art. For Infinite Jest he proposed using a photo of a giant modern sculpture made of industrial trash—an interesting idea, but one that our creative director felt was too subtle and detailed to work as a cover image. The cover image for the paperback of A Supposedly Fun Thing I’ll Never Do Again is one he suggested, and that I’ve always loved.
I know this is old news, but I thought I’d give my brief thoughts on the stories from the New Yorker debut fiction issue. I wasn’t bowled over any of the stories, but I was most impressed by Umwem Alpem’s “Ex-Mas Feast,” not so much for writerly virtuosity as for the glimpse of the exotic the story provides. Perhaps because so many short stories seem to be set in the suburbs, I am always drawn to stories set in faraway places. I was somewhat less impressed by Karen Russell’s “Haunting Olivia,” which I thought would have been a more successful story if it had been half as long. I did, however, enjoy how Russell injected a bit of the surreal into her story. I was also dutifully shocked upon discovering that she is only 23 years old, even though I should know that the New Yorker loves to find these fiction savants. Least interesting of all to me was Justin Tussing’s “The Laser Age,” which, at first glance, I thought was going to be a story of the twisted not to distant future, but instead was just another mismatched boy-meets-girl tale.
Richard Nash, the guy behind Brooklyn’s Soft Skull Press has started a blog. Aside from writing about Soft Skull’s books, Richard also plans to discuss matters of importance to small publishers. Look for his dispatches from the Frankfurt Book Fair coming soon.Another small publisher, Unbridled Books, presents its homepage in a blog-like format. Small publishers have to work hard to be heard among the media conglomerates that control most of the publishing industry. Using blogs give these little guys the opportunity to do something that their much bigger competitors have trouble doing, make individual connections with their readers.
My mildly contrarian take on the print version of Watchmen appears today at More Intelligent Life. Name-checked within the piece: Thomas Pynchon, Toni Morrison, Malcolm Lowry, Jean Rhys, Charles Dickens, Georges Eliot and Saunders, Chris Ware, Lynda Barry, Herman Hesse, Jack Kerouac, Batman, Art Spiegelman, James Wood, Kenneth Turan,and a couple of guys who worked at a little comic-book shop in North Carolina in the early 1990s.Notwithstanding this cavalcade of stars, I found Watchmen somewhat frustrating, for reasons I attribute to the term “graphic novel.” This may or may not be original and/or provocative. Still, I’m bracing for comments from Watchmen enthusiasts and Comic Book Guys of all stripes…