“Well O. the thing's sick. It's even sicker than 4. Was it 4? The one you said that Loach inspired, where you'd supposedly just that very day dropped out of Jesuit seminary after umpteen years of disciplined celibacy because of carno-spiritual yearnings you hadn't even been quite in touch with as carno-spiritual in nature until you just now this very moment laid eyes on the Subject? With the breviary and rented collar?’ 'That was 4, yes. 4's pretty much of a gynecopia also, but within a kind of narrower demographic psychological range of potential Subjects. Notice I never said 4 was no-miss.’ 'Well you must be a very proud young man. This is even sicker. The fake ring and fictional spouse. It's like you're inventing somebody you love just to seduce somebody else into helping you betray her. What's it like. It's like suborning somebody into helping you desecrate a tomb they don't know is empty.’ 'This is what I get for passing down priceless fruits of hard experience to somebody who still thinks it's exciting to shave.’ 'I ought to go. I have a blackhead I have to see to.’ 'You haven't asked why I called right back. Why I'm calling during high-toll hours.’ 'Plus I feel some kind of toothache starting, and it's the weekend, and I want to see Schacht before Mrs. Clarke's confectionery day in the sun tomorrow. Plus I'm naked.”
In this passage from David Foster Wallace's work, a conversation between two characters reveals a complex and twisted web of deception and manipulation. The speaker describes a previous situation where he pretended to have just left a Jesuit seminary in order to manipulate someone else into assisting him in his deceit. The use of elaborate lies and false personas to achieve one's goals is highlighted as a sick and twisted act, one that ultimately leads to betrayal and desecration. The dialogue showcases the intricacies of human relationships and the destructive power of deceit.
In this dialogue from David Foster Wallace's work, the characters discuss complex themes of manipulation, deception, and self-deception. The concept of creating a fake persona or relationship to achieve an ulterior motive can be seen in today's age of social media and digital communication. People often curate a carefully crafted image online to manipulate others or hide their true intentions. The dialogue also delves into the idea of seeking validation and connection through deceptive means, a behavior that is relevant in today's society where people may seek attention and approval through false means.
In this passage from David Foster Wallace's work, two characters are engaging in a conversation filled with clever wordplay and witty banter. The dialogue showcases Wallace's unique writing style and ability to create intricate and eccentric characters.
In this excerpt from David Foster Wallace's work, we see a conversation between two characters that delves into themes of deceit, manipulation, and self-deception. As you reflect on this dialogue, consider the following questions:
How do the characters' actions and words reflect the themes of deception and manipulation in the passage?
What do you think the author is trying to convey about the nature of relationships and personal identity through this exchange?
How does the dialogue between the characters challenge your understanding of honesty and authenticity in human interactions?
Reflect on the idea of self-deception and the ways in which the characters in the passage may be deceiving themselves. How does this impact their relationships with others?
How does the setting and tone of the conversation contribute to the overall themes of the passage?
Take some time to ponder these questions and explore the complexities of human relationships and self-awareness presented in this excerpt.
“I'm not afraid of new things. I'm just afraid of feeling alone even when there's somebody else there. I'm afraid of feeling bad. Maybe that's selfish, but it's the way I feel.”
“There's a kind of Ah-ha! Somebody at least for a moment feels about something or sees something the way that I do. It doesn't happen all the time. It's these brief flashes or flames, but I get that sometimes. I feel unalone—intellectually, emotionally, spiritually. I feel human and unalone and that I'm in a deep, significant conversation with another consciousness in fiction and poetry in a way that I don't with other art.”
“The trick to this solution is that you’d have to be 100% honest. Meaning not just sincere but almost naked. Worse than naked - more like unarmed. Defenseless. ‘This thing I feel, I can’t name it straight out but it seems important, do you feel it too?’ - this sort of direct question is not for the squeamish. For one thing, it’s perilously close to “Do you like me? Please like me,” which you know quite well that 99% of all interhuman manipulation and bullshit gamesmanship that goes on goes on precisely because the idea of saying this sort of thing straight out is regarded as somehow obsene. In fact one of the very last few interperonal taboos we have is kind of obscenely naked direct interrogation of somebody else. It looks pathetic and desperate. That’s how it’ll look to the reader. And it will have to. There’s no way around it.”
“Everything gets horrible. Everything you see gets ugly. Lurid is the word. Doctor Garton said lurid, one time. That's the right word for it. And everything sounds harsh, spiny and harsh sounding, like every sound you hear all of a sudden has teeth. And smelling like I smell bad even after I just got out of the shower. It's like what's the point of washing if everything smells like I need another shower”
“At first you maybe start to like some person on the basis of, you know, features of the person. The way they look, or the way they act, or if they're smart, or some combination or something. So in the beginning it's I guess what you call features of the person that make you feel certain ways about the person. ... But then if you get to where you, you know, love a person, everything sort of reverses. It's not that you love the person because of certain things about the person anymore; it's that you love the things about the person because you love the person. It kind of radiates out, instead of in. At least that's the way ... That's the way it seems to me.”
“And I was -- this is just how I was afraid you'd take it. I knew it, that you'd think this means you were right to be afraid all the time and never feel secure or trust me. I knew it'd be "See, you're leaving after all when you promised you wouldn't." I knew it but I'm trying to explain anyway, okay? And I know you probably won't understand this either, but --wait-- just try to listen and maybe absorb this, okay? Ready? Me leaving is not the confirmation of all your fears about me. It is not. It's because of them.”