Brief Interviews with Hideous Men

by David Foster Wallace Narrated by John Krasinski, Bobby Cannavale, Ben Shenkman, Chris Messina, Christopher Meloni, Cory Stoll, Denis O'Hare, Joey Slotnick, Josh Charles, Joshua Ferris, Lou Taylor Pucci, Malcolm Goodwin, Max Minghella, Michael Cerveris, Will Forte

Overview

In this thought-provoking and playful short story collection, David Foster Wallace nudges at the boundaries of fiction with inimitable wit and seductive intelligence.

Wallace's stories present a world where the bizarre and the banal are interwoven and where hideous men appear in many guises. Among the stories are 'The Depressed Person,' a dazzling and blackly humorous portrayal of a woman's mental state; 'Adult World,' which reveals a woman's agonized consideration of her confusing sexual relationship with her husband; and 'Brief Interviews with Hideous Men,' a dark, hilarious series of imagined interviews with men on the subject of their relations with women.

Wallace delights in leftfield observation, mining the absurd, the surprising, and the illuminating from every situation. This collection will enthrall DFW fans, and provides a perfect introduction for new readers.

Editorial Reviews

Greil Marcus

...[T]he result is definitively American and confident: Martin Amis with nothing to prove....[E]ven as you might focus on details of how the story has been put together...there's less and less sense of an author; the story seems to be running on its own power, as if not even its author could stop it.
—Esquire

Publishers Weekly - Publisher's Weekly

Wallace, the young turk author whose ubernovel, Infinite Jest, was way too bulky for audio adaptation, throws himself gamely into the medium now, reading from his short fiction collection. In this audio debut, Wallace delivers his spry, satiric exercises in a sure-voiced, confident baritone. With the skill of a veteran narrator, he adeptly retains footing as he navigates his complex and wordy prose. His literary grab-bag trademarks include off-kilter descriptive passages, ponderous lists and footnotes, and a large portion of the tape is devoted to a one-sided interview with a psychotic sexual stalker. These odd tropes come across with humor, even tenderness, in Wallace's sensitive reading. He conveys the earnestness of a young, hardworking writer, eager to make his eccentric vision accessible through its spoken presentation. It's this sense of Wallace's strong desire to be appealing that will keep the listener with him throughout his sometimes difficult material. Simultaneous release with the Little, Brown hardcover. (May) Copyright 1999 Cahners Business Information.

Publishers Weekly

A host of talented narrators and actors—including television actors John Krasinski and Christopher Meloni—deliver nuanced performances of the late Wallace's classic. But it's the author himself who steals the show: his gentle, almost dreamy voice unlocks the elaborate syntax and releases the immense feeling concealed by the comedy and labyrinthine sentences. While the various narrators ably capture the essence of the text, Wallace's renditions of such stories as “Forever Overhead” and “Death Is Not the End” are transcendent. Essential listening for Wallace fans and a fine introduction for newcomers. A Little, Brown hardcover. (Oct.)

Library Journal

Stories, character sketches, monologs, and conversations selected from the late Wallace's (www.davidfosterwallace.com) exquisitely written 1999 collection are here read by a cast including the author and 14 actors featured in John Krasinski's 2009 film adaptation of the work. Many of the characters, such as the cad who dumps a woman he has lured across the country, are despicable; others—e.g., a gang-rape survivor, a men's room attendant—are captured by hideous circumstances. Language and situations are sometimes graphic. The performances, including that by the author, are exceptional. Recommended for literary fiction and creative writing collections. ["Fans of Thomas Pynchon and Donald Barthelme will find comparable challenges here," read the review of the Little, Brown hc, LJ 5/1/99.—Ed.]—Janet Martin, Southern Pines P.L., NC

Michiko Kakutani

Almost all the people in this book are members of what might be called Inward Bound....[Examines] the ways in which men can take advantage of women...The New York Times

Adam Goodheart

David Foster Wallace often writes...in mad cadenzas of simian gibberish that break suddenly into glorious soliloquies, then plunge again into nonsense....[The collection of stories] seems possessed...by a vandalizing spirit....[I]n his wild hits and misses, his eccentric obsessions and his sinister experiments, he is beginning to resemble another mad scientist of American literature: Edgar Allan Poe.
— The New York Times Book Review

Adam Begley

Painful and often funny and very often hugely impressive and achieves, amazingly...piercing layers of irony, self-consciousness, fear, hostility, neurosis and plain old stupidity.
— The New York Observer

David Kronke

...[I]t seems as if Wallace's imagination has acccelerated to the point where meta-fiction is dull. He's trying to eliminate narrative altogether and flood his readers' minds with images or moods without establishing time or place or any kind of context...There's a lot of inspired noodling going on here; he still writes like a man afire with sentences that run the length of paragraphs...But there's a sameness and a clinical sterility to the writing here that's simply difficult to become absorbed in. It's easy to admire the writing but not much else.
— USA Today

Kirkus Reviews

A stimulating, if intermittently opaque, collection of discursive stories and even less fully fictionalized humorous pieces from the savvy-surrealistic author of Infinite Jest (1996), etc.

From the Publisher

"A host of talented narrators and actors-including television actors John Krasinski and Christopher Meloni-deliver nuanced performances of the late Wallace's classic. But it's the author himself who steals the show: his gentle, almost dreamy voice unlocks the elaborate syntax and releases the immense feeling concealed by the comedy and labyrinthine sentences. While the various narrators ably capture the essence of the text, Wallace's renditions of such stories as "Forever Overhead" and "Death Is Not the End" are transcendent. Essential listening for Wallace fans and a fine introduction for newcomers."—Publishers Weekly, Library Journal

"Brilliant... bitingly funny...wildly imaginative." -Salon



"Following the success of his massive, much-acclaimed novel, Infinite Jest, Wallace returns to fiction with a similarly dense, cerebral, and self-reflexive set of short works.... While the inauthenticity of male/female relations is a recurrent motif, the central theme is the nature of narrative itself, as in "Octet," where the author turns self-reflexiveness on itself, creating something that might be termed meta-meta-fiction. Fans of Thomas Pynchon and Donald Barthelme will find comparable challenges here." -Library Journal



"A supersonic delight, a full-scale harassment of the short story form.... David Foster Wallace is one badass fiction writer." -Benjamin Weissman, LA Weekly

FEBRUARY 2010 - AudioFile

The name of this collection of stories is slightly misleading, given the talent and likability of the cast of narrators who bring the late Wallace's work to life. Each of the performers, including actors John Krasinski, Will Forte, Malcolm Goodwin, and Bobby Cannavale, delivers a powerful reading that is as imaginative as the collection itself. Foster offers a plethora of unique stories that make fast-paced shifts in their topics and references—from adolescent fantasies revolving around the 1950s TV show "Bewitched" to a heinous kidnapping. Krasinski, who directed the film adaptation of the book, is especially fine, reading with a stern, intellectual edge that is at once witty and unabashed. As a whole, each narrator complements the unique work he delivers. L.B. © AudioFile 2010, Portland, Maine

Product Details

BN ID:	2940170321087
Publisher:	Hachette Audio
Publication date:	09/08/2009
Edition description:	Unabridged
Sales rank:	1,019,811

Read an Excerpt

Chapter One

Death Is Not the End

The fifty-six-year-old American poet, a Nobel Laureate, a poet known in American literary circles as 'the poet's poet' or sometimes simply 'the Poet,' lay outside on the deck, bare-chested, moderately overweight, in a partially reclined deck chair, in the sun, reading, half supine, moderately but not severely overweight, winner of two National Book Awards, a National Book Critics Circle Award, a Lamont Prize, two grants from the National Endowment for the Arts, a Prix de Rome, a Lannan Foundation Fellowship, a MacDowell Medal, and a Mildred and Harold Strauss Living Award from the American Academy and Institute of Arts and Letters, a president emeritus of PEN, a poet two separate American generations have hailed as the voice of their generation, now fifty-six, lying in an unwet XL Speedo-brand swimsuit in an incrementally reclinable canvas deck chair on the tile deck beside the home's pool, a poet who was among the first ten Americans to receive a 'Genius Grant' from the prestigious John D. and Catherine T. MacArthur Foundation, one of only three American recipients of the Nobel Prize for Literature now living, 5'8'', 181 lbs., brown/brown, hairline unevenly recessed because of the inconsistent acceptance/rejection of various Hair Augmentation Systems—brand transplants, he sat, or lay—or perhaps most accurately just 'reclined'—in a black Speedo swimsuit by the home's kidney-shaped pool,1 on the pool's tile deck, in a portable deck chair whose back was now reclined four clicks to an angle of 35° w/r/t the deck's mosaic tile, at 10:20 a.m. on 15 May 1995, the fourth most anthologized poet in the history of American belles lettres, near an umbrella but not in the actual shade of the umbrella, reading Newsweek magazine,2 using the modest swell of his abdomen as an angled support for the magazine, also wearing thongs, one hand behind his head, the other hand out to the side and trailing on the dun-and-ochre filigree of the deck's expensive Spanish ceramic tile, occasionally wetting a finger to turn the page, wearing prescription sunglasses whose lenses were chemically treated to darken in fractional proportion to the luminous intensity of the light to which they were exposed, wearing on the trailing hand a wristwatch of middling quality and expense, simulated-rubber thongs on his feet, legs crossed at the ankle and knees slightly spread, the sky cloudless and brightening as the morning's sun moved up and right, wetting a finger not with saliva or perspiration but with the condensation on the slender frosted glass of iced tea that rested now just on the border of his body's shadow to the chair's upper left and would have to be moved to remain in that cool shadow, tracing a finger idly down the glass's side before bringing the moist finger idly up to the page, occasionally turning the pages of the 19 September 1994 edition of Newsweek magazine1, reading about American health-care reform and about USAir's tragic Flight 427, reading a summary and favorable review of the popular nonfiction volumes Hot Zone and The Coming Plague, sometimes turning several pages in succession, skimming certain articles and summaries, an eminent American poet now four months short of his fifty-seventh birthday, a poet whom Newsweek magazine's chief competitor, Time, had once rather absurdly called 'the closest thing to a genuine literary immortal now living,' his shins nearly hairless, the open umbrella's elliptic shadow tightening slightly, the thongs' simulated rubber pebbled on both sides of the sole, the poet's forehead dotted with perspiration, his tan deep and rich, the insides of his upper legs nearly hairless, his penis curled tightly on itself inside the tight swimsuit, his Vandyke neatly trimmed, an ashtray on the iron table, not drinking his iced tea, occasionally clearing his throat, at intervals shifting slightly in the pastel deck chair to scratch idly at the instep of one foot with the big toe of the other foot without removing his thongs or looking at either foot, seemingly intent on the magazine, the blue pool to his right and the home's thick glass sliding rear door to his oblique left, between himself and the pool a round table of white woven iron impaled at the center by a large beach umbrella whose shadow now no longer touches the pool, an indisputably accomplished poet, reading his magazine in his chair on his deck by his pool behind his home. The home's pool and deck area is surrounded on three sides by trees and shrubbery. The trees and shrubbery, installed years before, are densely interwoven and tangled and serve the same essential function as a redwood privacy fence or a wall of fine stone. It is the height of spring, and the trees and shrubbery are in full leaf and are intensely green and still, and are complexly shadowed, and the sky is wholly blue and still, so that the whole enclosed tableau of pool and deck and poet and chair and table and trees and home's rear façade is very still and composed and very nearly wholly silent, the soft gurgle of the pool's pump and drain and the occasional sound of the poet clearing his throat or turning the pages of Newsweek magazine the only sounds—not a bird, no distant lawn mowers or hedge trimmers or weed-eating devices, no jets overhead or distant muffled sounds from the pools of the homes on either side of the poet's home—nothing but the pool's respiration and poet's occasional cleared throat, wholly still and composed and enclosed, not even a hint of a breeze to stir the leaves of the trees and shrubbery, the silent living enclosing flora's motionless green vivid and inescapable and not like anything else in the world in either appearance or suggestion.3

* * *

1. Also the first American-born poet ever in the Nobel Prize for Literature's distinguished 94-year history to receive it, the coveted Nobel Prize for Literature.

2. Never the recipient of a John Simon Guggenheim Foundation Fellowship, however: thrice rejected early in his career, he had reason to believe that something personal and/or political was afoot with the Guggenheim Fellowship committee, and had decided that he'd simply be damned, starve utterly, before he would ever again hire a graduate assistant to fill out the tiresome triplicate Guggenheim Foundation Fellowship application and go through the tiresome contemptible farce of 'objective' consideration ever again.

3. That is not wholly true.

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