What do we value? Why do we value it? And in a neoliberal age, can morality ever displace money as the primary means of defining value? These are the questions that drove David Foster Wallace, a writer widely credited with changing the face of contemporary fiction and moving it beyond an emotionless postmodern irony. Jeffrey Severs argues in David Foster Wallace's Balancing Books that Wallace was also deeply engaged with the social, political, and economic issues of the twentieth and twenty-first centuries. A rebellious economic thinker, Wallace satirized the deforming effects of money, questioned the logic of the monetary system, and saw the world through the lens of value's many hidden and untapped meanings. In original readings of all of Wallace's fiction, from The Broom of the System and Infinite Jest to his story collections and The Pale King, Severs reveals Wallace to be a thoroughly political writer whose works provide an often surreal history of financial crises and economic policies. As Severs demonstrates, the concept of value occupied the intersection of Wallace's major interests: economics, work, metaphysics, mathematics, and morality. Severs ranges from the Great Depression and the New Deal to the realms of finance, insurance, and taxation to detail Wallace's quest for balance and grace in a world of excess and entropy. Wallace showed characters struggling to place two feet on the ground and restlessly sought to "balance the books" of a chaotic culture. Explaining why Wallace's work has galvanized a new phase in contemporary global literature, Severs draws connections to key Wallace forerunners Don DeLillo, Thomas Pynchon, and William Gaddis, as well as his successors—including Dave Eggers, Teddy Wayne, Jonathan Lethem, and Zadie Smith—interpreting Wallace's legacy in terms of finance, the gift, and office life.

"Jeffrey Severs offers one of the first critical works that examines the entirety of David Foster Wallace's fiction rather than individual novels. Severs focuses his interpretation of Wallace's work on the author's interest in "value" understood in terms of the incalculable (morality) and the calculable (economics). This approach, Severs argues, allows a reading of Wallace that illuminates both the philosophical and moral ambition of his work but also positions him as a writer very much engaged in the political and economic issues of the late twentieth century. Severs reads Wallace as depicting characters struggling to determine the moral authority amid our chaotic culture. In considering the full scope of Wallace's career, Severs details his works' quest for balance in a world of excess and entropy. He adds to the critical portrayal of him as the philosopher-novelist by reading him as not only satirizing the deforming effects of money but examining the machinations of late-capitalism. Fusing readings of metaphysical, existential, and moral themes within the historical context of the last twentieth century, Severs provides new perspectives on Wallace's work and demonstrates the relevance of his fiction to contemporary political, economic, moral, and ethical problems."--

Of the twelve books David Foster Wallace published both during his lifetime and posthumously, only three were novels. Nevertheless, Wallace always thought of himself primarily as a novelist. From his college years at Amherst, when he wrote his first novel as part of a creative honors thesis, to his final days, Wallace was buried in a novel project, which he often referred to as "the Long Thing." Meanwhile, the short stories and journalistic assignments he worked on during those years he characterized as "playing hooky from a certain Larger Thing." Wallace was also a specific kind of novelist, devoted to producing a specific kind of novel, namely the omnivorous, culture-consuming "encyclopedic" novel, as described in 1976 by Edward Mendelson in a ground-breaking essay on Thomas Pynchon's Gravity's Rainbow. David Foster Wallace and "The Long Thing" is a state-of-the art guide through Wallace's three major works, including the generation-defining Infinite Jest. These essays provide fresh new readings of each of Wallace's novels as well as thematic essays that trace out patterns and connections across the three works. Most importantly, the collection includes six chapters on Wallace's unfinished novel, The Pale King, which will prove to be foundational for future scholars of this important text.

An intra-ethnic study of Latina/o fiction written in the United States from the early 1990s to the present, Forms of Dictatorship examines novels that depict the historical reality of dictatorship and exploit dictatorship as a literary trope. This literature constitutes a new sub-genre of Latina/o fiction, which the author calls the Latina/o dictatorship novel. The book illuminates Latina/os' central contributions to the literary history of the dictatorship novel by analyzing how Latina/o writers with national origin roots in the Caribbean, Mexico, and Central and South America imaginatively represent authoritarianism. The novels collectively generate what Harford Vargas terms a "Latina/o counter-dictatorial imaginary" that positions authoritarianism on a continuum of domination alongside imperialism, white supremacy, heteropatriarchy, neoliberalism, and border militarization. Focusing on novels by writers such as Junot D az, H ctor Tobar, Cristina Garc a, Salvador Plascencia, and Francisco Goldman, the book reveals how Latina/o dictatorship novels foreground more ubiquitous modes of oppression to indict Latin American dictatorships, U.S. imperialism, and structural discrimination in the U.S., as well as repressive hierarchies of power in general. Harford Vargas simultaneously utilizes formalist analysis to investigate how Latina/o writers mobilize the genre of the novel and formal techniques such as footnotes, focalization, emplotment, and metafiction to depict dictatorial structures and relations. In building on narrative theories of character, plot, temporality, and perspective, Harford Vargas explores how the Latina/o dictatorship novel stages power dynamics. Forms of Dictatorship thus queries the relationship between different forms of power and the power of narrative form --- that is, between various instantiations of repressive power structures and the ways in which different narrative structures can reproduce and resist repressive power.

These widely acclaimed essays from the author of Infinite Jest -- on television, tennis, cruise ships, and more -- established David Foster Wallace as one of the preeminent essayists of his generation. In this exuberantly praised book -- a collection of seven pieces on subjects ranging from television to tennis, from the Illinois State Fair to the films of David Lynch, from postmodern literary theory to the supposed fun of traveling aboard a Caribbean luxury cruiseliner -- David Foster Wallace brings to nonfiction the same curiosity, hilarity, and exhilarating verbal facility that has delighted readers of his fiction, including the bestselling Infinite Jest.

Since its publication in 2003, Understanding David Foster Wallace has served as an accessible introduction to the rich array of themes and formal innovations that have made Wallace's fiction so popular and influential. A seminal text in the burgeoning field of David Foster Wallace studies, the original edition of Understanding David Foster Wallace was nevertheless incomplete as it addressed only his first four works of fiction—namely the novels The Broom of the System and Infinite Jest and the story collections Girl with Curious Hair and Brief Interviews with Hideous Men. This revised edition adds two new chapters covering his final story collection, Oblivion, and his posthumous novel, The Pale King. Tracing Wallace's relationship to modernism and postmodernism, this volume provides close readings of all his major works of fiction. Although critics sometimes label Wallace a postmodern writer, Boswell argues that he should be regarded as the nervous leader of some still-unnamed (and perhaps unnamable) third wave of modernism. In charting a new direction for literary practice, Wallace does not seek to overturn postmodernism, nor does he call for a return to modernism. Rather his work moves resolutely forward while hoisting the baggage of modernism and postmodernism heavily, but respectfully, on its back. Like the books that serve as its primary subject, Boswell's study directly confronts such arcane issues as postmodernism, information theory, semiotics, the philosophy of Ludwig Wittgenstein, and poststructuralism, yet it does so in a way that is comprehensible to a wide and general readership—the very same readership that has enthusiastically embraced Wallace's challenging yet entertaining and redemptive fiction.

David Foster Wallace is invariably seen as an emphatically American figure. Lucas Thompson challenges this consensus, arguing that Wallace's investments in various international literary traditions are central to both his artistic practice and his critique of US culture. Thompson shows how, time and again, Wallace's fiction draws on a diverse range of global texts, appropriating various forms of world literature in the attempt to craft fiction that critiques US culture from oblique and unexpected vantage points. Using a wide range of comparative case studies, and drawing on extensive archival research, Global Wallace reveals David Foster Wallace's substantial debts to such unexpected figures as Jamaica Kincaid, Julio Cortázar, Jean Rhys, Octavio Paz, Leo Tolstoy, Zbigniew Herbert, and Albert Camus, among many others. It also offers a more comprehensive account of the key influences that Wallace scholars have already perceived, such as Fyodor Dostoevsky, Franz Kafka, and Manuel Puig. By reassessing Wallace's body of work in relation to five broadly construed geographic territories -- Latin America, Russia, Eastern Europe, France, and Africa -- the book reveals the mechanisms with which Wallace played particular literary traditions off one another, showing how he appropriated vastly different global texts within his own fiction. By expanding the geographic coordinates of Wallace's work in this way, Global Wallace reconceptualizes contemporary American fiction, as being embedded within a global exchange of texts and ideas.