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53 pages 1 hour read

A Supposedly Fun Thing I'll Never Do Again

Nonfiction | Essay Collection | Adult | Published in 1997

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Literary Devices

Irony

A Supposedly Fun Thing I’ll Never Do Again addresses Irony and Society as a major theme. As a way of exploring the pervasive irony of American culture in the late 20th century, however, Wallace often uses irony (particularly situational irony) as a literary device to help make his point. In literary terms, irony emerges from the divergence between expectation and reality. This is found throughout the collection of essays, even in the title. The title posits that something is supposedly fun but that it is not something the author is ever willing to do again. This especially refers to the cruise Wallace takes in the final essay, which uses situational irony: The apparent luxury (expectation) of the cruise masks a deep psychological malaise (reality).

Situational irony likewise appears in the essay about the state fair, in which the rides and the food stalls should entertain Wallace but instead only disappoint him. Even when he meets someone he supposedly admires, such as David Lynch or Michael Joyce, Wallace cannot help but contrast his expectation of their character or work with a troubling reality that suggests a deeply ironic truth about society. Thus, Wallace uses irony as a literary device to explore the irony of the Postmodern society he inhabits.

Footnotes

Over the seven essays in A Supposedly Fun Thing I’ll Never Do Again, Wallace uses an increasing number of footnotes. Traditionally, a footnote or endnote provides additional information that the author (for aesthetic, editorial, or other reasons) chooses not to include in the main body of the text. Footnotes may provide information about sources, define terms, or expand on an idea. Initially, Wallace uses them in this manner. This use evolves over the course of the essays, however, to the point that footnotes eventually occupy multiple pages and contain anecdotes and digressions essential to the narrative of the essay yet secluded from it. In his essay about Michael Joyce, for instance, Wallace uses them to provide insight into the technical and financial realities of the tennis competition that, while relevant to the discussion of the Canadian Open, are not necessarily relevant to the essay’s depiction of Joyce himself.

However, in the final essay, the titular piece about the cruise, Wallace uses a complex system of footnotes on nearly every page. Besides continuing to use footnotes to provide background information about the cruise line, Wallace includes his own anecdotes and experiences in them rather than in the main essay. This creates a diffusing effect, mirroring Wallace’s mental diffusion as his bizarre experience of the cruise takes a toll on his psyche. His mind fragments, just like his narrative, and the complex use of footnotes is a literary expression of this fragmentation. Additionally, it foreshadows their use in Wallace’s novel Infinite Jest. The novel, which was published a year after the essay collection, is famous for its use of footnotes. Thus, the essays trace the evolution of Wallace’s use of footnotes to their final form in the novel.

Absurdity

Wallace uses absurdity to explore his thematic ideas, often taking situations to absurd heights to demonstrate the troubling reality hiding behind common assumptions. In the essay about the cruise, for example, Wallace becomes paranoid about the daily cleaning of his room. He hatches an elaborate plan to try to catch his cleaner while she is in his room but fails miserably. The lengths to which he goes demonstrate how much the strangeness of life aboard the ship is affecting his mind, while his failure to catch the cleaner suggests the innate absurdity he sees in the cruise itself.

At other points in the collection, Wallace portrays himself playing tennis during a tornado warning or becoming enthralled by a clogging context. Wallace recalls that in the Midwestern US, where he grew up, clogging and tornado warnings were part of the local culture. When he returns as an adult, he finds a new absurdity in the culture of the Midwest, which suggests that, upon examining even the most familiar and conventional aspects of society from a new perspective, they can reveal deep and troubling profundities.

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