Infinite Jest

  • by David Foster Wallace
  • Narrated by Sean Pratt
  • 56 hrs and 19 mins
  • Unabridged Audiobook

Publisher's Summary

A gargantuan, mind-altering comedy about the Pursuit of Happiness in America set in an addicts' halfway house and a tennis academy, and featuring the most endearingly screwed-up family to come along in recent fiction, Infinite Jest explores essential questions about what entertainment is and why it has come to so dominate our lives; about how our desire for entertainment affects our need to connect with other people; and about what the pleasures we choose say about who we are.
Equal parts philosophical quest and screwball comedy, Infinite Jest bends every rule of fiction without sacrificing for a moment its own entertainment value. It is an exuberant, uniquely American exploration of the passions that make us human - and one of those rare books that renew the idea of what a novel can do.
Please note: When you purchase this title, the accompanying reference material, including endnotes, will be available in your My Library section along with the audio.
A Note from Hachette Audio
We are deeply honored to be the audio publisher of David Foster Wallace's works, and are keenly aware of the great responsibility that attends the privilege. We felt that it was important to make Infinite Jest accessible in the audio format as soon as we were able, and are gratified to find that there is an audience that has been waiting for just this occasion.
Some early listeners have been disappointed that the novel's endnotes are currently available only in text form, to be read. Choosing to include the endnotes as a downloadable PDF file, rather than as a recording by the narrator, was a difficult decision for all involved, and we debated different options at length before beginning production. The audio format allows us great opportunities to showcase Wallace's love of language and grammatical dexterity, to illuminate characters and their relationships, and to bring out some of the unique humor inherent in his work. However, there are also certain limitations to the format, and we needed let go of some of our preconceived notions about the form of Infinite Jest, as we must when we adapt any complex work to audio.
The compromise we ended up with was heavily influenced by practical concerns, especially those regarding the limitations of current technology. Because some of the endnotes are pages-long digressions, if we had them read in line with the main narrative, we would have run the risk of making the already complex story unfollowable for listeners. In the end, we decided the audiobook would flow best by having the endnotes indicated by number throughout the narrative by an additional narrator. However, we acknowledge that these choices may not work for all listeners. Accordingly, our future plans are to produce the endnotes as an additional, stand-alone audio piece.


Audible Editor Reviews

"Pratt is a startlingly good narrator, dry and expressive, with the kind of vocal control that evokes dozens of characters with only slight but very distinctive variations of accent and affect.... Pratt hears the humor in Wallace's work, and lets you in on the joke without resorting to overheated wackiness. His control and stamina are impressive." (John Schwartz, The New York Times Book Review)


What the Critics Say

“[A]n exhilarating, breathtaking experience. This book teems with so much life and death, so much hilarity and pain, so much gusto in the face of despair that one cheers for the future of our literature.” (Newsday)
"[A] postmodern saga of damnation and salvation…resourceful, hilarious, intelligent, and unique.” (The Atlantic Monthly)
"[C]ompulsively entertaining… one of the big talents of his generation, a writer of virtuosic skills who can seemingly do anything.” (New York Times)


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Customer Reviews

Most Helpful

Removing Endnotes Does NOT Equal Unabridged!

1. This audiobook is not unabridged.
2. It has no endnotes.
3. Endnotes are an essential part of this novel.
4. Understand the difficulty of including endnotes in an audiobook, but alas, if you are going to call it unabridged, it better BE unabridged.
5. Not sure if DFW would have allowed the endnotes to be stripped.
6. Frustrated.
7. Irritated.
8. Disquieted.
9. A little irritated about 2 credits (and did I mention no endnotes?)
10. Ibid.
11. "The challenge in editing David Foster Wallace was the difficulty of wrangling his prose and narrative structure, which were often purposefully peripatetic and disjointed (in the best sense of the word), without disrupting the writing's pacing or diluting its effect, which Wallace intended as a numbing overload to the reader's faculties comparable to the overwhelming 'constant monologue inside your own head.'"*
12. Crap.
13. "The following pieces were published in edited, heavily edited, or (in at least one instance) bowdlerized form." The "bowdlerized" piece, "Host," was about a right-wing radio personality, and Wallace was also frustrated by the abridgement of "Up, Simba," the story he wrote about John McCain's 2000 presidential campaign and, he insisted on publishing a web edition of his full article.**
14. There are options for including footnotes in audiobooks.
15. In 'Consider the Lobster' another DFW book the producer used a phone filter for footnotes (which ARE included).
16. Susanna Clarke's novel, "Jonathan Strange & Mr. Norrell" (Audio Renaissance), recorded footnotes.
17. There is a great New York Times piece on the challenges of footnotes and endnotes (and pictures and maps) in audiobooks***
18. The same New York Times piece has a great quote from DFW in reference to his endnotes: "Most poetry is written to ride on the breath, and getting to hear the poet read it is kind of a revelation and makes the poetry more alive. But with certain literary narrative writers like me, we want the writing to sound like a brain voice, like the sound of the voice inside of the head, and the brain voice is faster, is absent any breath, and it holds together grammatically rather than sonically."
19. Claudia Howard, in the same New York Times piece argues that an "audiobook is a monologue that should be kept intact".
20. Another part of the New York Times article referenced above in note 17, "So single-minded is Mr. Wallace, who is 43, about how his work looks over how it sounds that at his first public reading in the late 1980's, 'I inserted the punctuation,' he recalled, adding: 'I would read a clause and say 'comma' or 'semicolon.' Or I'd say, 'new paragraph' and 'indent.' Now looking back at it I can see what a silent deal this is for me.' At one point in 'Consider the Lobster,' Mr. Wallace encounters an ellipsis and reads "dot, dot, dot," which producers say is verboten. "Part of it is I'm not an actor and I don't know how to trail off, and I become somewhat autistic about it," he said."
21. There is a great example in this piece showing how DFW handled endnotes/footnotes.****
22. Cutting the Endnotes disrespects notes 23, 24, and 25.
23. Work
24. Author
25. Reader

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- Darwin8u "I write for myself, for my own pleasure. And I want to be left alone to do it. - Salinger ^(;,;)^"

good if you already read the book.

Any additional comments?

I would recommend this to anyone who has already read the book, the lack of end notes takes away so much of the humor and plot nuances that I would be hard pressed to send a new reader to this audiobook, though.

One of many reasons IJ was difficult for me is the anachronistic chapter order and quick changes in tone. Where this audiobook excels is at being able to switch gears immediately between a chapter that describes in such agonizing detail the nervy feeling of withdrawal then switching to an amusing recount of a robbery gone wrong which in reading the book I had difficulty switching my mental voice fast enough to a chipper shade after being taken so low to find the humor in there. Some of the more difficult chapters (for me) were the soliloquies like Hal's gran'pa discussing the end of his tennis career with Himself or the early Ebonics ridden chapter about Wardine which are done very, very well and make these much easier to navigate and parse for plot points (I am surprised at the low narrator scores actually) and the Steeply/Marathe conversation, which despite being a perfectly natural conversation was hard to read naturally in my head (I tend to struggle reading things written in any dialect and we will consider 'drunk' a dialect).On the downside, keeping track of the chronology is tougher in audio form and lack of footnotes is painful (I bought the ebook and pause to flip over on my iPod to read the notes because I am nerdy that way).

To repeat, great if you've read it before but lack of end notes is severely crippling to a lot of what the book has to offer if you are a first time reader (though i can see if you are hitting a wall with the novel how the audiobook could carry you through and make rereading the book a total rediscovery since you would have some idea of plot and be willing to stop and smell the roses).

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- Charlie Williams "rather boring"

Book Details

  • Release Date: 04-09-2012
  • Publisher: Hachette Audio