Crooked Finger (crookedfingers) wrote,
Crooked Finger
crookedfingers

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moral fiction

It is in the death flow 9:35 AM Tuesday morning. It is another cold gray day here in West Michigan.

I have had a normal morning thus far. I really have nothing new to report. At 2:20 PM this afternoon I have an appointment with an otolaryngologist.

There is nothing else to write about. I thought about going someplace this morning, but the roads are ice covered. I think I will go and just sit and wait out existence.

Last night I read, "Infinite Jest" a novel by David Foster Wallace and messed with our main computer.

This morning I had oatmeal for breakfast. I messed with our main computer and wrote in my paper diary. As I was writing in my diary Carol called telling me she was ready to come home. She has gone to bed for the day since she works tonight.

I suppose I will close to wait it out.

All I attempted to read this morning were from these two books-

"On Moral Fiction" by John Gardner

"The Irresponsible Self: On Laughter and the Novel" by James Wood (I read in this volume Wood's essay titled, 'Hysterical Realism'.)

It bothers me when I listen to book reviews on YouTube and the reviewer does not say anything about the code of ethics being promoted in the novel. For example in the novel, "Infinite Jest" by David Foster Wallace sets forth a code of ethics that says committing suicide is morally alright. If you can not take the pain of existence (being separated from God) then kill yourself. I find that ethical position morally wrong. We do not have the right to kill ourselves. Not saying in some cases a person has a right to die if there is no cure for their disease. In the world of modern medicine we can keep a dead person breathing by pumping air into their lungs while the individual is brain dead. The point is that every novel is not free from setting forth a code of ethics/a system of morals.

http://www.firstthings.com/article/2013/03/david-foster-wallace-to-the-rescue

"Infinite Jest is an ethnography of our postmodern moment; it captures the extent to which time and space are configured by the commercial, while also recognizing, in a Pascalian vein, that distractions and entertainment threaten to overwhelm anything else that seems to matter. . ." James K.A. Smith
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