Infinite Jest is without a doubt my favorite book, I’ve read it twice in two years, so this is unbelievable to say the least. David Foster Wallace changed my life and helped put words to the hardest to define parts of my worldview. I started with  This is Water  and went from there. He really nailed something about modern American life and loneliness, I’m so glad he put out as much work as he did in his time with us.  I went all over the place during the process of making this cover. The book is full of iconic imagery, trash flying through the air, a radically altered map of North America, addiction, various hats, crazy homemade lenses, film lights, wheelchairs, gobs of multilayered mold, and tennis, lots of tennis.   I played around with all of that, and created many “final” covers before deciding on my final image. Many of them were compelling images, but didn’t translate into a striking book cover. I decided that for me, the most central theme in the book had to do with what we are looking for when we look towards entertainment. What is it about entertainment that draws us in, even though we know on some level that most of it is created by people who really only care about your money.    These images are a look into my process for the final cover.
 I started with cameras, The descriptions throughout of James Incandenza's custom made lenses always stood out to me. I wanted to visualize the multi-lens bolex cameras Mario is always hauling around.
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 I also played with tennis imagery, especially Images that tie tennis and addiction. This image is a reference to the ETA kids idly squeezing their tennis balls. I wanted to make the squeeze look tense and desperate.
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 The intense sock tan caused by constant outdoor tennis struck me as another tennis/addiction crossover image. 
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 I did a photoshoot attempting to capture the facial expression and sunk in look of someone watching "The Entertainment".
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 Which led me to
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 Which led me to my final submission.   Once I was informed that I had won, I went through a round of revisions with the clients at Little, Brown and Company, and The David Foster Wallace Estate. There were concerns about Illustrated text and the overall darkness of the design. We worked together to come to the final design. 
 The final design is much brighter and more etherial than the original. In this version the screen feels more universal, less a literal TV sitting in a dark room, more like a deity.  I am very honored to have been chosen for this contest and to have touched David Foster Wallace's work in any way, let alone such a public one. 
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