Wallace’s commencement speech cuts deep because it rejects easy answers. Compassion in 'This Is Water' isn’t about feeling warm and fuzzy—it’s a disciplined redirection of attention. The real kicker? He admits how unnatural it feels. That honesty makes the message stick. I now catch myself mid-rant about 'idiotic drivers' and think: Maybe that guy’s rushing to the hospital. It’s not about excusing bad behavior, but recognizing we’re all trapped in our own narratives. That shift—from automatic irritation to deliberate perspective-taking—is where the magic happens.
Reading 'This Is Water' felt like getting handed glasses after years of blurry vision. Wallace’s take on daily compassion isn’t about grand gestures—it’s the micro-decisions: letting someone merge in traffic, biting back a snarky comment to your boss. What’s radical is how he ties mindfulness to survival. That bit about suicide being a 'stationary leap' from the default mode? Chilling, but it makes his point: Choosing to see others fully is what keeps us from drowning in our own skulls.
I’ve started applying his 'lizard-brain override' technique. When my neighbor’s dog barks endlessly, instead of fuming, I imagine the old man who owns it might be deaf and unaware. Does it always work? Nope. But that’s the beauty—Wallace admits it’s exhausting work. Compassion here isn’t saintly; it’s gritty, repetitive, and totally worth the effort.
David foster Wallace's 'This Is Water' hit me like a lightning bolt during a particularly grumpy commute. It’s not some preachy self-help spiel—it’s a raw, funny, and uncomfortably accurate mirror held up to our default-setting selfishness. The grocery store example? Genius. Wallace paints this mundane scenario where everyone around you seems like an obstacle, then flips it: What if that screaming kid is terrified, or the cashier’s working a double shift after her chemo session? That shift from 'the world revolves around me' to 'everyone’s fighting invisible battles' is where real compassion grows.
What sticks with me is how he frames awareness as an active choice, not some fluffy virtue. You don’t just wake up compassionate—you practice noticing the humanity in irritating moments. When I catch myself raging at slow walkers now, I hear Wallace’s voice: 'This is water.' It’s not about being perfect; it’s about interrupting your own ego long enough to choose kindness. That’s why the speech resonates years later—it treats compassion as a rebellious act against our natural pettiness.
2026-01-03 12:04:34
10
View All Answers
Scan code to download App
Related Books
The beautiful world embraces you
Daisy
10
2.7K
“The beautiful world embraces you” is a story that is not too dramatic and full of drama. It is simply a love story between two very honest characters. Chan Phong -is a boy who cares deeply about his childhood friend, but an incident occurs that makes him entangled in plots and hatred. An Thu - a girl with a pitiful situation, always living in sadness, she only has a friend, Chan Phong, who has been with her to overcome all childhood sorrows, suddenly when the family separates, it's time. Her best friend left her. With the same pain and hatred, they finally met again at the age of 18, in a new environment but did not recognize each other, hurting each other. Through many trials, will they find each other again? Their love may not be the prettiest, but it is certainly the truest. Trials do not make our love worse but make us stronger and better.
The floodwaters were about to swallow our home, yet my wife—the captain of the rescue team—took every last member with her to save the man she had always loved.
That was when I realized she had been reborn too.
In our previous life, the moment she heard I was in danger, she had rushed to save me without hesitation. Because of that, she missed his call.
He fell into a depressive episode and took his own life.
But before he died, he posted online, accusing me of bullying him throughout our school years—and of stealing the woman he loved.
After his death, the internet turned on me. I became the target of relentless harassment.
My wife said she didn't blame me. She treated me as she always had.
Yet, on what would have been his birthday, she broke both my limbs—and my mother's as well. Then, in front of his grave, she shoved the two of us into a folded bathtub.
"If I'd known you bullied Nathan all those years, I would never have married you! You could swim, yet you deliberately called me to save you. It's all your fault—Nathan wouldn't have killed himself otherwise!"
I listened to my mother's agonized cries as despair swallowed me whole.
And then I died.
When I opened my eyes again, I was back on the day of the flood.
This time, she could save her beloved. I won't stand in her way.
An unscrupulous company discharges toxic wastewater into the river, causing my whole family to be poisoned because we rely on that river for survival.
Everyone in my family, including my aunts and uncles, lives in the same village. We're all waiting for an urgent antidote delivery to save our lives.
My boyfriend is Harrison Somers, and his company is the only one with the antidote. So, I ask him for it. He agrees to come but doesn't show up after a long time.
Ultimately, my family members die after being tormented by the toxic wastewater because they don't have the antidote.
Meanwhile, Harrison shows up at the hospital with his childhood sweetheart because she accidentally sliced her finger while peeling a fruit.
My CEO husband, Clayton Lockwood, was convinced I was a gold digger.
Every time he went to comfort his first love during her depressive episodes, he would buy me a limited-edition bag.
After half a year of marriage, my walk-in closet was filled with them.
After giving ninety-nine bags, he noticed I had changed.
I no longer cried my heart out or argued until I was hoarse when he visited his first love.
I also did not brave the storm and cross the city anymore just because he said he wanted to see me.
I only asked him for a rosary for our unborn child.
When I mentioned our child, Clayton’s gaze softened. “Once Ruby’s condition improves, we’ll go to the hospital for a checkup first, then get a rosary.”
I obediently agreed.
Little did he know that I had a miscarriage ten days earlier.
I had also prepared a divorce agreement that was ready for his signature.
A civil war is on the verge of erupting in the western part of Africa, Nigeria. Two boys are lost in the shadow of the war and must make their way out of the dark shadows. No matter what it takes.
When a ferocious storm tore through our town, Frank Turner risked his life to save me from being swept off our balcony's edge.
Grateful, I finally said yes to his relentless marriage proposals.
From then on, he treated me like royalty, fussing over every sniffle.
To the world, he was the gold standard of devotion. But two years into our marriage, his warmth faded.
When crippling stomach pain left me doubled over, he brushed it off, claiming work demanded his night.
I went to find him, only to catch him in a steamed-up car with a girl, both stripped bare.
My fairy-tale marriage shattered like glass.
Turning around, I booked a flight and left the country.
Frank tore the city apart looking for me, but it was too late.
Reading 'This Is Water' feels like being handed a mirror that reflects the mundane routines we often drown in without realizing it. David Foster Wallace’s commencement speech-turned-essay isn’t just about awareness; it’s about the exhausting, daily choice to resist default-setting—letting our brains autopilot through irritation at traffic jams or supermarket queues. The real lesson? You can choose to see the checkout line as a shared human experience rather than a personal inconvenience. It’s exhausting work, but that’s the point: empathy and meaning aren’t passive states. They’re muscles you flex, even when it’s easier to default to cynicism.
What sticks with me most is Wallace’s brutal honesty about education’s purpose. It’s not about knowledge accumulation but learning 'how to think'—which really means learning how to wrestle your ego into submission. The 'water' metaphor isn’t just poetic; it’s a reminder that the most obvious realities (like the fact that everyone around you has inner lives as vivid as yours) are the hardest to perceive. I revisit this whenever I catch myself mentally narrating life as if I’m the main character and everyone else is an NPC.
During my commute yesterday I found myself thinking about 'This is Water' and how it feels like a cheat code for everyday mindfulness. David Foster Wallace's core idea — that the default setting of our minds runs on autopilot judgments and self-centered narratives — maps so cleanly onto modern mindfulness practices. Instead of meditation apps promising zen in five minutes, 'This is Water' asks a quieter question: what do you choose to pay attention to? That resonated with me because attention is the currency of both a hectic city commute and a binge-watching session of 'Neon Genesis Evangelion' where every frame demands focus.
What I love is how the speech complements formal techniques: when I sit for a short breath-count, I’m practicing the same freedom Wallace talks about — choosing perspective. Mindfulness gives a toolkit (breathing, body scans, noting thoughts), while 'This is Water' gives the ethic behind the tools — to be compassionate, to resist default solipsism. It’s practical too: pausing for three breaths before responding to an angry email or taking a mindful snack break instead of scrolling through social feeds can shift my whole day.
So for me these ideas blend into a daily rhythm: small, intentional moments of noticing, mixed with a broader project of choosing kindness. The payoff isn’t dramatic enlightenment; it’s less reactivity, more curiosity, and the occasional surprising sense that life, even in traffic or on the 7th episode of a show, can be inhabited with a little more grace. I keep coming back to it — it’s oddly motivating.