Without getting into the personal history of DFW, I think it's OK to love the art but not the artist. I certainly like lots of music like that. Clearly, from the noise arising before and after the movie-depiction of "Although of course you end up becoming yourself", the life of the artist will be dissected in modern society no matter the consensus. I've read right on into Byung Chul Han a decade later which I find resplendent for exactly the opposite reasons: minimalist vs. maximalist expression. To me, DFW was fun reading since he used a sideways default mode in writing to demonstrate that the future held this sideways aspect at its core. He'd tease us with "are you going with me" as if that sideways writing was the tunnels at Shangri-La and DFW were Bill Moyers. Except the hard part is cookie crumbing your way back from that leaf node mentally. In other words, breadth-first-search is fine in brain-space but comes with high cognitive cost of losing yourself (in cognitive psychology function) or others (in social psychology function) or maybe that was the point of the art? I find the same effect in reading Byung Chul Han because his aphoristic style leaves my brain puzzling to remember the Greeks and assimilate that knowledge with the mental wormhole he's shoved me down - which is, perhaps ironically, exactly the same reason I love conversing with AI: I can't see it coming... giving the reading an epiphanous spiritual effect.