David Wallace - Infinite jest

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Infinite Jest
Infinite Jest
On this outrageous frame hangs an exploration of essential questions about what entertainment is, and why it has come to so dominate our lives; about how our desire for entertainment interacts with our need to connect with other humans; 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. The huge cast and multilevel narrative serve a story that accelerates to a breathtaking, heartbreaking, unfogettable conclusion. It is an exuberant, uniquely American exploration of the passions that make us human and one of those rare books that renew the very idea of what a novel can do.

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Light shone from the crack of Tavis’s inner door because the outer door stood open. Pemulis didn’t even have to put any kind of ear to the wood of the inside door. He could hear the hiss and high-speed grind of Ta vis’s Stairßlaster, and Ta vis’s breathless recessive voice. You could tell there was nobody else in there. You could tell Tavis had no shirt on and an E.T.A. towel around his neck and his hair a sweaty curtain down one side of his little head as he ran to keep up with what reminded everybody of a Satanishly-possessed Filene’s escalator. He was exhorting himself in a kind of fast rhythmic chant that sounded to Pemulis like either Total worry total worry’ or ‘No don’t worry no don’t worry’ and c. Pemulis could envision Tavis’s round belly and little titties of fat bouncing with the action of the Stairßlaster. You could hear the sudden muffling when he probably brought the towel up to dab at his slanted mustache. Tavis’s doorknob had no insulating rubber sheath, Pemulis noticed.

Pemulis’s ensemble’s belt was a plastic thing with chintzy fake-Navajo beading, purchased by little Chip Sweeny at one of last fall’s Whataßurger’s souvenir stands and subsequently transferred to Pemulis during a Big Buddy tennis-as-game-of-chance exercise. The beading-patterns were in Gila-monster orange and black, the orange a different shade than Pemulis’s tur-tleneck.

He could never resist biting down once a mint’d melted to a certain size and texture.

The doorless Dean of Academic Affairs’s office was a blazing rectangle of light. The light didn’t spill very far into the reception area, however. At close-range, sounds issued from the office, but not exactly words. Pemulis checked his fly and snapped his fingers under his own nose and assumed a businesslike stride and rapped firmly on the doorless jamb without breaking stride. The heavier blue shag of the office itself slowed him down a bit. He stopped once he was all the way in. 18-A John Wayne and Hal’s Mumsly-Wumsly were both in the front of the office. They were about maybe two meters apart. The room was lit overhead and by four standing lamps. The seminar table and chairs cast a complicated shadow. Two homemade pompoms of shredded paper and what looked like the amputated handles of wooden tennis racquets were on the seminar table, which was otherwise bare. John Wayne wore a football helmet and light shoulderpads and a Russell athletic supporter and socks and shoes and nothing else. He was down in the classic three-point stance of U.S. football. Inc’s incredibly tall and well-preserved mother Dr. Avril Incandenza wore a little green-and-white cheerleader’s outfit and had one of deLint’s big brass whistles hanging around her neck. She was blowing on the whistle, which appeared to be minus the little inside pellet because no whistling sound resulted. She was about two meters from Wayne, facing him, doing near-splits on the heavy shag, one arm up and pretending to blow the whistle while Wayne produced the classic low-register growling sounds of U.S. football. Pemulis made rather a show of pushing the bumpkin-billed yachting hat back to scratch his head, blinking. Mrs. Inc was the only one looking at him.

‘I probably won’t even waste everybody’s time asking if I’m interrupting,’ Pemulis said.

Mrs. Inc seemed frozen in place. Her one hand was still up in the air, fine fingers splayed. Wayne craned his neck to look over at Pemulis from under his helmet without changing his three-point stance. The football-noises trailed off. Wayne’s got a narrow nose and close-set witchy eyes. He wore a plastic mouthguard. The musculature of his legs and buttocks was clearly outlined as he squatted forward with his weight on his knuckles. There was way less time passing in the office than there seemed to be.

‘Hoping for a second of your time,’ Pemulis told Mrs. Inc. He was standing schoolboy-straight, hands clasped demurely over his fly, which on Pemulis this posture did look insolent.

Wayne straightened up and moved toward his clothing with no little dignity. His sweats were neatly folded on the Dean’s desk at the rear of the office. The mouthguard was attached to the facemask and hung from it when removed. The chin strap had several snaps Wayne had to undo.

‘Nice-looking helmet,’ Pemulis told him.

Wayne, pulling hard on his sweatpants’ cuffs to fit them over a shoe, didn’t reply. He was so fit that his supporter’s straps didn’t even dent his buttocks.

Mrs. Incandenza removed the mute whistle. She was still split down on the floor. Pemulis made rather a show of not looking south of her face. She pursed her lips to chuff hair out of her eyes.

‘I predict this’ll take about two minutes at most,’ Pemulis said, smiling.

WEDNESDAY 11 NOVEMBER YEAR OF THE DEPEND ADULT UNDERGARMENT

Lenz wears a worsted topcoat and dark slacks and Brazilian loafers with a high-wattage shine and a disguise that makes him look like Andy Warhol with a tan. Bruce Green wears a cheesy off-the-rack leather jacket of stiff cheap leather that makes the jacket creak when he breathes.

‘This is when you man this is when you find out your like what like true character, is when it’s pointed right at you and some bugeyed fucking spic’s not five mitts [230]away pointing it, and I strangely I get real calm see and said I said Pepito I said I Pepito man you go on and do what you need to do man go on and shoot but man you better I mean fucking better kill me with the first shot man or you won’t get another one I said. Not even bullshitting man I’m serious it’s like I found right then I meant it. You know what I’m saying?’ Green lights both their smokes. Lenz exhales with that hiss of people in a rush to drive their point home. ‘You know what I’m saying?’

‘I don’t know.’

It’s an urban November P.M.: very last leaves down, dry gray hairy grass, brittle bushes, gap-toothed trees. The rising moon looks like it doesn’t feel very well. The click of Lenz’s loafers and the crunchy thud of Green’s old asphalt-spreader’s boots with the thick black soles. Green’s little noises of attention and assent. He says he’s been broken by life, is all he’ll personally say. Green. Life has kicked his ass, and he’s regrouping. Lenz likes him, and there’s always this slight hangnail of fear, like clinging, whenever he likes somebody. It’s like something terrible could happen at any time. Less fear than a kind of tension in the region of stomach and ass, an all-body wince. Deciding to go ahead and think somebody’s a stand-up guy: it’s like you drop something, you give up all of your power over it: you have to stand there impotent waiting for it to hit the ground: all you can do is brace and wince. It kind of enrages Lenz to like somebody. There would be no way to say any of this out loud to Green. As it gets past 22OOh. and the meatloaf in his pocket’s baggie’s gotten dark and hard from disuse the pressure to exploit the c. 2216 interval for resolution builds to a terrible pitch, but Lenz still can’t yet quite get it up to ask Green to walk back some other way at least once in a while. How does he do it and still have Green know he thinks he’s OK? But you don’t come right out there and let somebody hear you say you think they’re OK. When it’s a girl you’re just trying to X it’s a different thing, straightforwarder; but like for instance where do you look with your eyes when you tell somebody you like them and mean what you say? You can’t look right at them, because then what if their eyes look at you as your eyes look at them and you lock eyes as you’re saying it, and then there’d be some awful like voltage or energy there, hanging between you. But you can’t look away like you’re nervous, like some nervous kid asking for a date or something. You can’t go around giving that kind of thing of yourself away. Plus the knowing that the whole fucking thing’s not worth this kind of wince and stress: the whole thing’s enraging. The afternoon of tonight earlier at circa 1610h. Lenz’d sprayed RIJID-brand male hairspray in the face of a one-eyed Ennet House stray cat that had wandered by mischance into the men’s head upstairs, but the result: unsatisfying. The cat had just run away downstairs, clunking into the bannister only once. Lenz then got diarrhea, which always disgusts him, and he had to stay in the head and open the little warped frosted-glass window and run the shower on C until the smell’s evidence cleared, with fucking Glynn pounding on the door and attracting attention howling about who’s flailing the whale in there all this time is it by any chance Lenz. But then how would he be supposed to act henceforward toward Green if he blows him off and says to let him walk solo home? How would he be supposed to act if it’d seemed like he’d like spurned Green? What does he henceforward say if he and Green pass each other in the aisle at Saturday Night Lively or both reach for the same sandwich at the raffle-break at White Flag, or get caught standing there half-naked in towels in the hall waiting for somebody to get out of the shower? What if he like spurns Green and Green ends up in the 3-Man room while Lenz is still in there and they have to room together and interface constantly? And if Lenz tries to temper the spurning by telling Green he likes him, where the fuck is he supposed to look when he says it? If trying to X a female species Lenz would have nullo problemo with where to look. He’d have no problem with looking deep into some bitch’s eyes and looking so sincere it’s like he’s dying inside him. Or if like assuring a bad-complected Brazilian he hadn’t stepped on a half-kilo three separate times with Ino-sitol. [231]Or if high: zero problem. If he got high, he’d have no problem telling somebody he liked him even if he really did. For it’d give his spirits a voltage that’d more than overweigh whatever upsetting voltage might hang in the air between somebody. A few lineskers and there’d be no stress-issues about telling Bruce G. with all due respects to screw, go peddle his papers, go play in the freeway, go play with a chain saw, go find a short pier, that no disrespect but Lenz needed to fly solo in the urban night. So after the incident with the cat and diarrhea and some hard words with D. R. Glynn, who was slumped holding his abdomen down against the south wall of the upstairs hall, Lenz decides enough is enough and goes and gets a little square of foil off the industrial roll Don G. keeps under the Ennet sink and goes and takes a half-gram, maybe a gram at most out of the emergency stash out of the vault-thing he’s razored out of the Principles of Natural Lectures. Far from your scenario of relapsing, the Bing is medicinal support for assertively sharing his need for aloneness with Green, so that issues of early sobriety can get resolved before standing in the way of spiritual growth — Lenz will use cocaine in the very interests of sobriety and growth itself.

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