David Wallace - Infinite jest

A tall silent hard-looking old black-haired BLTN-Group veteran has the terse and hateful single word PUSSY in what’s faded to pond-scum green down one liver-spotted forearm; but yet the fellow transcends even stoic regret by dressing and carrying himself as if the word simply wasn’t there, or was so irrevocably there there was no point even thinking about it: there’s a deep and tremendously compelling dignity about the old man’s demeanor w/r/t the PUSSY on his arm, and Ewell actually considers approaching this fellow re the issue of sponsorship, if and when he feels it’s appropriate to get an AA sponsor, if he decides it’s germane in his case.

Near the conclusion of this two-month obsession, Tiny Ewell approaches Don Gately on the subject of whether the jailhouse tattoo should maybe comprise a whole separate phylum of tattoo. Ewell’s personal feeling is that jailhouse tattoos aren’t poignant so much as grotesque, that they seem like they weren’t a matter of impulsive decoration or self-presentation so much as simple self-mutilation arising out of boredom and general disregard for one’s own body and the aesthetics of decoration. Don Gately’s developed the habit of staring coolly at Ewell until the little attorney shuts up, though this is partly to disguise the fact that Gately usually can’t follow what Ewell’s saying and is unsure whether this is because he’s not smart or educated enough to understand Ewell or because Ewell is simply out of his fucking mind.

Don Gately tells Ewell how your basic-type jailhouse tatt is homemade with sewing needles from the jailhouse canteen and some blue ink from the cartridge of a fountain pen promoted from the breast pocket of an unalert Public Defender, is why the jailhouse genre is always the same night-sky blue. The needle is dipped in the ink and jabbed as deep into the tattooee as it can be jabbed without making him recoil and fucking up your aim. Just a plain ultraminimal blue square like Gately’s got on his right wrist takes half a day and hundreds of individual jabs. How come the lines are never quite straight and the color’s never quite all the way solid is it’s impossible to get all the individualized punctures down to the same uniform deepness in the, like, twitching flesh. This is why jailhouse tatts always look like they were done by sadistic children on rainy afternoons. Gately has a blue square on his right wrist and a sloppy cross on the inside of his mammoth left forearm. He’d done the square himself, and a cellmate had done the cross in return for Gately doing a cross on the cellmate. Oral narcotics render the process both less painful and less tedious. The sewing needle is sterilized in grain alcohol, which Gately explains that the alcohol is got by taking mess-hall fruit and mashing it up and adding water and secreting the whole mess in a Ziploc just inside the flush-hole thing of the cell’s toilet, to, like, foment. The sterilizing results of this can be consumed, as well. Bonded liquor and cocaine are the only things hard to get inside of M.D.C. penal institutions, because the expense of them gets everybody all excited and it’s only a matter of time before somebody goes and eats cheese. The inexpensive C–IV oral narcotic Talwin can be traded for cigarettes, however, which can in turn be got at the canteen or won at cribbage and dominoes (M.D.C. regs prohibit straight-out cards) or got in mass quantities off smaller inmates in return for protection from the romantic advances of larger inmates. Gately is right-handed and his arms are roughly the size of Tiny EwelPs legs. His wrist’s jailhouse square is canted and has sloppy extra blobs at three of the corners. Your average jailhouse tatt can’t be removed even with laser surgery because it’s incised so deep in. Gately is polite about Tiny Ewell’s inquiries but not expansive, i.e. Tiny has to ask very specific questions about whatever he wishes to know and then gets a short specific answer from Gately to just that question. Then Gately stares at him, a habit Ewell tends to complain about at some length up in the Five-Man Room. His interest in tattoos seems to be regarded by Gately not as invasive but as the temporary obsession of a still-quivering Substanceless psyche that in a couple weeks will have forgot all about tattoos, an attitude Ewell finds condescending in the extremus. Gately’s attitude toward his own primitive tattoos is a second-category attitude, with most of the stoicism and acceptance of his tatt-regret sincere, if only because these irrevocable emblems of jail are minor Rung Bells compared to some of the fucked-up and really irrevocable impulsive mistakes Gately’d made as an active drug addict and burglar, not to mention their consequences, the mistakes’, which Gately’s trying to accept he’ll be paying off for a real long time.

Michael Pemulis has this habit of looking first to one side and then over to the other before he says anything. It’s impossible to tell whether this is unaffected or whether Pemulis is emulating some film-noir-type character. It’s worse when he’s put away a couple ‘drines. He and Trevor Axford and Hal Incandenza are in Pemulis’s room, with Pemulis’s roommates Schacht and Troeltsch down at lunch, so they’re alone, Pemulis and Axford and Hal, stroking their chins, looking down at Michael Pemulis’s yachting cap on his bed. Lying inside the overturned hat are a bunch of fair-sized but bland-looking tablets of the allegedly incredibly potent DMZ.

Pemulis looks all around behind them in the empty room. ‘This, Incster, Axhandle, is the incredibly potent DMZ. The Great White Shark of organo-synthesized hallucinogens. ‘The gargantuan feral infant of—’

Hal says ‘We get the picture.’

‘The Yale U. of the Ivy League of Acid,’ says Axford.

‘Your ultimate psychosensual distorter,’ Pemulis sums up.

‘Think you mean psycho sensory , unless I don’t know the whole story here.’

Axford gives Hal a narrow look. Interrupting Pemulis means having to watch him do the head-thing all over again each time.

‘Hard to find, gentlemen. As in very hard to find. Last lots came off the line in the early 70s. These tablets here are artifacts. Certain amount of decay in potency probably inevitable. Used in certain shady CIA-era military experiments.’

Axford nods down at the hat. ‘Mind-control?’

‘More like getting the enemy to think their guns are hydrangea, the enemy’s a blood-relative, that sort of thing. Who knows. The accounts I’ve been reading have been incoherent, gistless. Experiments conducted. Things got out of hand. Let’s just say things got out of control. Potency judged too incredible to proceed. Subjects locked away in institutions and written off as casualties of peace. Formula shredded. Research team scattered, reassigned. Vague but I’ve got to tell you pretty sobering rumors.’

‘These are from the early 70s?’ Axhandle says.

‘See the little trademark on each one, with the guy in bell-bottoms and long sideburns?’

‘Is that what that is?’

‘Unprecedentedly potent, this stuff. The Swiss inventor they say was originally recommending LSD-25 as what to take to come down off the stuff.’ Pemulis takes one of the tablets and puts it in his palm and pokes at it with a callused finger. ‘What we’re looking at. We’re looking here at either a serious sudden injection of cash —’

Axford makes a shocked noise. ‘You’d actually try to peddle the incredibly potent DMZ around this sorry place?’

Pemulis’s snort sounds like the letter K. ‘Get a large economy-size clue, Axhandle. Nobody here’d have any clue what they’d even be dealing with. Not to mention be willing to pay what they’re worth. Why, there are pharmaceutical museums, left-wing think tanks, New York designer-drug consortiums I’m sure’d be dying to dissect these. Decoct like. Toss into the spectrometer and see what’s what.’