As noted the other day, there’s currently a group reread of Infinite Jest in progress on the wallace-l mailing list. We’re only on the second week of it, so there’s time to catch up if you’re interested. I introduced pages 49 – 87 last night and have pasted in my introduction below. If you find it at all enticing, be sure to tune in via the list, as the discussion that follows these intro posts tends to be really good. If you fall asleep or die before you manage to get to the end of this thing, I’ll hardly blame you. Since this is a reread, the spoiler rule’s out the window.
Main things that happen and concepts that appear in this section:
- Hal gets covertly high.
- Oh look, an underworld in the form of tunnels (even including a sort of limbo for the poor protectors).
- Gately dons a toothbrush.
- A weird detached list on page 60 that I didn’t give any attention to below but that maybe merits some attention for its weird detachedness.
- Note 21, the first of a series of inter-referential notes.
- A face in the floor (and other nightmares).
- Note 24, the filmography (brace yourself).
- Orin in cardinal gear, reluctantly.
- Pemulis teaches his little buddies about shrooms.
- Kate Gompert, reluctant to admit to a pot addiction, wants ECT.
- The medical attaché’s wife comes home to find him enthralled. Others follow.
- Schtitt and Mario go for ice cream.
- Tiny Ewell goes to detox.
I actually write about very little of that stuff below.
A theme that runs through this section and in fact through the whole book so far is failure to communicate. It begins of course with Hal at the university and moves back through time to Hal being interviewed by a father who doesn’t believe he speaks. But we also see it in things like Erdeddy’s inability to choose between answering the phone and the door, his habit of cutting off communication with anyone he’s dealt with before to get pot. We see it also in Gompert, who for example displays sometimes a flat affect and sometimes forced facial expressions (recall Hal at the beginning) while speaking with a singsongy voice that leaves the doctor (also trying hard to communicate using both voice and mannerism) confused.
I think there’s also some interesting stuff pertaining to communication going on in the end notes. For one thing, they are themselves a sort of barrier to direct communication, and even today I think sometimes about skimming the ones that just give drug info or don’t seem to relate in terribly important ways to the main story. In the big note 24, the matter of communication gets really out of hand, though. The editors of the book that the note quotes haven’t seen some of the films they describe, for example (some of which weren’t ever filmed), and yet they write about them, communicating in some cases non-information, which if you think about it is very strange indeed.
Consider the film Annular Amplified Light: Some Reflections. Well, its title is a silly pun, first off, but that’s superficial. It’s got sound and is sign-interpreted for the deaf, but although it purports to be a “nontechnical explanation of the applications of cooled-photon lasers in DT-cycle lithiumized annular fusion,” it’s hard to imagine that one could do such a topic any justice in a nontechnical film, much less in one whose almost certainly specialized language it’s hard to imagine could be signed efficiently.
And: Union of Nurses in Berkeley, silent and closed-captioned interviews with hearing-impaired RNs and LPNs. I suppose it’s silent either to elicit a sort of empathy with the interviewees or maybe to avoid what could be a comical treatment of audible interviews of people whose pronunciation and enunciation may have suffered thanks to their hearing impairment. It’s a strange audiovisual blend, at any rate, that seems to be fooling around with ways in which people communicate.
And: Cage II in which a blind convict and a deaf-mute convict placed in solitary confinement attempt to figure out ways of communicating with one another. This is a bad joke, of course (and calls to mind the old Wilder/Prior movie), but it also demonstrates a concern with how people manage to connect. It’s a wonder this one wasn’t at least captioned if not signed.
And: Death in Scarsdale, in color, silent, with closed-caption subtitles, which almost becomes hard to visualize once you’ve got all this business on the brain. In this one, an endocrinologist begins to sweat excessively while treating a boy who sweats excessively, which again, with this stuff on the brain and maybe under no other circumstance, makes me think of things like how you never stutter until you find yourself speaking with somebody who stutters, when you suddenly start channeling Porky Pig out of maybe sympathy or self-consciousness.
A couple of the other films are sign-interpreted as well, and in general, JOI’s films demonstrate an awareness of the interplay between sight and sound, different ways of perceiving things, of being perceived, and of being perceived while perceiving things such that you morph from subject into object and back into subject again.
All of this of course is mediated through films and (usually) soundtracks themselves devised by makers whose communication with you is from the past and not at all personal, which can be a little creepy if you think about it too much. And all of that is further mediated through a book of fiction and yet further through end notes that put it at an even greater distance.
Early in the book we’re exposed to Hal’s precocity with respect to grammar and usage, given to him by good old Avril. She and Steven Pinker make appearances in the filmography in a silent, closed-captioned film documenting a grammar convention. This strikes me as kind of funny and really quite interesting, since closed-captioning would have the effect of memorializing in print the words spoken by the grammarians. Grammar being generally a little looser for even the strident among us when speaking aloud than when writing formally, the idea of capturing in print any non grammatical speech by these super-grammarians would be kind of tantalizing, and of course I can imagine that making the viewers of the film read the language while connecting it to the images moving onscreen could have a weird effect (in the way that watching subtitled films if you’re not accustomed to doing so can make a movie a lot of work and hard to trust that you’ve really grokked). I guess it’s worth noting that though Hal speaks, his father hears no words coming from him, and this film seems to capture the effect.
Grammar of course is just a map of our language. Descriptivists will say that if it’s spoken naturally by a native speaker, it’s grammatical and ought to be recorded, while prescriptivists tend more to demand adherence to an existing set of written rules. (This is a gross oversimplification, I know.) In either case, we can see grammar as a sort of map of language, and the main thing at issue is whether the map ought to change along with the terrain or not. “Map” and “terrain” turn out to be loaded terms when talking about IJ, of course, and they make appearances in the filmography, if obliquely. In the most oblique treatment, we see Every Inch of Disney Leith, in which the eponymous man has his innards mapped. Comically, the title uses the Imperial measure, while in the film he listens to a forum on metricization in North America, which is another way of communicating the same things using different terms. Later, in No Troy, we learn about the erasure of Troy, NY from both terrain and map (by, explicitly, cartographers). Sort of humorously, archivists don’t list the title by the name given here but variously use the names The Violet City and The Violet Ex-City.
So then to me the threads of language as communication, language as a construct (i.e., grammar), and map/terrain — which roughly corresponds to the relationship between language as construct and language as communication — begin to become intertwined very early in the novel in the notes about the filmography, which is itself, of course, nothing if not a map whose aim is to relate the technical features of JOI’s films with what they communicated across his career.
Every time I read the filmography, I spot some new fun detail I had either overlooked or forgotten or just not given enough thought to on previous reads.This time it was the appearance of C.N. (presumably Charles Nelson) Reilly as a narrator in a couple of the early, sign-interpreted documentaries. The idea of CNR as a narrator on a documentary (even a whimsically titled, nontechnical one) is kind of a laugh, and then the idea of someone trying to interpret his self-interrupting, story-nesting style for the deaf is even more comical. Maybe he’d stick a bit closer to the cards in a documentary, though. But it’s also worth noting that CNR was basically ubiquitous in the 70s and 80s, crossing stage, film, and TV shows in the form of game shows, talk show appearances, and television series, so that it’s hardly inconceivable that an aging CNR would dip his wick into the documentary wax late in life (and yet no less the funnier). This inter-”text”-uality all seems kind of relevant to the sort of things Wallace was considering in “E Unibus Pluram,” which of course informs a lot of IJ.
I also love how you can see little sub-plots within the filmography if you pay attention to the names. For example, P.A. Heaven becomes Paul Anthony and then goes back to using initials, and one wonders why. And Soma Richardson-Levy apparently marries an O-Byrne and later a Chawaf (also credited within the filmography) and just keeps collecting hyphenated suffixes to her name. Then of course there’s the interplay of the films with things happening in JOI’s life and at ETA.
Now moving away from the end notes for a bit, I’ll note that I like how Wallace is already setting us up for things to come with little one-off references to things like the O.S.U.O.S, cartridges (note 18, page 58), DMZ/M.P. (note 8), DuPlessis, experialism, and annular hyperfloration cycles. These things are easy to read past but all become pretty important later, so it’s neat on a reread to see where he’s left these little breadcrumbs.
It’d be just short of criminal not to at least mention the face in the floor dream even if I don’t say much about it. I love that whole passage, and the way he just slips the face in there is horrifying and I suppose embodies the thing we’ve read before about how the thing that’s great about Lynch’s surrealistic horror is that almost everything has to seem normal for the really bad thing to be really bad.
I haven’t even touched on Schtitt and Mario or on similarities between some of the things we learn about Erdeddy and Gompert, but I’m really just out of wind, and so, I imagine, are you. I feel like the filmography tends to get short shrift, so maybe I’ve corrected that some (however clumsily and single-purposedly) and others can fill in the other huge gaps I’ve left.
A couple of years ago, I got a copy of William Gass’s The Tunnel and burned through the first 100 or 200 pages of it before some shiny object distracted me and I put the book down. I had considered starting up a group read here sometime to force myself to pick the book back up and finish it. In fact, it was included among options for future reads on a poll I posted after the Gravity’s Rainbow read. Well, Scott Esposito over at Conversational Reading has scheduled a group read on the coattails of Gaddis’s J R. If you’re game, you can see the (I think) ambitious schedule here. Although I doubt I’ll have it in me to write much about the book, I hope at least to read along.
In progress on the wallace-l mailing list is a reread of Infinite Jest. This reread is part of why I won’t be putting as much time as I’d like into The Tunnel. I haven’t reread IJ since Infinite Summer a few years ago, and I had been wanting to. When D.T. Max’s biography came out, it made me really want to dig back into Wallace’s book again. And then the wallace-l reread was proposed and I was hooked. You can get a peek at the schedule here. I’ll be introducing the second chunk on the mailing list in a couple of days. It won’t be a group read proper here at IZ, so if you want to play, I encourage you to subscribe to the mailing list, where you’ll get a broader and smarter range of opinions and interpretations than mine anyway.
I hate that these reads are happening at the same time, as the result’ll be that I’ll do kind of half-assed reads of both. I’ve been through IJ enough times that I can afford to half-ass it, but The Tunnel‘s a different story. Still, I can’t resist trying to keep up with IJ too.
Over the weekend, I read D.T. Max’s biography of David Foster Wallace entitled Every Love Story is a Ghost Story. If you’re reading this, it seems vanishingly unlikely that you haven’t first heard about the biography elsewhere. So in a way, I feel silly even mentioning it because my doing so seems a little bit like cheering for a game that’s already over. All the people whose opinions people want to hear have already spoken up. But it’s a book about stuff that’s important to me, so I also feel weird just not saying anything at all.
I had written a long rambly thing connecting my affinity with Wallace’s work when I first encountered it in the form of Infinite Jest 15 years ago to an affinity that Holden Caulfield expresses for Thomas Hardy and Ring Lardner. It was self-indulgent and stupid and all a round-about way of saying that Wallace’s work has been a major influence on the way I read, write, think (and think about thinking), and live.
Unsatisfied with the long preface I had written for what would be a very brief review of Max’s book, I put it aside and thought about abandoning it. But then a few comments about the book landed on the wallace-l email list, one of which curtly described the book as “thin.” A follow-up comment expanded by saying that the biography gave us little that we didn’t already pretty much know from Wallace’s own words in his books and interviews.
Well, this is partially true. But I think it also misses the point. You can’t exactly pry secrets from a ghost, and there’s something grave-robberish about digging for too much grit from family and friends for whom Wallace’s death is still no doubt a bit of a wound. Although Max does give a fair amount of background about Wallace’s early struggles both personal and authorial, it tapers off substantially as we move to Wallace’s years post-Infinite Jest. If you’re hoping to read Wallace’s suicide note or to learn lots of new information about the circumstances of his last decline and death, you’ll be disappointed; there’s very little substantially new information here about his last days beyond what came out in a couple of long articles shortly after Wallace’s death.
Every Love Story is a Ghost Story is a book more about drawing broad lines between things that happened in Wallace’s life and things that appeared in his writing than about divulging every nasty or saintly thing he ever did. Although the author of the “thin” comment seems to have wanted the latter, I’m grateful that Max gave us the former. I feel like it helped me to better understand Wallace’s Gately-ish transformation as both he and his work matured, which made me feel good about where Wallace had been headed, if also really sad about where he wound up.
I think a book divulging many more details of Wallace’s life would have been simply sordid. And a book doing much more in the way of line-drawing and analysis would have been tiresome and speculative. What Max gives us instead is a book that provides a comfortable balance of detail and analysis. It’s a sympathetic and gentle book in the way that David Lipsky’s Although of Course You End Up Becoming Yourself was, and like Lipsky’s book, I think Max’s is a sort of gift.
A quick program interruption here to announce Infinite Boston, in which a fan of David Foster Wallace’s work shares photos of some of the real life places in Boston that we find referenced (some modified, some not) in Infinite Jest. So far, he’s covered the Enfield Marine Public Health Center, Ennet House, Comm. Ave., the Green Line’s T-Stop, Enfield Tennis Academy, and several other spots. If you played along with Infinite Summer a few years ago or are just a fan of Wallace’s work, it’s definitely worth a look.
Unit #4, more or less equidistant from both the hospital parking lot and the steep ravine, is a repository for Alzheimer’s patients with VA pensions. #4′s residents wear jammies 24/7, the diapers underneath giving them a lumpy and toddlerish aspect. The patients are frequently visible at #4′s windows, in jammies, splayed and open-mouthed, sometimes shrieking, sometimes just mutely open-mouthed, splayed against the windows. They give everybody at Ennet House the howling fantods. One ancient retired Air Force nurse does nothing but scream ‘Help!’ for hours at a time from a second-story window. Since the Ennet House residents are drilled in a Boston-AA recovery program that places great emphasis on ‘Asking for Help,’ the retired shrieking Air Force nurse is the object of a certain grim amusement, sometimes. Not six weeks ago, a huge stolen HELP WANTED sign was found attached to #4′s siding right below the retired shrieking nurse’s window, and #4′s director was less than amused, and demanded that Pat Montesian determine and punish the Ennet House residents responsible, and Pat had delegated the investigation to Don Gately, and though Gately had a pretty good idea who the perps were he didn’t have the heart to really press and kick ass over something so much like what he’d done himself, when new and cynical, and so the whole thing pretty much blew over.
‘d been a confarmed bowl-splatterer for yars b’yond contin’. ‘d been barred from t’facilities at o’t’ troock stops twixt hair’n Nork for yars. T’wallpaper in de loo a t’ome hoong in t’ese carled sheets froom t’wall, ay till yo. But now woon dey . . . ay’ll remaember’t'always. T’were a wake to t’day ofter ay stewed oop for me ninety-day chip. Ay were tray moents sobber. Ay were thar on t’throne a’t'ome, you new. No’t'put too fain a point’on it, ay prodooced as er uzhal and … and ay war soo amazed as to no’t'belaven’ me yairs. ‘Twas a sone so wonefamiliar at t’first ay tought ay’d droped me wallet in t’loo, do you new. Ay tought ay’d droped me wallet in t’loo as Good is me wetness. So doan ay bend twixt m’knays and’ad a luke in t’dim o’t'loo, and codn’t belave me’yize. So gud paple ay do then ay drope to m’knays by t’loo an’t'ad a rail luke. A loaver’s luke, d’yo new. And friends t’were loavely past me pur poewers t’say. T’were a tard in t’loo. A rail tard. T’were farm an’ teppered an’ aiver so jaintly aitched. T’luked … constroocted instaid’ve sprayed. T’luked as ay fel’t'in me ‘eart Good ‘imsailf maint a tard t’luke. Me friends, this tard’o'mine practically had a poolse. Ay sted doan on m’knays and tanked me Har Par, which ay choose t’call me Har Par Good, an’ ay been tankin me Har Par own m’knays aiver sin, marnin and natetime an in t’loo’s'well, aiver sin.
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 2200h. 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 that 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.
And a lot of the people in the different brick houses are damaged or askew and lean hard to one side or are twisted into themselves, through the windows, and he can feel his heart going out into the world through them, which is good for insomnia. A woman’s voice, calling for help without any real urgency — not like the screams that signify the Moms laughing or screaming at night — sounds from a darkened upper window. And across the little street that’s crammed with cars everybody has to move at 0000h. is Ennet’s House, where the Headmistress has a disability and had had a wheelchair ramp installed and has twice invited Mario in during the day for a Caffeine-Free Millennial Fizzy, and Mario likes the place: it’s crowded and noisy and none of the furniture has protective plastic wrap, but nobody notices anybody else or comments on a disability and the Headmistress is kind to the people and the people cry in fron tof each other. The inside of it smells like an ashtray, but Mario’s felt good both times in Ennet’s House because it’s very real; people are crying and making noise and getting less unhappy, and once he heard somebody say God with a straight face and nobody looked at them or looked down or smiled in any sort of way where you could tell they were worried inside.
I wish for my death but have not the courage to make actions to cause death. I twice try to roll over the side of a tall Swiss hill but cannot bring myself. I curse myself for cowardice and inutile. I roll about, hoping to be hit by a vehicle of someone else, but at the last minute rolling out of the path of vehicles on Autoroutes, for I am unable to will my death. The more pain in my self, the more I am inside the self and cannot will my death, I think. I feel I am chained in a cage of the self, from the pain. Unable to care or choose anything outside it. Unable to see anything or feel anything outside my pain.
Sometimes Gately would come out of a Demerol-nod and look at pale passive Pamela lying there sleeping beautifully and undergo a time-lapse clairvoyant thing where he could almost visibly watch her losing her looks through her twenties and her face starting to slide over off her skull onto the pillow she held like a stuffed toy, becoming a lounge-hag right before his eyes. The vision aroused more compassion than horror, which Gately never even considered might qualify him as a decent person.
And when he came back to, he was flat on his back on the beach in the freezing sand, and it was raining out of a low sky, and the tide was way out.
My copy of The Pale King is set to arrive in just a couple of days. Several have mentioned doing a group read, but I’m feeling selfish about this book. I kind of want to read it on my own first, to gulp it down at least once before I begin to pick at it like the scab I half fear it will begin to feel like. I don’t intend to participate in a group read right away. Maybe I’d do one in a couple of weeks or a couple of months, or maybe it’ll be a couple of years before I’m up for it. It’s hard to say. Still, this site was founded in response to Infinite Summer, so a response to Wallace’s last seems appropriate.
If there are past participants who would like to use the site as a venue for discussion of The Pale King in the coming weeks, I’ll be happy to set up user accounts and try really hard to look the other way so as to avoid the discussion (which, I’ll admit, will be hard to do). Speak up if you’re game (especially if you want to write for the blog; I’ll decide more or less arbitrarily when to stop adding new bloggers, probably somewhere around the half-dozen-participants-in-all mark). If there seems to be interest, I’ll set things up and let those who wish to drive the read run with it.
Of Katherine Hepburn’s death, Zadie Smith wrote the following:
Two days ago she died, aged ninety-six. I don’t know why I should be surprised, but I was, and when I found out, I wept, and felt ridiculous for weeping. How can someone you have never met make you cry?
I’m not the first to express a similar sentiment about the death of David Foster Wallace. There’s a crucial difference, however. His death, for those of us well outside of his intimate circle, was a very big surprise indeed. Still — Smith gets this part just right — to have felt so ragged after his death felt strange. I felt somehow orphaned.
Intimacy is concentric, and fortunately for those of us stuck in orbit on the outer rings surrounding the bright light that was David Foster Wallace, David Lipsky was admitted to a nearer circle during the final week of the book tour for Infinite Jest. Or, I should say, he was admitted to one slightly more interior circle and seems to have worked his way yet closer. And he recorded it all.
Just out from Broadway Books, Lipsky’s chronicling of a handful of days on the road with Dave (I’m going to call him Dave sometimes from here on out, because it makes me feel better and because the book made me think of him as Dave) might have been a savage, painful read. I expected as much, imagining myself with a box of tissue in a dimly lit room trying once again to work out how a guy like Dave could be gone and what the ramifications of that were for a know-nothing yutz of a no-talent hack like me.
With one minor exception in part of the afterword, Lipsky has avoided the maudlin, and instead of finding myself wallowing in the book and the sadness that attends the realization that its subject is no longer with us, I found it invigorating and validating and playful and fun and mostly delightful.
Lipsky gives us something of a soft landing in the preface, which provides just a teensy bit of background information before setting us gently on our way. The afterword he places curiously before the main body of the text, but even this turns out to be a considerate gesture, for Lipsky wants to leave us with the words of the living Wallace rather than sending us home from the journey with a meditation on his death. Read the afterword when you will, Lipsky advises us, at some break of your own choosing within the text.
I, being sort of rigidly conformist in some ways, chose to read the afterword last, and even that turned out to be an ok decision. For though there was that one crushing moment in the middle of the afterword, Lipsky leaves us with two wonderful things. First, he has given us a picture of Dave as a real live human being (with flaws, yes, but with many personalizing charms as well), which sister Amy had written that she hoped might happen. And second, looking back to a conversation about books as a way of seeking refuge from loneliness, Lipsky closes by saying this lovely thing about his road trip with Dave: “I’d tell him it reminded me of what life was like, instead of being a relief from it, and I’d say it made me feel much less lonely to read.”
This sort of escape from the loneliness of the inner self was, of course, one of Wallace’s projects. Late in the road trip, Dave says, of the particular edge good fiction has over other art forms:
And the big thing, the big thing seems to be, sort of leapin’ over that wall of self, and portraying inner experience. And setting up, I think, a kind of intimate conversation between two consciences.
I am in here.
I’ve listened to many interviews and readings Dave gave, and so I have something of an idea of what he must have been like to listen to. Yet in interviews and readings, people tend to speak in different registers than in everyday life. (I’m reminded of the distinction Dave makes in the grammar essay between time and place for saying “that ursine juggernaut bethought himself to sup upon my person” and “goddamn bear!”) One of the great pleasures of Lipsky’s book for me was his emphasis on Dave’s midwesternisms. They reminded me always that Dave was, mostly (especially after the first day or so of the trip), just a guy having a conversation. Taken in hand with the audio I had previously heard of Dave, they made Lipsky’s transcription seem real and alive. I felt as if I could hear Dave himself speaking the words. It was kind of Lipsky to have emphasized this for us.
Some have complained that Lipsky himself was too present in the text, that he peeks in with a too-high frequency with brief bracketed interpolations. I found the interjections helpful and well-meaning where others have found them self-serving and annoying.
The deeper into the book I got, the more pages I dog-eared, so that by the end, I figured I might as well just enlist the help of a strong friend and fold the corner of the whole book down on itself. The two men talk about movies, parties, fame, loneliness, the genesis of Infinite Jest, and much more, and it’s all riveting.
Lipsky’s book is a real gift. He brings us maybe one concentric ring closer to a sort of intimacy with Wallace, who sought in his work to learn how to leap over (and outward from) the walls of the self in which he was (we are) imprisoned. While Although of Course You End Up Becoming Yourself can’t help but remind us of Wallace’s death, it is most concerned with a pivotal point in his life, and it was — contra my fears — a real joy to read. Gaudeamus igitur.
The New Yorker this week published online an excerpt from David Foster Wallace’s The Pale King that has stirred quite a bit of discussion on the wallace-l mailing list, most of it centering, as the fragment does, on religious feeling. As an atheist myself, I have a tendency to think/wish/hope that smart people I admire are also atheists. It’s strange, I know, but why not hope for an extension of affinities into that area of thought and feeling? Although I don’t feel as if I really need (as in emotionally need) external validation of my position, it’s still neat to share a viewpoint with people you admire. It’s not really clear what Wallace’s beliefs with respect to religion were, though. We know from various sources that he went to church but wasn’t raised religious. He certainly seemed, in Infinite Jest, to acknowledge that there was value in recognizing a higher power. Yet he wasn’t the evangelical sort by any stretch of the imagination, and it’s pretty easy, from where I sit, to imagine that he valued the cultural and communal bits of religion while relying more on secular thought for his personal ethics. We’ll probably never know exactly where he stood in real life. In the new fragment, entitled “All That,” he seems to be pretty open to religion and to a sort of spiritualism.
Here I’ll begin to talk about the story, so if you haven’t read it yet and are anti-spoiler, you might want to mosey on along.
The narrator gives accounts of two events in his life that were instrumental in helping him form a religious sensibility. The first, in which his parents convinced him that a toy truck was endowed with a sort of magic, speaks (I think) to the idea of faith and how the not knowing via evidence that what you have faith in is true is a part of what makes it special. How sad it would be, he suggests, to actually trap the tooth fairy. And, by extension, how disappointing it would be, I suppose, to finally find empirical evidence of God. A belief system constructed around the idea of faith becomes meaningless when faith is no longer a necessity. Magic tricks aren’t as fun to watch once you know how they’re done. Faith, which people like me see as a flaw of religion, may in fact be one of the points and joys of religion.
The second formative event centers on the narrator’s recollection of a movie’s plot and how it differs from his father’s recollection. The difference has less to do with faith than with actions. I guess it has something of love thy neighbor in it. More on that in a moment.
At the heart of both episodes is a sort of duality. The narrator says the following about differing perceptions:
Possibly, though, another cause for the sadness was that I realized, on some level, that my parents, when they watched me trying to devise schemes for observing the drum’s rotation, were wholly wrong about what they were seeing—that the world they saw and suffered over was wholly different from the childhood world in which I existed.
Later, we have the father and son’s vastly different recollections of the movie. And within the movie itself, we’re told of a prevailing sentiment and a sentiment (on the part of the narrator within the movie) at odds with it. In all cases, given the same objective inputs, opposite subjective conclusions are reached. There’s a failure to align perceptions.
Interestingly, our narrator hears voices as a child whose speakers do inhabit the same space he does. Their perceptions agree with his in a way that, he figures, biological adults’ perceptions can’t, and the voices are a source of real fits of ecstasy (as in rolling on the floor, capital-E Ecstasy) on the boy’s part. Of that ecstasy, we learn the following:
[M]y father (who clearly “enjoyed” me and my eccentricities) once laughingly told my mother that he thought I might suffer from a type of benign psychosis called “antiparanoia,” in which I seemed to believe that I was the object of an intricate universal conspiracy to make me so happy I could hardly stand it.
I suppose there are certain resonances of this fragment with parts of Infinite Jest. There’s the infantilization of rolling around on the floor, being stroked lovingly by his mother, being more or less cradled in the father’s lap, and of course this idea of being the center of a happiness conspiracy. But the first of Wallace’s works that sprang to mind when I read the fragment was “Getting Away from Already Pretty Much Being Away from it All” (the state fair essay), in which Wallace writes the following:
One of the few things I still miss from my Midwest childhood was this weird, deluded but unshakable conviction that everything around me existed all and only For Me. Am I the only one who had this queer deep sense as a kid? — that everything exterior to me existed only insofar as it affected me somehow? — that all things were somehow, via some occult adult activity, specially arranged for my benefit? Does anybody else identify with this memory? The child leaves a room, and now everything in that room, once he’s no longer there to see it, melts away into some void of potential or else (my personal childhood theory) is trundled away by occult adults and stored until the child’s reentry into the room recalls it all back into animate service. Was this nuts? It was radically self-centered, of course, this conviction, and more than a little paranoid. Plus the responsibility it conferred: if the whole of the world dissolved and resolved each time I blinked, what if my eyes didn’t open?
Maybe what I really miss now is the fact that a child’s radical delusive self-centeredness doesn’t cause him conflict or pain. His is the sort of regally innocent solipsism of like Bishop Berkeley’s God: all things are nothing until his sight calls them forth from the void: his stimulation is the world’s very being. And this is maybe why a little kid so fears the dark: it’s not the possible presence of unseen fanged things in the dark, but rather the actual absence of everything his blindness has now erased. For me, at least, pace my folks’ indulgent smiles, this was my true reason for needing a nightlight: it kept the world turning.
Back to the story at hand, we begin with the narrator making discoveries about faith and about his own agency. But there’s a sort of inversion from what Wallace writes about in the essay excerpted above: the world (or the cement mixer’s drum) revolves (he believes) only when the boy isn’t looking at it vs. the world existing only when Wallace, as a child, was looking at it.
In the essay, Wallace writes specifically of solipsism, of being trapped more or less within yourself. I am in here. In the fragment, I think he’s writing about getting outside yourself. It’s not that the world stops when you close your eyes to it but that no matter how hard you try, you can’t really see or understand certain forces external to your direct experience. So a certain amount or sort of faith becomes useful. Wallace first gives us something of a thought experiment with the toy cement mixer, but in the movie scenario, he gives us a more complex situation to ponder. The conflict in that scenario is whether it’s nobler to protect your own or to protect others from your own. It’s a very complex question within context, for you have to consider the broader war itself, the particular roles of the participants in question within that context, the particular moods of and recent influences on all participants, and so on. But if we’re a little more reductive about it, I think we can boil the scenario down a bit and understand it as a consideration of the other vs. the self (another duality), with Wallace suggesting that reaching out to protect the other — getting outside your self — may sometimes be the nobler path.
The narrator views the movie’s lieutenant’s last noble act (as the narrator remembers it, that is) with a sort of ecstasy that calls to mind the ecstasy he felt as a younger child when listening to the voices in his head. But this ecstasy is the result of external forces rather than of internal agreeable voices and so shows a sort of development outward from in here.
There’s a lot I’m still trying to unpack about this fragment, and I’m not at all satisfied with what I’ve written above as an interpretive essay. There’s some big connection I feel like I’m missing. But it’s a start.
A couple of other things have come up on the list. For example, why did the narrator’s parents screw with him with the whole magic thing, especially if they’re devout atheists who you wouldn’t think would want to promote superstition? I think the simple answer is that sometimes parents just say silly things because it’s fun to joke around. Every morning that I drive my daughter and a neighbor to kindergarten, I ask if I should speed up and jump the railroad tracks (it’s a big hump and would cause a lot of damage to my vehicle if I jumped it). When they scream gleefully that I should, I slap my thigh and lament that I thought of it too late, that there’s simply not enough runway to get adequate speed. Remind me tomorrow, I tell them. Ever since my children were old enough to understand and respond to language, I’ve presented them with goofy scenarios and waited for them to correct me. Parents just do this sort of thing. In the fragment, it does seem that the parents play an active role in perpetuating the magical thinking, but the germination of the thing doesn’t seem all that out of the ordinary. And sometimes you just want your kids to work things out for themselves. We do the whole Santa thing, but when my kids start thinking critically about it and questioning the stories, we’ll encourage it obliquely so that they arrive at appropriate conclusions without being force fed the truth.I can’t help thinking that Wallace is saying something else about faith here. There’s plenty of magical thinking involved in faith. You can never really know for sure that God’s there behind the scenes making stuff happen, and maybe the harder you look, the more likely you are to determine that God’s not really there — that the drum isn’t spinning after all. If we think of it this way, then the parents almost become God surrogates, providing information about the truck (or about reality) but requiring that the child work out on his own whatever his beliefs about the truck are. The narrator doesn’t understand why his parents have made a puzzle of this for him any more than people understand why God isn’t more obvious about his existence and plan, and yet the fact that it’s a puzzle has turned out to be valuable to the narrator. Faith, as I suggested above, may be one of the joys of religion.
Another issue that came up on the list was the narrator’s statements that he wasn’t very articulate and the fact that he is actually pretty articulate. Whether it points to insecurity or to false modesty or to real modesty I’m not sure. It certainly seems like one of those framing or narrative tricks that Wallace has used before to remind us that what we’re reading is mediated.
Not discussed as yet on wallace-l is the Catholicism present in the story. It’s minor, but the boy mentions going to Mass with neighbors. Given my last paragraph, I’m having trouble not saying something about the mediation inherent in that religion, though I don’t think Wallace is really doing anything with that here. But the ecstasy, in association with the presence of Catholicism, calls to mind the various references to The Ecstasy of St. Teresa in Infinite Jest, and I wonder if more couldn’t be mined out of this material. In the gruesome ecstasy scene in IJ, there’s actually quite a bit more Catholic subtext than is apparent to a recent or non-Catholic (do a little research on the titles of the magazines named in the scene, if you’re curious), and that makes me all the more curious about the reference to Catholicism in this fragment.
I wonder how many readers are also closet would-be writers? Are there people who love to read the sort of stuff I love to read who don’t also secretly wish they could write the sort of stuff I love to read? One yardstick I use for measuring the goodness of a book is whether or not it makes me want to turn right around and write one of my own (or pick back up one of the several lapsed projects I’ve started over the past decade). Infinite Jest is definitely one of those books. The Time of Our Singing was one. East of Eden was one. Things by Pynchon, for example, though I tend to think of them as good medicine — meaning I often don’t enjoy them a whole lot while I’m reading them, but afterward I’m glad I did it — don’t make me want to write.
The thing about Wallace is that he writes about stuff in ways that I can identify with in a voice that’s comfortable and familiar. He writes in ways that reach out to me, and I find myself thinking “well I could do that, because it’s familiar and I understand it.” But his writing is so obsessive and thorough and good that I know I could never do quite what he does. So I figure that any time I try to write after reading his work, I’ll wind up writing all these logjam sentences full of stuff about disconnection and sadness and beautiful precision that’ll wind up sounding just like a 17-year-old trying to imitate Wallace. I’m thinking of a lack of depth and maturity and originality.
When I finish a book like Infinite Jest, which I did last night (complete with a reread of the first 17 pages) I want to go create something of my own; I feel like I could pour out 10,000 words of something OK in an evening that the next evening upon a reread would turn out to be depressingly bad, or at least unartfully derivative. So among the many paradoxes or double-binds that Wallace presents me with is one more personal than most, in which his excellence simultaneously makes me want both right away and never ever to try to write a word of fiction again.
This week’s early milestone stops right in the middle of what is both metaphorically and literally a pivotal scene. I can’t even pretend to say anything useful about it until the scene is resolved. Maybe later in the week, I’ll come up with something about stuff that happens through page 611, but for now, I’ve got nothing. There’s stuff to say. The stuff about Mario, for example. Weird little motifs (e.g. fingers). That sort of thing. Sinister (by which I mean not just sort of malignant but also left-handed, which I think is a good thing to notice) Swiss Subjects. There’s plenty to write about — just not much I’ve got the urge to sit down and do anything with just now.
Two things that sort of broke my heart, reading this far in the book for the first time since Wallace’s death:
It’s weird to feel like you miss someone you’re not sure you even know.
Madame still had a slight accent and often spoke on the show as if she were talking exclusively to one person or character who was very important to her… Mario’d fallen in love with the first Madame Psychosis programs because he felt like he was listening to someone sad read out loud from yellow letters she’d taken out of a shoebox on a rainy P.M., stuff about heartbreak and people you loved dying and U.S. woe, stuff that was real. It is increasingly hard to find valid art that is about stuff that is real in this way.