Infinite Summer

Month: August 2009

  • John Green: Why I’m Behind

    John Green is the Michael L. Printz Award-winning author of Paper Towns, Looking for Alaska, and An Abundance of Katherines. He is also the co-creator (with his brother, Hank) of the popular vlogbrothers channel on youtube, which spawned the nerdfighter community, a tight-knit group of a hundred thousand nerds who use the internet to celebrate intellectualism and nerd culture.

    Okay, so full disclosure: I am behind. (I’m only on page 350.)

    I first read Infinite Jest in the summer of 1996, the summer after my freshman year of college. I had a beautiful first edition80 that I’d bought entirely because of a review in Time Magazine. (Off-topic, but remember magazines?) I lived that summer with three friends from high school and a juvenile pet squirrel named Trippy in a two-bedroom apartment in Birmingham, Alabama. We slept on these four full-sized mattresses we had kind of half-stolen from our friend’s dad, who owned a Days Inn.

    My memories of that summer:

      1. The squirrel died. I came home from work one day, and the squirrel was dead in its cage, and I knew I had to tell my roommate Todd, who was particularly attached to Trippy and who was also reading IJ. I When he came home that day, I said, “I think Lenz got a hold of Trippy,” which in the end was, like, way too casual a way of telling Todd that his squirrel had died.

     

    1. I spent a lot of time lying on the bare Days Inn mattress, an unzipped sleeping bag over me, my forearms aching from the size of the book.

    This time around, reading Infinite Jest has been an exercise in delighted confusion. But for me, in 1996, all reading was a matter of delighted confusion, and if I didn’t understand something, I just kept reading. Of course, I had no idea what was happening in the book.81 All I knew was that I liked Hal, and that I liked mmmyellow, and that even though it was horrible and all I kinda wished I was good at tennis.

    When I finished the book, I immediately flipped to the first page and started reading again. For me, that summer, IJ achieved its craziest ambition: It became my Entertainment.

    When I got back to school that Fall, one of the first things I did was get on the Internet, which was then capitalized, to find out what other people who’d read IJ had thought of it, whereupon I learned that even though I’d read IJ three times in three months, I’d had absolutely no idea what the book was about and had totally misunderstood everything. So it has been nice to read it with y’all this time around, because it keeps me on track.

    I write novels for teenagers now—such books are colloquially called “Young Adult books” or just YA—and whenever I’ve had about two beers and find myself with other YA authors, I always start in on this soliloquy about how the contemporary young adult novel was not invented by J. D. Salinger or Judy Blume or Robert Cormier but by David Foster Wallace, whose ETA scenes more closely resemble what most YA writers are after. Like, for one thing, the best contemporary young adult fiction moves effortlessly between high and low culture in that way that only teenagers and David Foster Wallace can, passing without embarrassment from Hamlet to sneaker brands, from grief to group chats, I mean, my favorite books when I was eighteen were IJ and The Babysitters’ Club #43: Claudia’s Sad Goodbye.82 DFW proved that one way to bring readers to complex ideas is to utilize the sentence structures they hear every day; YA fiction has been trying to do this ever since.

    Also, there’s the whole thing of treating teenagers as intellectually capable and genuinely funny people, which IJ did not invent but did master. Plus, YA novels on average are more likely to use footnotes than novels for adults.83 It’s actually pretty stunning how massively so many YA writers (I mean, me especially, but also other people) have ripped off ETA and Pemulis and Hal, how deeply DFW has shaped our understanding of what it means to be smart and talented and scared and 17.

    So now, 13 years after first reading the book, I find myself treasuring the ETA scenes more than I did when I was of the age when I should have been treasuring them. Any book worth its salt has any many readings as it does readers. My reading has been slow going because it is such an awful pleasure to be in the shadow of my 18-year-old self, that skinny kid who was learning that unprecedented intellectual feats were not resigned to history.

    But this makes it sound like reading IJ has been some rosy-fogged visit to the past. What I’m savoring so much, I think, is not remembering the me who first read the words, but … well, here is the truth: It is the lamest thing in the world to feel like you are alone and then to read a story that makes you feel unalone. Great books like IJ can and do accomplish so much more than this small trick of direct identification, but even so: For me to read a book that so expertly articulated the obsession and narcissism and sadness of the glass eye turned in on itself kind of made my life that summer and moving forward more bearable.

    That was no small gift to me at the time—and it is no small gift this time, either.

  • Everybody Hurts (Except Mario Incandenza)

    I am coming to believe that there is not one normal character in this book.77 We see characters with physical deformities (the wheelchair assassins, Mario); mental problems (Himself, Kate Gompert, others); substance addictions (the Ennet house gang, a vast number of students at E.T.A); sociopathic tendencies (Lenz, Lenz, Lenz); obsessive compulsions (Avril Incandenza, Lateral Alice Moore); and gender dysphoria (Hugh Steeply, Poor Tony). But no one ‘normal’.

    This has been distracting to me in the past. The world of Infinite Jest already requires such a suspension of disbelief — what with the concavity, and the subsidization, and the idea that people are scared by a group of assassins that could be thwarted by a set of stairs78 that adding in a cast of characters all so uniquely deviant stretches that disbelief just a mite too far. Of course, this can be a problem with fiction in general, and is preferable to a set of perfect players. After all, “perfect characters are boring, and sometimes even annoying … character flaws = sources of conflict.”

    But these flaws are such an integral part of IJ that I’m beginning to think that David Foster Wallace is trying to achieve some goal other than making sure no character is too idealized to be interesting. Because it’s one thing to make a character too arrogant to achieve their own goals, or blinded by greed, or any other of a number of common tropes. But Infinite Jest takes things to extremes, with Orin engaging in ritualistic seductions to fulfill some Oedipal desire, with Joelle feeling the need to cover her face due to severe deformity79 and with Lenz killing small animals at night.

    These are all extremely negative deviancies. That’s what I keep getting caught up on. No one seems to be particularly happy with how different they are, except Mario. And we really can’t trust his opinion on such matters, because he has “a neurological deficit whereby he can’t feel physical pain very well” (p. 589). Mario’s experiences with feeling — at a very base level — are so wildly different to every other human that he cannot be counted on for a reliable comparison of relative happiness.

    I feel like this theme of difference is meant to be a lesson — stray too far from the norm, and you will be deeply, deeply unhappy. Do drugs, and you will be unhappy (like the majority of the Ennet House residents). Be too much of a winner, and you will be unhappy (as demonstrated by Clipperton). Be too smart, and you might well erase your own map (perhaps with Himself’s microwave method).

    This unhappiness will be permanent, too. No one in the book so far has managed to deviate from a societal norm and come back from the other side unscathed. The addicts are eternal addicts, doomed to become the old men of Boston AA — forever believing that they must Keep Coming Back, lest they fall back into addiction. And even doing that may not be able to save them from true, visceral hideousness; Lenz is hitting meetings like a champ, but they’re not stopping him from killing small creatures on the way home.

    The tennis players are incessantly protected from hype, lest they come to see themselves as exceptional — as beyond the average, the normal — and lose their on-court edge. The novel’s many geniuses fall victim to punishments for their difference, too. If we’re not watching Himself kill himself, we’re seeing the hyper-smart and closed-off Avril having sex with under-age boys (p. 553 if you don’t believe me), or listening to Hal assure us the he is “in there”, as the world around him sees nothing but a seizing, “sub-animalistic” boy.

    Which brings me to my real concern in all this: Hal. I’ve mentioned before that I’m curious as to how Hal comes by the disability that serves as this book’s very first ‘shocker’. I’ve been hoping that it will be something temporary — perhaps a drug dose that I can hope he one day recovers from, or a stray tennis ball to the head that may cause brain damage that science or time may one day fix. But you see, Hal is committing a number of ‘crimes of difference’ throughout this novel. He’s exceptionally smart. He’s a superb athlete. And he’s using drugs.

    Going by the established pattern, that’s a trifecta of deviancy that Infinite Jest can only punish. And I’m worrying that — like Himself’s death, Marathe’s disability, and Don Gately’s addiction — it will be a very permanent punishment indeed.

  • I’ve Seen the Future, Brother, It Is Murder

    In the underrated Mike Judge film Idiocracy, Luke Wilson is unfrozen centuries in the future where people have become so stupid that a two-hour video of a man’s naked, farting ass wins four Oscars, and Wilson has to run around desperately trying to convince everyone on the planet that humans will go extinct unless they stop irrigating their dying crops with Gatorade.70

    Which got me thinking: Will anybody still be reading Infinite Jest 100 years from now?

    One of the enduring appeals of writing a book has always been that it doesn’t seem so ephemeral. Especially in an age of new media, a book feels like a lasting creation, a thing of permanence. We still have Bibles that rolled off Gutenberg’s press lying around our climate-controlled archives, and so there’s no reason someone couldn’t be curled up with that romance novel of yours late at night in the year 2525.

    This is a self-delusion of authors, of course. Very few books outlive the people who wrote them. Looking back at the publishing year 1896 (100 years before IJ) the only novels I can see that anyone’s still reading with any regularity were both written by HG Wells.71

    In 2005, the Guardian polled 500 British book clubs book club readers and asked them which novels written in the 20th Century (and the first few years of the 21st Century) would be considered classics a century hence. Perhaps unsurprisingly given the sample, the list is about half-filled with recent book club faves–The Curious Incident of the Dog in the Night-time, Star of the Sea, The Time Traveler’s Wife, Atonement, The Handmaid’s Tale.72 The Guardian kind of sneers at this result,738 but it might not be so far off. These are works of popular fiction with a lot of copies in print and a large group of individuals evangelizing for them. There are reasons to think some might have a chance at enduring

    Infinite Jest, at least in 2009, certainly has plenty of rabid evangelizers. It has some apparent obstacles to its longevity, however. Infinite Summer started with thousands of enthusiastic and determined readers. Based on activity in the comments and the forums and on Twitter, I’d guess that through attrition we are already less than half what we were. That kind of drop-out rate could be punishing to the book over the years. The amount of time and effort it takes to read, digest, and discuss makes it an unlikely candidate to be taught widely in undergraduate classrooms (although obviously it can be done). Wallace’s persistent, casual use of brand names and pop-culture references74 would make this novel considerably more difficult to read down the road–imagine what adding a full complement of footnotes on top of the original endnotes would do the level of difficulty.75 IJ is also distinctly American, which cuts a couple of ways, I suspect.

    As deliberately tempting as Wallace makes it to quit reading this book, you have to figure, in the long run, that everyone might take him up on it eventually.

    On the other hand.

    I’ve had a lot of people over the years try to pass Infinite Jest into my hands, and there was always a kind of urgency to their plea that was frankly kind of off-putting. I think now that urgency might be related to this sense, perhaps unconscious, that this book by its very nature might be in jeopardy of deleting its own map. I don’t think I’d ever say that any single book is necessary, but anyone who connects with a novel the way so many have with Infinite Jest is clearly going to be distressed by the possibility that it might be on the endangered list, even a few years down the road. I suspect the intensity with which people try to push this novel on other readers is related to the sense that it might be endangered, somehow. That as epic and important and groundbreaking as it is, its future might not be ensured. If there has been a level of desperation in the pleas to me by IJ lovers over the years, I now understand it.

    In Idiocracy, Luke Wilson eventually convinces the morons of the future that water isn’t poisonous. Addressing them he says, “There was a time when reading wasn’t just for fags.76 And neither was writing. People wrote books and movies–movies with stories that made you care about whose ass it was and why it was farting. And I believe that time can come again!”

    I might even work on a version of that speech when it’s time for me to start pushing Infinite Jest on my friends.

  • Thanks, but I Don’t Particularly Like to Hug

    I’m a little behind in my reading, I’m smack in the middle of the whole Lenz thing and it’s kind of making me sick, so I’m going to backtrack a little.

    Last week I accused Infinite Jest of having kind of a Kubrickian sterility about it at times, but as I continue reading and the novel continues to blossom for me, I realize how much life is flowing under that apparently detached, often affectless surface.

    The scene where James’ father asks for his help to move the mattress, of course, is a classic example of the sort of achingly slow emotional reveal that takes place in small ways throughout the entire novel — and is starting to encompass my experience of the entire book. In the bed scene you’re directed to focus on the physical detail, at first seemingly for its own sake, until it all adds up to reveal a horror recollected with not only the detachment of time but the precision of someone either so removed from or else so overwhelmed by the emotional impact of the sudden, strange death of his father that the physical details of the morning take on a ravishing Technicolor quality. They say time slows down for some people when they’re in car accidents or disasters, they remember the strangest details later — the song on the radio when the phone rang, the dust on the windshield before your head crashed through it. And once you have the whole picture, no matter how blandly or sharply or affectlessly it’s described, a boy running from his parents’ bedroom to his own and jumping on the bed, the slumped mattress in the hallway and the ring of the glass pushed into the carpet all bear the emotional weight of a man watching himself cope with tremendous loss from a distance. A man with a supremely focused scientific mind that can compartmentalize information and zoom in on a detail — a slowly rolling doorknob — that changes the course of his life.

    The mirror cracks in the most delightful way, of course, in the very next scene, when Erdedy tries to refuse a hug. All the hemming and hawing and sweaty palms of someone who doesn’t have Himself’s muscular mind to use as a shield, or “Joe L.’s” veil, who uses drugs to keep the world at arm’s length because the fragile infrastructure of his addiction can only remain intact if no one gets close enough to breathe on it, it all gets crushed so shockingly and wonderfully by Roy Tony.

    ‘You think I fucking like to go around hug on folks? You think any of us like this shit? We fucking do what they tell us. They tell us Hugs Not Drugs in here. We done motherfucking surrendered our wills in here,’ Roy said. ‘You little faggot,’ Roy added. He wedged his hand between them to point at himself, which meant he was now holding Erdedy off the ground with just one hand, which fact was not lost on Erdedy’s nervous system. ‘I done had to give four hugs my first night here and then I gone ran in the fucking can and fucking puked. Puked,’ he said. ‘Not comfortable? Who the fuck are you? Don’t even try and tell me I’m coming over feeling comfortable about trying to hug on your James-River-Traders-wearing-Calvin-Klein-aftershave-smelling-goofy-ass motherfucking ass.’

    Erdedy observed one of the Afro-American women who was looking on clap her hands and shout ‘Talk about it!’

    ‘And now you go and disrespect me in front of my whole clean and sober set just when I gone risk sharing my vulnerability and discomfort with you?’. . .

    ‘Now,’ Roy said, extracting his free hand and pointing to the vestry floor with a stabbing gesture, ‘now,’ he said, ‘you gone risk vulnerability and discomfort and hug my ass or do I gone fucking rip your head off and shit down your neck?’

    If Erdedy were a different man, a man whose mind was so strong it could shield his heart from both its own needs and the needs of others, he wouldn’t have climbed up on Roy Tony’s neck and not let go, I suppose. But I love that he had enough strength and trust to desperation to give himself over and let Roy Tony destroy his pathetic facade. And we get to see that Roy Tony, as he clears his addiction away, has the heart of a lion.

    This is getting long so I’ll just add that I’m also very interested to see if Joelle can continue to justify her own draped existence.

  • The Peril of A.P.

    It’s always strange to hear a term you thought you “owned” in a complete different context. Case in point: as a board gamer, I have been using the phrase “analysis paralysis” for years, completely unaware that the term was affiliated (and perhaps originated) with A.A.

    Most Substance-addicted people are also addicted to thinking, meaning they have a compulsive and unhealthy relationship with their own thinking. That the cute Boston AA term for addictive-type thinking is: Analysis-Paralysis … That 99% of compulsive thinkers’ thinking is about themselves; that 99% of this self-directed thinking consists of imagining and then getting ready for things that are going to happen to them; and then, weirdly, that if they stop to think about it, that 100% of the things they spend 99% of their time and energy imagining and trying to prepare for all the contingencies and consequences of are never good … In short that 99% of the head’s thinking activity consists of trying to scare the everliving shit out of itself.

    The problem of analysis-paralysis crops up so often in board game discussion that it is usually just abbreviated as “AP”. And we tend to use the term in two distinct ways: in reference to people, and in reference to design.

    A person who is, in our lingo, “AP-prone” is someone who freezes up on their turn as they mentally traverse the entire decision tree, terrified of making a less than optimal move. Imagine a chess-playing computer, that calculates every possible move and its outcome before taking its turn; now imagine some guy who’s already had two beers and half a bag of Cheetos trying to do the same thing, looming over the table with furrowed brow, stuck in a endless loop because, by the time he considers the last of all possible choices, he has already forgotten the first, and must therefore start again. And meanwhile the fun whooshes out of the room like atmosphere through an open airlock.

    A game that is “AP-prone”, on the other hand, is a design that encourages exactly this kind of minimaxing behavior.68 Whereas many players have learned to turn a deaf ear to AP’s siren song, certain games can ossify even the most casual of gamers.

    AP is such a problem in modern board games, that designers are taught ways to prevent it. The quickest method is to throw a sand timer into the game and declare that each player only has x seconds to complete their turn. Another is to introduce an element to chance into the game, thus making it difficult or impossible to successfully predict future events. A third is to reduce the number of options available to a player at any given time.

    In other words, the solution to analysis-paralysis–at least in terms of board game design–is to reduce freedom: reduce the amount of time, or the amount of information, or the amount of choices. Constraint facilitates action.69

    Even if you don’t play board games, you are surely familiar with the phenomenon. Your 8th Grade English teacher says you can write an essay on anything, and your mind’s a blank; she instead says you have to write it on leaf cutters ants, and at least you know which Wikipedia page to plagiarize. Or consider Twitter: I would argue that the 140 character “limit” (no longer a technical necessity, by the way) is precisely what makes the service so popular.

    Although the term “analysis-paralysis” only crops up on Infinite Jest a few times, in many ways it seems to be the crux of the novel, the delicate balance between freedom and constraint, action and thought, territory and map. Indeed, the recent passages about Randy Lenz and Bruce Green practically depict the two men as incarnations of the extremes: Lenz with his gerbil-in-a-wheel logorrhea, Green clocking in at “about one fully developed thought every sixty seconds, and then just one at a time, a thought, each materializing already fully developed and sitting there and then melting back away like a languid liquid-crystal display.”

    It’s a theme present in all major storylines: Schtitt imposing his Draconian training regiment on the unruly student, honing them into world class tennis players; A.A. teaching “Substance-addicted people” how to stop overthinking and instead “fake it until you make it”; and Marathe lecturing Steeply about the perils of too much choice.

    The rich father who can afford the cost of candy as well as food for his children: but if he cries out “Freedom!” and allows his child to choose only what is sweet, eating only candy, not pea soup and bread and eggs, so his child becomes weak and sick: is the rich man who cries “Freedom!” the good father?

    One has to wonder if Wallace wasn’t so keyed into the chaos v. order equipoise because of his own relationship with editors, the tempering force to his own voluminous output, the catalyst between madness and genius.

  • Roundup

    Every Happy Days needs a Laverne and Shirley, and maybe even a Joanie Loves Chachi for good measure. So too is Infinite Summer spawning spin-offs.

    Next week Infinite Jest will finally be published in German. At that time, the publisher is planning an Infinite Summer like read-along, and has a bunch of writers all lined up to participate. The official site 9all in German, natch) is http://www.unendlicherspass.de/.

    For those who found I.J. a little too daunting (or too readable, and already finished), B. Mernit has launched Infinite Water, which encourages folks to read and discuss David Foster Wallace’s Kenyon Commencement Address.

    Speaking of “This is Water”, the Telegraph has a long article on Infinite Jest, Infinite Summer, and David Foster Wallace. In it, Michael Pietsch speaks a bit about Wallace’s final and incomplete novel, The Pale King, to be published posthumously. The commencement is “very much a distillation” of the novel’s theme, says Pietsch, as well as “attention and awareness and discipline, and being able truly to care about other people and to sacrifice for them over and over in myriad petty, unsexy ways every day.”

    And at long last we have a blogroll. Chronic Infinite Jest bloggers are now listed here on the mothership, for your pursuing pleasure.

    Oh, and a big congratulations to Chaz Formichella, who became the 1000th member of the Infinite Summer. We sent him a copy of David Foster Wallace’s Infinite Jest: A Reader’s Guide to commemorate his achievement. Nice work!

  • Infinite Summary – Week 8

    Milestone Reached: 590 (60%)

    Chapters Read:

    Page 528 – PRE-DAWN AND DAWN, 1 MAY Y.D.A.U. / OUTCROPPING NORTHWEST OF TUCSON AZ U.S.A., STILL: The Marathe and Steeply show continues. Steeply argues that America is not the only culture in which people are drawn to things that could “entertain them to death”.

    Page 531 – 0450H., 11 NOVEMBER / YEAR OF THE DEPEND ADULT UNDERGARMENT / FRONT OFFICE, ENNET HOUSE D.A.R.H., ENFIELD MA: Don Gately tells Joelle Van Dyne of a bar fight in which some of his friends “messed with a guy’s girl”; he also asks about the purpose of the veil and her membership in the Union of the Hideously and Improbably Deformed (U.H.I.D.).

    Page 538: How Randy Lenz became a Steel-Sak-wielding animal killer. (Aside: “Randy Lenz and his Steel Sax” is the name of my new light-jazz quartet.)

    Page 548 – EARLY NOVEMBER / YEAR OF THE DEPEND UNDERGARMENT: Rodney Tine, Chief of U.O.U.S. and compulsive pecker checker.

    Page 550 – LATE P.M., MONDAY 9 NOVEMBER / YEAR OF THE DEPEND ADULT UNDERGARMENT: Michael Pemulis walks in on John Wayne (N.R.) and Arvil Incandenza in the middle of … something. “‘I probably won’t even waste everybody’s time asking if I’m interrupting” rockets to the top of the “Best Lines in the Book” list.

    Page 553 – WEDNESDAY 11 NOVEMBER / YEAR OF THE DEPEND ADULT UNDERGARMENT: Lenz and Bruce Green stroll around town. Lenz regales Green with stories, all while wondering how he can ditch his companion in time to do his nefarious deeds. Eventually he manages to get away, and Green observes the dog-killer in action.

    Page 560: Troeltsch, Pemulis and Wayne visit Hal in turn, each for just a few moments.

    Page 563 – SELECTED SNIPPETS FROM THE INDIVIDUAL-RESIDENT-INFORMAL-INTERFACE MOMENTS OF D. W. GATELY, LIVE-IN STAFF, ENNET HOUSE DRUG AND ALCOHOL RECOVERY HOUSE, ENFIELD MA, ON AND OFF FROM JUST AFTER THE BROOKLINE YOUNG PEOPLE’S AA MTNG. UP TO ABOUT 2329H., WEDNESDAY 11 NOVEMBER Y.D.A.U: As advertised.

    Page 565: Orin gets it on with a Swiss hand-model. Endnote 234 is a long interview between Steeply and Orin, in which much light is shed on Orin’s relationship with his parents and the mold-eating incident.

    Page 567: Michael Pemulis explains annulation to a blindfolded Idris Arslanian.

    Page 574: Orin sees his first wheelchair-bound “punting-groupie” since Ms. Steeply left.

    Characters The characters page has been updated.

    Sources consulted during the compilation of this summation: JS’s Infinite Jest synopses, Dr. Keith O’Neil’s Infinite Jest Reader’s Guide, and Steve Russillo’s Chapter Thumbnails.

  • Midsummer Roundtable, Part V

    This is the fifth of a five-part roundtable discussion with the Infinite Summer Guides.

    Infinite Summer: Any predictions as to what will happen in the second half of the novel?

    Matthew Baldwin: I’ll tell you what I’m not expecting: anything resembling a standard climax or dénouement. In nearly all of Wallace’s non- and short-fiction I’ve read, the pieces just sort of end, often abruptly, with no surprise twist or delivered moral, frequently without even a deft turn of phrase. I always feel like there was an editor somewhere in the process who said, “Hey , David? This is a little too long, so we’re going to just lop off the last third. Does that work?”

    Eden M, Kennedy: I am waiting for some class conflict to bubble up. So far the book seems to gloss over the fact that some Ennet House people work, almost invisibly, at ETA (kitchen; the towel girl), but that leaves me thinking that something’s slowly brewing there, theme-wise. Because what about Pat M., a rich woman who seems to be sort of class-blind — yet finding common ground with all kinds of fucked up people who simply share the will to conquer an addiction? She’s going to end up the Mother Theresa of this novel, you watch.

    Avery Edison: It seems like we’re drawing to the end of Marathe and Steeply’s conversation on the mountainside, and I’d like to see some sort of confrontation between the two before they leave. We’ve been constantly reminded of the gun lurking just under Marathe’s blanket, always in his hand, and so I think it’d be nifty to see some action by Steeply to justify Marathe’s caution. At the moment it seems too much like Marathe has the upper hand.

    Kevin Guilfoile: I just realized that I’m not spending much time trying to figure out what’s going to happen next. This book really is unfolding sort of like a dream for me, where I don’t have much vision of it beyond the present. I think Wallace set up some early seeds of anticipation—we know Hal and Gately are going to get together, for instance—but beyond that I’m not really trying to figure it out much.

    Avery Edison: I’m similar to Kevin in that I’ve not given much thought to the future. So many odd events have happened already, I feel like I have next to no shot at making any kind of accurate prediction.

    KG: I’m sort of letting it happen, and I’m enjoying it. I wish I could live my life that way more.

    EMK: This was fun; can we do it again next week?

  • Midsummer Roundtable, Part IV

    This is the fourth of a five-part roundtable discussion with the Infinite Summer Guides.

    Infinite Summer: Kevin, do you find Wallace’s style influencing your own? Will the title of your next novel (The Thousand) refer to the number of endnotes you went back and inserted?

    Kevin Guilfoile: I’m pretty easily influenced by anything that I like, but usually within the parameters of my own style. For instance, it’s not unusual for me to write long, run-on sentences when I’m trying to change the pace of a passage (or when I’m deep inside someone’s train of thought) and I probably am doing more of that right now, just because Wallace is so effective with it. The novel I’m currently working on (the one after The Thousand) even has a character that’s rather Gately-like (big guy, ex-con, not an alcoholic but a teetotaler) although I created him before I read IJ. Looking specifically at the stuff I’ve written over the last month or so I can right away identify a lengthy passage in which a pickpocket is rhapsodizing at some length about cargo shorts that seems pretty obviously influenced by IJ.

    Matthew Baldwin: I actually used the word “demap” as a synonym for “kill” in a casual conversation the other day. The person to whom I was speaking had no idea what I was saying.

    Eden M. Kennedy: And I quoted Schtitt to my son on the tennis court. He was complaining how he wanted to switch sides because the sun was in his eyes, and I totally paraphrased that whole section about it always being too hot or too cold or too something on the court, you have to look inside, blah blah. And then I switched and took the sunny side.

    Avery Edison: The only thing I’ve taken away from the book is a pretty heavy ‘drine dependency. That, and a fear of Canadians in wheelchairs.

    And of course, as I typed that joke in I suddenly realize that I’m sitting at my computer in a bandanna. Curse you David Foster Wallace!

    IS: Are you enjoying some sections better than others (E.T.A. vs. Ennet v. Steeply & Marathe)?

    MB: They say that a world class director could film someone reading the phonebook and make it interesting. That’s how I feel about Wallace. In an interview, he talked about the challenge of “tak[ing] something almost narcotizingly banal … and try[ing] to reconfigure it in a way that reveals what a tense, strange, convoluted set of human interactions the final banal product is.” Given that Infinite Jest is a novel about a tennis academy, a bunch of AA meetings, and two guys chatting on a cliff, it’s clearly a challenge that Wallace both relished and consistently met.

    So I don’t find any of the storylines to be more engrossing than others. In fact, I don’t find the narrative to be particularly engrossing at all. It’s Wallace’s style that I enjoy, and I am largely indifferent as to what subject matter he is writing about at any given moment.

    AE: I’m a big fan of banter, so I look forward to any section (usually an endnote) featuring Hal and Orin on the phone to each other. A lot of information tends to get divulged during those pages, and there’s some nice verbal sparring in the mean time.

    The Marathe and Steeply sections have also grown on me, probably for much the same reason. It’s also nice to see — in a novel that has almost avoided any discussion of its namesake – characters having honest-to-God conversations about The Entertainment.

    EMK: Something shifts in Marathe and Steeply’s conversations as we get deeper into the book; I can’t put my finger on it but it’s definitely becoming easier to read and enjoy their passages.

    AE: I think it’s that as we’re learning more about the world around them, the vague allusions to things such as the Concavity or subsidised time are clearer. I’m sure that the conversation Marathe and Steeply have regarding free will would’ve been impenetrable had we not learned more about the Entertainment’s effects on its viewers. I may go back to the earlier Marathe and Steeply sections and see if they make for easier reading now.

    KG: It changes for me. I found the description of Mario’s puppet show movie to be a lot like being trapped on an airplane listening to someone taking two-and-a-half hours to describe the plot of a two hour movie, and so I wanted to got to Ennet House every minute of that section.

    AE: I really enjoyed Mario’s movie, especially since it gave us a look into the wider community at ETA. Up until then I feel like we’d just been focused on a small group of students (Hal, Pemulis, Troeltsch, etc.) and it was nice to get everyone in that big hall and get little character moments with odd people. The tradition of gathering around for the viewing and the rule that students can eat whatever they want on Interdepence Day was a nice humanizing touch that made the ETA feel more like a school where actual humans would go. Before I saw it as more of a tennis-robot factory, now I’m seeing it as more of a family. Which would make C.T. proud, I’m sure.

    KG: I love tennis and find the ETA stuff really enjoyable overall. On top of that there are set pieces, of course, that are just stunning but I don’t think they are tied to any particular place or character, at least not for me.

    EMK: I love the ETA kids best when they’re giving each other shit, no doubt about it, but the AA stuff is still fascinating to me. Sometimes this book feels sort of sterile, in a Stanley Kubrick way, just very cerebral and cool, so I do tend to feel grateful for the warmer, more human stuff, I guess.

    AE: An exception to that appreciation of the human stuff — at least for me — is anything dealing with Himself’s childhood. Right now if feels like we’re getting background on a character we know is dead, and whose legacy (the Entertainment) we already knew the motivations for. I understand that the scene featuring Himself and The Man From Glad culminated in the origin of Himself’s fascination annulation, but there were a lot of pages to get through for such a small detail. We couldn’t have learned that via. one of Hal and Orin’s earlier conversations, or done without the knowledge entirely?

    MB:: Probably. But those two passages are among my favorite, no doubt because they showcase Wallace’s skill in teasing the interesting from the banal.

  • Midsummer Roundtable, Part III

    This is the third of a five-part roundtable discussion with the Infinite Summer Guides.

    Infinite Summer: Does anyone have a favorite character?

    Avery Edison: I’ve written before about liking Hal the most, whilst suspecting that he may be a dick. That’s still holding true. I tend to like the smarter characters, and in a book full of drug addicts and athletes, Hal is standing out a fair bit.

    Eden M. Kennedy: I like Hal, too.

    Matthew Baldwin: Hal?! I thought you and I shared a crush on Pemulis in common. You’ve changed so much since this project started Eden, it’s like I don’t even know you any more.

    Two of my favorite sections–“Erdedy Waits for Pot” and “Erdedy Gets a Hug”–star the same person, so I guess Ken is at the top of my list as well. I hope the second half of the book is peppered with more of his comic misadventures. Oh Ken Erdedy, will you ever win?

    EMK: I’m also gaining some affection for Steeply, surprisingly. I want to hear more from Avril. In a novel that’s mainly focused on male characters, it’s hard to find a woman to relate to. Apart from Air Marshal Kittenplan, of course.

    Avery, you raised some gender issues in your first post. What are your thoughts on them now?

    AE: After learning more about the Office of Unspecified Services, and its strange M.O. of outfitting operatives with highly inappropriate disguises, I feel a little better about Steeply. I have to believe that DFW is going for something a little higher than “ha, ha, look at the man in the dress!” because he’s obviously a smart guy and that would be an easy joke to make.

    I hope Wallace ends up treating the infatuation Orin has for Steeply with respect and kindness, although the fact that he’s drawn it out for so long worries me. I’m beginning to wonder if the point of Orin’s crush is for us to laugh at him, as many other works of entertainment wish us to when they feature an un-suspecting protagonist becoming romantically involved with a trans-person and having intimacy with, even using things like other things. It seems like an innocuous trope, but it reinforces the concept that trans-women “trick” everyone they don’t explicitly divulge their status to. The idea that people are entitled to such information leads to the “trans panic” defense, which is used to justify violence against transgender people on a sadly routine basis.

    Aaaaaand I’ve talked for far too long about this.

    Speaking or Orin and Steeply, how do you feel about the mix of drama and comedy in the novel?

    MB: I have no objection to the absurdity when it is “Out There” (subsidized years, the rise of Johnny Gentle, the history of O.N.A.N., and so on), but find it jarring when it’s in close proximity to the more realistic portions of the novel. I kind of consider Orin to be “Out There” so he’s exempt. His bizarre tenure as a professional punter operates by its own surreal logic, Because he already exists in a heightened state, his particular brand of absurdity works for me, but I was truly annoyed at the Clipperton passages. How are we supposed to take the real characters seriously when they are intermingling with cartoons?

    EMK: The Clipperton stuff really felt like a parable or a philosophical exercise to me. “Let’s take this premise and draw it out until it collapses.” It seems like it could have been the outgrowth of some philosophical dilemma that Hal might have invented, just to toy with Orin late at night on the phone.

    MB: And had it had been presented as such I would have no objection.

    EMK: I keep asking myself, “How much disbelief are you willing to suspend in reading this novel? ” Because so much of it is so emotionally real. But then what do we do with the fact that the woman journalist Orin’s so intrigued by is actually a badly disguised man? I find it just so delightful and ridiculous that I honestly don’t care how just plain impossible that would be, I just can’t wait to see how it all shakes out. But still.

    AE: To touch lightly (lest I type out another “trans-issues” screed) on the Steeply thing, I tend to assume that Steeply is actually pretty well disguised, and it’s only the fact that Marathe is such an intelligent man that he notices all the costume’s flaws. We also have to bear in mind that every description of Steeply so far has been after he fell down a muddy slope on his way to meet with Marathe. For all we know, his usual appearance is quite passable.

    EMK: That’s good, I hadn’t thought about it that way at all, I was assuming that eventually someone like Hal would see through Steeply’s terrible disguise and set Orin straight, so to speak (ahem). I certainly hadn’t foreseen something tragic happening with Orin and Steeply. Now I’m a little worried.

    AE: With regard to the mix of drama and comedy, I must say that I’m not finding the book at all laugh-out-loud funny. Every now and then I’ll chuckle at a concept (I think the head-through-monitor part of Eschaton got a giggle) but every attempt at humor by Wallace seems a little self-conscious. When I got to the section with Lateral Alice Moore the other day, I threw up my hands and asked aloud “is there anyone in this book that doesn’t have some ‘comical’ deformity?”

    Kevin Guilfoile: It’s an old assumption that no one would recognize a perfect novel even if it were possible for somebody to write one. If I had one major complaint about IJ it would be this inconsistency of tone Eden and Matthew talk about, but that’s also inevitable given the scope of what Wallace is trying to accomplish. When you write a novel of huge ambition you are, by definition, stretching beyond your known abilities and so there are going to be occasional swings and misses along with the tape measure home runs (and obviously readers will disagree about what works and what doesn’t). During the Tournament of Books I said about Roberto Bolaño’s 2666 that in order for a novel to be a masterpiece it probably also has to be at least a little bit terrible. I said that with some tongue in my cheek, although compared to Infinite Jest I found 2666 to be a lot less ambitious and a lot more terrible.