Infinite jest - David Wallace

4 NOVEMBER YEAR OF THE DEPEND ADULT UNDERGARMENT

From Cambridge’s Latinate Inman Square, Michael Pemulis, nobody’s fool at all, rides one necessary bus to Central Square and then an unnecessary bus to Davis Square and a train back to Central. This is to throw off the slightest possible chance of pursuit. At Central he catches the Red Line to Park St. Station, where he’s parked the tow truck in an underground lot he can more than afford. The day is autumnal and mild, the east breeze smelling of urban commerce and the vague suede smell of new-fallen leaves. The sky is pilot-light blue; sunlight reflects complexly off the smoked-glass sides of tall centers of commerce all around Park St. downtown. Pemulis wears button-fly chinos and an E.T.A. shirt beneath a snazzy blue Brioni sport-coat, plus the bright-white yachting cap that Mario Incandenza calls his Mr. Howell hat. The hat looks rakish even when turned around, and it has a detachable lining. Inside the lining can be kept portable quantities of just about anything. Having indulged in 150 nig. of very mild ‘drines, post-transaction. Wearing also gray-and-blue saddle oxfords w/o socks, it’s such a mild autumn day. The streets literally bustle. Vendors with carts instead of tubs sell hot pretzels and tonics and those underboiled franks Pemulis likes to have them put the works on. You can see the State House and Common and Courthouse and Public Gardens, and beyond all that the cool smooth facades of Back Bay brownstones. The echoes in the underground Park PL garage — PARK — are pleasantly complex. Traffic westward on Commonwealth Avenue is light (meaning things can move) all the way through Ken-more Square and past Boston U. and up the long slow hill into Allston and Enfield. When Tavis and Schtitt and the players and ground crew and Testar and ATHSCME teams inflate the all-weather Lung for the winter over Courts 16–32, the domed Lung’s nacelle is visible against the horizon all the way down by the Brighton Ave.-Comm. Ave. split in lower Allston.

The incredibly potent DMZ is apparently classed as a para-methoxylated amphetamine but really it looks to Pemulis from his slow and tortured survey of the MED.COM’s monographs more like more similar to the anticholinergic-deliriant class, Way more powerful than mescaline or MDA or DMA or TMA or MDMA or DOM or STP or the I.V.-ingestible DMT (or Ololiuqui or datura’s scopolamine, or Fluothane, or Bufotenine (a.k.a. ‘Jackie-O.’), or Ebene or psilocybin or Cylert[56]; DMZ resembling chemically some miscegenation of a lysergic with a muscimoloid, but significantly different from LSD-25 in that its effects are less visual and spatially-cerebral and more like temporally-cerebral and almost ontological, with some sort of manipulated-phenylkylamine-like speediness whereby the ingester perceives his relation to the ordinary flow of time as radically (and euphorically, is where the muscimole-affective resemblance shows its head) altered.[57] The incredibly potent DMZ is synthesized from a derivative of fitviavi, an obscure mold that grows only on other molds, by the same ambivalently lucky chemist at Sandoz Pharm. who’d first stumbled on LSD, as a relatively ephebic and clueless organic chemist, while futzing around with ergotic fungi on rye. DMZ’s discovery was the tail-end of the B.S. 1960s, just about the same time Dr. Alan Watts was considering T. Leary’s invitation to become ‘Writer in Resonance’ at Leary’s Utopian LSD-25 colony in Millbrook NY on what is now Canadian soil. A substance even just the accidental-synthesis of which sent the Sandoz chemist into early retirement and serious unblinking wall-watching, the incredibly potent DMZ has a popular-lay-chemical-underground reputation as the single grimmest thing ever conceived in a tube. It is also now the hardest recreational compound to acquire in North America after raw Vietnamese opium, which forget it.

DMZ is sometimes also referred to in some metro Boston chemical circles as Madame Psychosis, after a popular very-early-morning cult radio personality on M.I.T.’s student-run radio station WYYY-109, ‘Largest Whole Prime on the FM Band,’ which Mario Incandenza and E.T.A. stats-wienie and Eschaton game-master Otis P. Lord listen to almost religiously.

The day-shift Ennet House kid at the booth who raises the portcullis to let him onto the grounds had a couple times in October approached Pemulis about a potential transaction. Pemulis has a rigid policy about not transacting with E.T.A. employees who come up the hill from the halfway house, since he knows some of them are at the place on Court Order, and knows for a fact they pull unscheduled Urines all over the place down there, and types like the Ennet House types are just the sorts of people Pemulis’s talents let him get away from in terms of like social milieu and mixing and transacting; and his basic attitude with these low-rent employees is one of unfoolish discretion and like why tempt fate.

The East Courts are empty and ball-strewn when Pemulis pulls in; most of them are still at lunch. Pemulis, Troeltsch, and Schacht’s triple-room is in subdorm B in the back north part of the second floor of West House and so superjacent to the Dining Hall, from which through the floor Pemulis can hear voices and silverware and can smell exactly what they’re having. The first thing he does is boot up the phone console and try Inc and Mario’s room over in Comm.-Ad., where Hal is sitting in wíndowlight with the Riverside Hamlet he told Mario he’d read and help with a conceptual film-type project based on part of, his uncushioned captain’s chair partly under an old print of a detail from the minor and soft-core Alexandrian mosaic Consummation of the Levirates, eating an AminoPal® energy-bar and waiting very casually, the phone with its antenna already out lying ready on the arm of the chair and two folio-size Baron’s SAT-prep guides and a spine-shot copy of the B.S. 1937 Tilden on Spin and his keys on their neck-chain lying on the Lindistarne carpet by his shoe, waiting in a very casual posture. Hal deliberately waits till the audio console’s third ring, like a girl at home on Saturday night.

‘Mmyellow.’

‘The turd emergeth.’ Pemulis’s clear and digitally condensed voice on the line. ‘Repeat. The turd emergeth.’

‘Please commit a crime,’ is Hal Incandenza’s immediate reply.

‘Gracious me,’ Pemulis says into the phone tucked under his jaw, carefully de-Velcroing the lining of his Mr. Howell hat.

TENNIS AND THE FERAL PRODIGY, NARRATED BY HAL INCANDENZA, AN 11.5-MINUTE DIGITAL ENTERTAINMENT

CARTRIDGE DIRECTED, RECORDED, EDITED, AND —

ACCORDING TO THE ENTRY FORM — WRITTEN BY MARIO

INCANDENZA, IN RECEIPT OF NEW-NEW-ENGLAND REGIONAL

HONORABLE MENTION IN INTERLACE TELENTERTAINMENT’S

ANNUAL ‘NEW EYES, NEW VOICES’ YOUNG FILMMAKERS’

CONTEST, APRIL IN THE YEAR OF THE YUSHITYU 2007

MIMETIC-RESOLUTION-CARTRIDGE-VIEW-MOTHERBOARD-

EASY-TO-INSTALL UPGRADE FOR INFERNATRON/INTERLACE TP

SYSTEMS FOR HOME, OFFICE OR MOBILE (SIC), ALMOST

EXACTLY THREE YEARS AFTER DR. JAMES O. INCANDENZA

PASSED FROM THIS LIFE

Here is how to put on a big red tent of a shirt that has ETA across the chest in gray.

Please ease carefully into your supporter and adjust the elastic straps so the straps do not bite into your butt and make bulged ridges in your butt that everyone can see once you’ve sweated through your shorts.

Here is how to wrap your torn ankle so tightly in its flesh-tone Ace bandages your left leg feels like a log.

Here is how to win, later.

This is a yellow iron-mesh Ball-Hopper full of dirty green dead old balls. Take them to the East Courts while the dawn is still chalky and no one’s around except the mourning doves that infest the pines at sunrise, and the air is so sopped you can see your summer breath. Hit serves to no one. Make a mess of balls along the base of the opposite fence as the sun hauls itself up over the Harbor and a thin sweat breaks and the serves start to boom. Stop thinking and let it flow and go boom, boom. The shiver of the ball against the opposite fence. Hit about a thousand serves to no one while Himself sits and advises with his flask. Older men’s legs are white and hairless from decades in pants. Here is the set of keys a stride’s length before you in the court as you serve dead balls to no one. After each serve you must almost fall forward into the court and in one smooth motion bend and scoop up the keys with your left hand. This is how to train yourself to follow through into the court after the serve. You still, years after the man’s death, cannot keep your keys anywhere but on the floor.

This is how to hold the stick.

Learn to call the racquet a stick. Everyone does, here. It’s a tradition: The Stick. Something so much an extension of you deserves a sobriquet.

Please look. You’ll be shown exactly once how to hold it. This is how to hold it. Just like this. Forget all the near-Eastern-slice-backhand-grip bafflegab. Just say Hello is all. Just shake hands with the calfskin grip of the stick. This is how to hold it. The stick is your friend. You will become very close.

Grasp your friend firmly at all times. A firm grip is essential for both control and power. Here is how to carry a tennis ball around in your stick-hand, squeezing it over and over for long stretches of time — in class, on the phone, in lab, in front of the TP, a wet ball for the shower, ideally squeezing it at all times except during meals. See the Academy dining hall, where tennis balls sit beside every plate. Squeeze the tennis ball rhythmically month after year until you feel it no more than your heart squeezing blood and your right forearm is three times the size of your left and your arm looks from across a court like a gorilla’s arm or a stevedore’s arm pasted on the body of a child.

Here is how to do extra individual drills before the Academy’s A.M. drills, before breakfast, so that after the thousandth ball hit just out of reach by Himself, with his mammoth wingspan and ghastly calves, urging you with nothing but smiles on to great and greater demonstrations of effort, so that after you’ve gotten your third and final wind and must vomit, there is little inside to vomit and the spasms pass quickly and an east breeze blows cooler past you and you feel clean and can breathe.

Here is how to don red and gray E.T.A. sweats and squad-jog a weekly 40 km. up and down urban Commonwealth Avenue even though you would rather set your hair on fire than jog in a pack. Jogging is painful and pointless, but you are not in charge. Your brother gets to ride shotgun while a senile German blows BBs at your legs both of them laughing and screaming Schnell. Enfield is due east of the Marathon’s Hills of Heartbreak, which are just up Commonwealth past the Reservoir in Newton. Urban jogging in a sweaty pack is tedious. Have Himself hunch down to put a long pale arm around your shoulders and tell you that his own father had told him that talent is sort of a dark gift, that talent is its own expectation: it is there from the start and either lived up to or lost.

Have a father whose own father lost what was there. Have a father who lived up to his own promise and then found thing after thing to meet and surpass the expectations of his promise in, and didn’t seem just a whole hell of a lot happier or tighter wrapped than his own failed father, leaving you yourself in a kind of feral and flux-ridden state with respect to talent.

Here is how to avoid thinking about any of this by practicing and playing until everything runs on autopilot and talent’s unconscious exercise becomes a way to escape yourself, a long waking dream of pure play.

The irony is that this makes you very good, and you start to become regarded as having a prodigious talent to live up to.

Here is how to handle being a feral prodigy. Here is how to handle being seeded at tournaments, signifying that seeding committees composed of old big-armed men publicly expect you to reach a certain round. Reaching at least the round you’re supposed to is known at tournaments as ‘justifying your seed.’ By repeating this term over and over, perhaps in the same rhythm at which you squeeze a ball, you can reduce it to an empty series of phonemes, just formants and fricatives, trochaically stressed, signifying zip.

Here is how to beat unseeded, wide-eyed opponents from Iowa or Rhode Island in the early rounds of tournaments without expending much energy but also without seeming contemptuous.

This is how to play with personal integrity in a tournament’s early rounds, when there is no umpire. Any ball that lands on your side and is too close to call: call it fair. Here is how to be invulnerable to gamesmanship. To keep your attention’s aperture tight. Here is how to teach yourself, when an opponent maybe cheats on the line-calls, to remind yourself that what goes around comes around. That a poor sport’s punishment is always self-inflicted.

Try to learn to let what is unfair teach you.

Here is how to spray yourself down exactly once with Lemon Pledge, the ultimate sunscreen, then discover that when you go out and sweat into it it smells like close-order skunk.

Here is how to take nonnarcotic muscle relaxants for the back spasms that come from thousands of serves to no one.

Here is how to weep in bed trying to remember when your torn blue ankle didn’t hurt every minute.

This is the whirlpool, a friend.

Here is how to set up the electric ball machine at dawn on the days Himself is away living up to what will be his final talent.

Here is how to tie a bow tie. Here is how to sit through small openings of your father’s first art films, surrounded by surly foreign cigarette smoke and conversations so pretentious you literally cannot believe them, you’re sure you have misheard them. Pretend you’re engaged by the jagged angles and multiple exposures without pretending you have the slightest idea what’s going on. Assume your brother’s expression.

Here is how to sweat.

Here is how to hand a trophy to Lateral Alice Moore to put in the E.T.A. lobby’s glass case under its system of spotlights and small signs.

What is unfair can be a stern but invaluable teacher.

Here is how to pack carbohydrates into your tissues for a four-singles two-doubles match day in a Florida June.

Please learn to sleep with perpetual sunburn.

Expect some rough dreams. They come with the territory. Try to accept them. Let them teach you.

Keep a flashlight by your bed. It helps with the dreams.

Please make no extramural friends. Discourage advances from outside the circuit. Turn down dates.

If you do exactly the rehabilitative exercises They assign you, no matter how silly and tedious, the ankle will mend more quickly.

This type of stretch helps prevent the groin-pull.

Treat your knees and elbow with all reasonable care: you will have them with you for a long time.

Here is how to turn down an extramural date so you won’t be asked again. Say something like I’m terribly sorry I can’t come out to see 8 1/2 revived on a wall-size Cambridge Celluloid Festival viewer on Friday, Kim-berly, or Daphne, but you see if I jump rope for two hours then jog backwards through Newton till I puke They’ll let me watch match-cartridges and then my mother will read aloud to me from the O.E.D. until 2200 lights-out, and c.; so you can be sure that henceforth Daphne/Kimberly/Jennifer will take her adolescent-mating-dance-type-ritual-socialization business somewhere else. Be on guard. The road widens, and many of the detours are seductive. Be constantly focused and on alert: feral talent is its own set of expectations and can abandon you at any one of the detours of so-called normal American life at any time, so be on guard.