A gargantuan, mind-altering comedy about the Pursuit of Happiness in America Set in an addicts' halfway house and a tennis academy, and featuring the most endearingly screwed-up family to come along in recent fiction, Infinite Jest explores essential questions about what entertainment is and why it has come to so dominate our lives; about how our desire for entertainment affects our need to connect with other people; and about what the pleasures we choose say about who we are. Equal parts philosophical quest and screwball comedy, Infinite Jest bends every rule of fiction without sacrificing for a moment its own entertainment value. It is an exuberant, uniquely American exploration of the passions that make us human - and one of those rare books that renew the idea of what a novel can do.
|Publisher:||Little, Brown and Company|
|Product dimensions:||5.95(w) x 9.15(h) x 1.70(d)|
About the Author
David Foster Wallace was born in Ithaca, New York, in 1962 and raised in Illinois, where he was a regionally ranked junior tennis player. He received bachelor of arts degrees in philosophy and English from Amherst College and wrote what would become his first novel, The Broom of the System, as his senior English thesis. He received a masters of fine arts from University of Arizona in 1987 and briefly pursued graduate work in philosophy at Harvard University. His second novel, Infinite Jest, was published in 1996. Wallace taught creative writing at Emerson College, Illinois State University, and Pomona College, and published the story collections Girl with Curious Hair, Brief Interviews with Hideous Men, and Oblivion and the essay collections A Supposedly Fun Thing I'll Never Do Again and Consider the Lobster. He was awarded the MacArthur Fellowship, a Lannan Literary Award, and a Whiting Writers' Award, and was appointed to the Usage Panel for The American Heritage Dictionary of the English Language. He died in 2008. His last novel, The Pale King, was published in 2011.
Date of Birth:February 21, 1962
Date of Death:September 12, 2008
Place of Birth:Ithaca, NY
Place of Death:Claremont, CA
Education:B.A. in English & Philosophy, Amherst College, 1985;MFA, University of Arizona, 1987
Read an Excerpt
YEAR OF GLAD
I am seated in an office, surrounded by heads and bodies. My posture is consciously congruent to the shape of my hard chair. This is a cold room in University Administration, wood-walled, Remington-hung, double-windowed against the November heat, insulated from Administrative sounds by the reception area outside, at which Uncle Charles, Mr. deLint and I were lately received.
I am in here.
Three faces have resolved into place above summer-weight sportcoats and half-Windsors across a polished pine conference table shiny with the spidered light of an Arizona noon. These are three Deans--of Admissions, Academic Affairs, Athletic Affairs. I do not know which face belongs to whom.
I believe I appear neutral, maybe even pleasant, though I've been coached to err on the side of neutrality and not attempt what would feel to me like a pleasant expression or smile.
I have committed to crossing my legs I hope carefully, ankle on knee, hands together in the lap of my slacks. My fingers are mated into a mirrored series of what manifests, to me, as the letter X. The interview room's other personnel include: the University's Director of Composition, its varsity tennis coach, and Academy protector Mr. A. deLint. C.T. is beside me; the others sit, stand and stand, respectively, at the periphery of my focus. The tennis coach jingles pocket-change. There is something vaguely digestive about the room's odor. The high-traction sole of my complimentary Nike sneaker runs parallel to the wobbling loafer of my mother's half-brother, here in his capacity as Headmaster, sitting in the chair to what I hope is my immediate right, also facing Deans.
The Dean at left, a lean yellowish man whose fixed smile nevertheless has the impermanent quality of something stamped into uncooperative material, is a personality-type I've come lately to appreciate, the type who delays need of any response from me by relating my side of the story for me, to me. Passed a packet of computer-sheets by the shaggy lion of a Dean at center, he is speaking more or less to these pages, smiling down.
`You are Harold Incandenza, eighteen, date of secondary-school graduation approximately one month from now, attending the Enfield Tennis Academy, Enfield, Massachusetts, a boarding school, where you reside.' His reading glasses are rectangular, court-shaped, the sidelines at top and bottom. `You are, according to Coach White and Dean [unintelligible], a regionally, nationally, and continentally ranked junior tennis player, a potential O.N.A.N.C.A.A. athlete of substantial promise, recruited by Coach White via correspondence with Dr. Tavis here commencing . . . February of this year.' The top page is removed and brought around neatly to the bottom of the sheaf, at intervals. `You have been in residence at the Enfield Tennis Academy since age seven.'
I am debating whether to risk scratching the right side of my jaw, where there is a wen.
`Coach White informs our offices that he holds the Enfield Tennis Academy's program and achievements in high regard, that the University of Arizona tennis squad has profited from the prior matriculation of several former E.T.A. alumni, one of whom was one Mr. Aubrey F. deLint, who appears also to be with you here today. Coach White and his staff have given us--'
The yellow administrator's usage is on the whole undistinguished, though I have to admit he's made himself understood. The Director of Composition seems to have more than the normal number of eyebrows. The Dean at right is looking at my face a bit strangely.
Uncle Charles is saying that though he can anticipate that the Deans might be predisposed to weigh what he avers as coming from his possible appearance as a kind of cheerleader for E.T.A., he can assure the assembled Deans that all this is true, and that the Academy has presently in residence no fewer than a third of the continent's top thirty juniors, in age brackets all across the board, and that I here, who go by `Hal,' usually, am `right up there among the very cream.' Right and center Deans smile professionally; the heads of deLint and the coach incline as the Dean at left clears his throat:
`--belief that you could well make, even as a freshman, a real contribution to this University's varsity tennis program. We are pleased,' he either says or reads, removing a page, `that a competition of some major sort here has brought you down and given us the chance to sit down and chat together about your application and potential recruitment and matriculation and scholarship.'
`I've been asked to add that Hal here is seeded third, Boys' 18-and-Under Singles, in the prestigious What aBurger Southwest Junior Invitational out at the Randolph Tennis Center--' says what I infer is Athletic Affairs, his cocked head showing a freckled scalp.
`Out at Randolph Park, near the outstanding El Con Marriott,' C.T. inserts, `a venue the whole contingent's been vocal about finding absolutely top-hole thus far, which--'
`Just so, Chuck, and that according to Chuck here Hal has already justified his seed, he's reached the semifinals as of this morning's apparently impressive win, and that he'll be playing out at the Center again tomorrow, against the winner of a quarterfinal game tonight, and so will be playing tomorrow at I believe scheduled for 0830--'
`Try to get under way before the godawful heat out there. Though of course a dry heat.'
`--and has apparently already qualified for this winter's Continental Indoors, up in Edmonton, Kirk tells me--' cocking further to look up and left at the varsity coach, whose smile's teeth are radiant against a violent sunburn--'Which is something indeed.' He smiles, looking at me. `Did we get all that right Hal.'
C.T. has crossed his arms casually; their triceps' flesh is webbed with mottle in the air-conditioned sunlight. `You sure did. Bill.' He smiles. The two halves of his mustache never quite match. `And let me say if I may that Hal's excited, excited to be invited for the third year running to the Invitational again, to be back here in a community he has real affection for, to visit with your alumni and coaching staff, to have already justified his high seed in this week's not unstiff competition, to as they say still be in it without the fat woman in the Viking hat having sung, so to speak, but of course most of all to have a chance to meet you gentlemen and have a look at the facilities here. Everything here is absolutely top-slot, from what he's seen.'
There is a silence. DeLint shifts his back against the room's panelling and recenters his weight. My uncle beams and straightens a straight watchband. 62.5% of the room's faces are directed my way, pleasantly expectant. My chest bumps like a dryer with shoes in it. I compose what I project will be seen as a smile. I turn this way and that, slightly, sort of directing the expression to everyone in the room.
There is a new silence. The yellow Dean's eyebrows go circumflex. The two other Deans look to the Director of Composition. The tennis coach has moved to stand at the broad window, feeling at the back of his crewcut. Uncle Charles strokes the forearm above his watch. Sharp curved palm-shadows move slightly over the pine table's shine, the one head's shadow a black moon.
`Is Hal all right, Chuck?' Athletic Affairs asks. `Hal just seemed to . . . well, grimace. Is he in pain? Are you in pain, son?'
`Hal's right as rain,' smiles my uncle, soothing the air with a casual hand. `Just a bit of a let's call it maybe a facial tic, slightly, at all the adrenaline of being here on your impressive campus, justifying his seed so far without dropping a set, receiving that official written offer of not only waivers but a living allowance from Coach White here, on Pac 10 letterhead, being ready in all probability to sign a National Letter of Intent right here and now this very day, he's indicated to me.' C.T. looks to me, his look horribly mild. I do the safe thing, relaxing every muscle in my face, emptying out all expression. I stare carefully into the Kekulean knot of the middle Dean's necktie.
My silent response to the expectant silence begins to affect the air of the room, the bits of dust and sportcoat-lint stirred around by the AC's vents dancing jaggedly in the slanted plane of windowlight, the air over the table like the sparkling space just above a fresh-poured seltzer. The coach, in a slight accent neither British nor Australian, is telling C.T. that the whole application-interface process, while usually just a pleasant formality, is probably best accentuated by letting the applicant speak up for himself. Right and center Deans have inclined together in soft conference, forming a kind of tepee of skin and hair. I presume it's probably facilitate that the tennis coach mistook for accentuate, though accelerate, while clunkier than facilitate, is from a phonetic perspective more sensible, as a mistake. The Dean with the flat yellow face has leaned forward, his lips drawn back from his teeth in what I see as concern. His hands come together on the conference table's surface. His own fingers look like they mate as my own four-X series dissolves and I hold tight to the sides of my chair.
We need candidly to chat re potential problems with my application, they and I, he is beginning to say. He makes a reference to candor and its value.
`The issues my office faces with the application materials on file from you, Hal, involve some test scores.' He glances down at a colorful sheet of standardized scores in the trench his arms have made. `The Admissions staff is looking at standardized test scores from you that are, as I'm sure you know and can explain, are, shall we say ... subnormal.' I'm to explain.
It's clear that this really pretty sincere yellow Dean at left is Admissions. And surely the little aviarian figure at right is Athletics, then, because the facial creases of the shaggy middle Dean are now pursed in a kind of distanced affront, an I'm-eating-something-that-makes-me-really- appreciate-the-presence-of-whatever-I'm-drinking-along-with-it look that spells professionally Academic reservations. An uncomplicated loyalty to standards, then, at center. My uncle looks to Athletics as if puzzled. He shifts slightly in his chair.
The incongruity between Admissions's hand- and face-color is almost wild. `--verbal scores that are just quite a bit closer to zero than we're comfortable with, as against a secondary-school transcript from the institution where both your mother and her brother are administrators--' reading directly out of the sheaf inside his arms' ellipse--'that this past year, yes, has fallen off a bit, but by the word I mean "fallen off" to outstanding from three previous years of frankly incredible.'
`Off the charts.'
`Most institutions do not even have grades of A with multiple pluses after it,' says the Director of Composition, his expression impossible to interpret.
`This kind of . . . how shall I put it . . . incongruity,' Admissions says, his expression frank and concerned, `I've got to tell you sends up a red flag of potential concern during the admissions process.'
`We thus invite you to explain the appearance of incongruity if not outright shenanigans.' Students has a tiny piping voice that's absurd coming out of a face this big.
`Surely by incredible you meant very very very impressive, as opposed to literally quote "incredible," surely,' says C.T., seeming to watch the coach at the window massaging the back of his neck. The huge window gives out on nothing more than dazzling sunlight and cracked earth with heat-shimmers over it.
`Then there is before us the matter of not the required two but nine separate application essays, some of which of nearly monograph-length, each without exception being--' different sheet--'the adjective various evaluators used was quote "stellar"--'
Dir. of Comp.: `I made in my assessment deliberate use of lapidary and effete.'
`--but in areas and with titles, I'm sure you recall quite well, Hal: "Neoclassical Assumptions in Contemporary Prescriptive Grammar," "The Implications of Post-Fourier Transformations for a Holographically Mimetic Cinema," "The Emergence of Heroic Stasis in Broadcast Entertainment"--'
`"Montague Grammar and the Semantics of Physical Modality"?'
`"A Man Who Began to Suspect He Was Made of Glass"?'
`"Tertiary Symbolism in Justinian Erotica"?'
Now showing broad expanses of recessed gum. `Suffice to say that there's some frank and candid concern about the recipient of these unfortunate test scores, though perhaps explainable test scores, being these essays' sole individual author.'
`I'm not sure Hal's sure just what's being implied here,' my uncle says. The Dean at center is fingering his lapels as he interprets distasteful computed data.
`What the University is saying here is that from a strictly academic point of view there are admission problems that Hal needs to try to help us iron out. A matriculant's first role at the University is and must be as a student. We couldn't admit a student we have reason to suspect can't cut the mustard, no matter how much of an asset he might be on the field.'
`Dean Sawyer means the court, of course, Chuck,' Athletic Affairs says, head severely cocked so he's including the White person behind him in the address somehow. `Not to mention O.N.A.N.C.A.A. regulations and investigators always snuffling around for some sort of whiff of the smell of impropriety.'
The varsity tennis coach looks at his own watch.
`Assuming these board scores are accurate reflectors of true capacity in this case,' Academic Affairs says, his high voice serious and sotto, still looking at the file before him as if it were a plate of something bad, `I'll tell you right now my opinion is it wouldn't be fair. It wouldn't be fair to the other applicants. Wouldn't be fair to the University community.' He looks at me. `And it'd be especially unfair to Hal himself. Admitting a boy we see as simply an athletic asset would amount to just using that boy. We're under myriad scrutiny to make sure we're not using anybody. Your board results, son, indicate that we could be accused of using you.'
Uncle Charles is asking Coach White to ask the Dean of Athletic Affairs whether the weather over scores would be as heavy if I were, say, a revenue-raising football prodigy. The familiar panic at feeling misperceived is rising, and my chest bumps and thuds. I expend energy on remaining utterly silent in my chair, empty, my eyes two great pale zeros. People have promised to get me through this.
Uncle C.T., though, has the pinched look of the cornered. His voice takes on an odd timbre when he's cornered, as if he were shouting as he receded. `Hal's grades at E.T.A., which is I should stress an Academy, not simply a camp or factory, accredited by both the Commonwealth of Massachusetts and the North American Sports Academy Association, it's focused on the total needs of the player and student, founded by a towering intellectual figure whom I hardly need name, here, and based by him on the rigorous Oxbridge Quadrivium-Trivium curricular model, a school fully staffed and equipped, by a fully certified staff, should show that my nephew here can cut just about any Pac 10 mustard that needs cutting, and that--'
DeLint is moving toward the tennis coach, who is shaking his head.
`--would be able to see a distinct flavor of minor-sport prejudice about this whole thing,' C.T. says, crossing and recrossing his legs as I listen, composed and staring.
The room's carbonated silence is now hostile. `I think it's time to let the actual applicant himself speak out on his own behalf,' Academic Affairs says very quietly. `This seems somehow impossible with you here, sir.'
Athletics smiles tiredly under a hand that massages the bridge of his nose. `Maybe you'd excuse us for a moment and wait outside, Chuck.'
`Coach White could accompany Mr. Tavis and his associate out to reception,' the yellow Dean says, smiling into my unfocused eyes.
`--led to believe this had all been ironed out in advance, from the--' C.T. is saying as he and deLint are shown to the door. The tennis coach extends a hypertrophied arm. Athletics says `We're all friends and colleagues here.'
This is not working out. It strikes me that EXIT signs would look to a native speaker of Latin like red-lit signs that say HE LEAVES. I would yield to the urge to bolt for the door ahead of them if I could know that bolting for the door is what the men in this room would see. DeLint is murmuring something to the tennis coach. Sounds of keyboards, phone consoles as the door is briefly opened, then firmly shut. I am alone among administrative heads.
`--offense intended to anyone,' Athletic Affairs is saying, his sportcoat tan and his necktie insigniated in tiny print--'beyond just physical abilities out there in play, which believe me we respect, want, believe me.'
`--question about it we wouldn't be so anxious to chat with you directly, see?'
`--that we've known in processing several prior applications through Coach White's office that the Enfield School is operated, however impressively, by close relations of first your brother, who I can still remember the way White's predecessor Maury Klamkin wooed that kid, so that grades' objectivity can be all too easily called into question--'
`By whomsoever's calling--N.A.A.U.P., ill-willed Pac 10 programs, O.N.A.N.C.A.A.--'
The essays are old ones, yes, but they are mine; de moi. But they are, yes, old, not quite on the application's instructed subject of Most Meaningful Educational Experience Ever. If I'd done you one from the last year, it would look to you like some sort of infant's random stabs on a keyboard, and to you, who use whomsoever as a subject. And in this new smaller company, the Director of Composition seems abruptly to have actuated, emerged as both the Alpha of the pack here and way more effeminate than he'd seemed at first, standing hip-shot with a hand on his waist, walking with a roll to his shoulders, jingling change as he pulls up his pants as he slides into the chair still warm from C.T.'s bottom, crossing his legs in a way that inclines him well into my personal space, so that I can see multiple eyebrow-tics and capillary webs in the oysters below his eyes and smell fabric-softener and the remains of a breath-mint turned sour.
`. . . a bright, solid, but very shy boy, we know about your being very shy, Kirk White's told us what your athletically built if rather stand-offish younger instructor told him,' the Director says softly, cupping what I feel to be a hand over my sportcoat's biceps (surely not), `who simply needs to swallow hard and trust and tell his side of the story to these gentlemen who bear no maliciousness none at all but are doing our jobs and trying to look out for everyone's interests at the same time.'
I can picture deLint and White sitting with their elbows on their knees in the defecatory posture of all athletes at rest, deLint staring at his huge thumbs, while C.T. in the reception area paces in a tight ellipse, speaking into his portable phone. I have been coached for this like a Don before a RICO hearing. A neutral and affectless silence. The sort of all-defensive game Schtitt used to have me play: the best defense: let everything bounce off you; do nothing. I'd tell you all you want and more, if the sounds I made could be what you hear.
Athletics with his head out from under his wing: `--to avoid admission procedures that could be seen as primarily athletics-oriented. It could be a mess, son.'
`Bill means the appearance, not necessarily the real true facts of the matter, which you alone can fill in,' says the Director of Composition.
`--the appearance of the high athletic ranking, the subnormal scores, the over-academic essays, the incredible grades vortexing out of what could be seen as a nepotistic situation.'
The yellow Dean has leaned so far forward that his tie is going to have a horizontal dent from the table-edge, his face sallow and kindly and no-shit-whatever:
`Look here, Mr. Incandenza, Hal, please just explain to me why we couldn't be accused of using you, son. Why nobody could come and say to us, why, look here, University of Arizona, here you are using a boy for just his body, a boy so shy and withdrawn he won't speak up for himself, a jock with doctored marks and a store-bought application.'
The Brewster's-Angle light of the tabletop appears as a rose flush behind my closed lids. I cannot make myself understood. `I am not just a jock,' I say slowly. Distinctly. `My transcript for the last year might have been dickied a bit, maybe, but that was to get me over a rough spot. The grades prior to that are de moi.' My eyes are closed; the room is silent. `I cannot make myself understood, now.' I am speaking slowly and distinctly. `Call it something I ate.'
It's funny what you don't recall. Our first home, in the suburb of Weston, which I barely remember--my eldest brother Orin says he can remember being in the home's backyard with our mother in the early spring, helping the Moms till some sort of garden out of the cold yard. March or early April. The garden's area was a rough rectangle laid out with Popsicle sticks and twine. Orin was removing rocks and hard clods from the Moms's path as she worked the rented Rototiller, a wheelbarrow-shaped, gas-driven thing that roared and snorted and bucked and he remembers seemed to propel the Moms rather than vice versa, the Moms very tall and having to stoop painfully to hold on, her feet leaving drunken prints in the tilled earth. He remembers that in the middle of the tilling I came tear-assing out the door and into the backyard wearing some sort of fuzzy red Pooh-wear, crying, holding out something he said was really unpleasant-looking in my upturned palm. He says I was around five and crying and was vividly red in the cold spring air. I was saying something over and over; he couldn't make it out until our mother saw me and shut down the tiller, ears ringing, and came over to what I was holding out. This turned out to have been a large patch of mold--Orin posits from some dark corner of the Weston home's basement, which was warm from the furnace and flooded every spring. The patch itself he describes as horrific: darkly green, glossy, vaguely hirsute, speckled with parasitic fungal points of yellow, orange, red. Worse, they could see that the patch looked oddly incomplete, gnawed-on; and some of the nauseous stuff was smeared around my open mouth. `I ate this,' was what I was saying. I held the patch out to the Moms, who had her contacts out for the dirty work, and at first, bending way down, saw only her crying child, hand out, proffering; and in that most maternal of reflexes she, who feared and loathed more than anything spoilage and filth, reached to take whatever her baby held out--as in how many used heavy Kleenex, spit-back candies, wads of chewed-out gum in how many theaters, airports, backseats, tournament lounges? O. stood there, he says, hefting a cold clod, playing with the Velcro on his puffy coat, watching as the Moms, bent way down to me, hand reaching, her lowering face with its presbyopic squint, suddenly stopped, froze, beginning to I.D. what it was I held out, countenancing evidence of oral contact with same. He remembers her face as past describing. Her outstretched hand, still Rototrembling, hung in the air before mine.
`I ate this,' I said.
O. says he can only remember (sic) saying something caustic as he limboed a crick out of his back. He says he must have felt a terrible impending anxiety. The Moms refused ever even to go into the damp basement. I had stopped crying, he remembers, and simply stood there, the size and shape of a hydrant, in red PJ's with attached feet, holding out the mold, seriously, like the report of some kind of audit.
O. says his memory diverges at this point, probably as a result of anxiety. In his first memory, the Moms's path around the yard is a broad circle of hysteria:
`God!' she calls out.
`Help! My son ate this!' she yells in Orin's second and more fleshed-out recollection, yelling it over and over, holding the speckled patch aloft in a pincer of fingers, running around and around the garden's rectangle while O. gaped at his first real sight of adult hysteria. Suburban neighbors' heads appeared in windows and over the fences, looking. O. remembers me tripping over the garden's laid-out twine, getting up dirty, crying, trying to follow.
`God! Help! My son ate this! Help!' she kept yelling, running a tight pattern just inside the square of string; and my brother Orin remembers noting how even in hysterical trauma her flight-lines were plumb, her footprints Native-American-straight, her turns, inside the ideogram of string, crisp and martial, crying `My son ate this! Help!' and lapping me twice before the memory recedes.
`My application's not bought,' I am telling them, calling into the darkness of the red cave that opens out before closed eyes. `I am not just a boy who plays tennis. I have an intricate history. Experiences and feelings. I'm complex.
`I read,' I say. `I study and read. I bet I've read everything you've read. Don't think I haven't. I consume libraries. I wear out spines and ROM-drives. I do things like get in a taxi and say, "The library, and step on it." My instincts concerning syntax and mechanics are better than your own, I can tell, with due respect.
`But it transcends the mechanics. I'm not a machine. I feel and believe. I have opinions. Some of them are interesting. I could, if you'd let me, talk and talk. Let's talk about anything. I believe the influence of Kierkegaard on Camus is underestimated. I believe Dennis Gabor may very well have been the Antichrist. I believe Hobbes is just Rousseau in a dark mirror. I believe, with Hegel, that transcendence is absorption. I could interface you guys right under the table,' I say. `I'm not just a creatus, manufactured, conditioned, bred for a function.'
I open my eyes. `Please don't think I don't care.'
I look out. Directed my way is horror. I rise from the chair. I see jowls sagging, eyebrows high on trembling foreheads, cheeks bright-white. The chair recedes below me.
`Sweet mother of Christ,' the Director says.
`I'm fine,' I tell them, standing. From the yellow Dean's expression, there's a brutal wind blowing from my direction. Academics' face has gone instantly old. Eight eyes have become blank discs that stare at whatever they see.
`Good God,' whispers Athletics.
`Please don't worry,' I say. `I can explain.' I soothe the air with a casual hand.
Both my arms are pinioned from behind by the Director of Comp., who wrestles me roughly down, on me with all his weight. I taste floor.
I say `Nothing is wrong.'
`It's all right! I'm here!' the Director is calling into my ear.
`Get help!' cries a Dean.
My forehead is pressed into parquet I never knew could be so cold. I am arrested. I try to be perceived as limp and pliable. My face is mashed flat; Comp.'s weight makes it hard to breathe.
`Try to listen,' I say very slowly, muffled by the floor.
`What in God's name are those . . . ,' one Dean cries shrilly, `. . . those sounds?'
There are clicks of a phone console's buttons, shoes' heels moving, pivoting, a sheaf of flimsy pages falling.
The door's base opens at the left periphery: a wedge of halogen hall-light, white sneakers and a scuffed Nunn Bush. `Let him up!' That's deLint.
`There is nothing wrong,' I say slowly to the floor. `I'm in here.'
I'm raised by the crutches of my underarms, shaken toward what he must see as calm by a purple-faced Director: `Get a grip, son!'
DeLint at the big man's arm: `Stop it!'
`I am not what you see and hear.'
Distant sirens. A crude half nelson. Forms at the door. A young Hispanic woman holds her palm against her mouth, looking.
`I'm not,' I say.
You have to love old-fashioned men's rooms: the citrus scent of deodorant disks in the long porcelain trough; the stalls with wooden doors in frames of cool marble; these thin sinks in rows, basins supported by rickety alphabets of exposed plumbing; mirrors over metal shelves; behind all the voices the slight sound of a ceaseless trickle, inflated by echo against wet porcelain and a cold tile floor whose mosaic pattern looks almost Islamic at this close range.
The disorder I've caused revolves all around. I've been half-dragged, still pinioned, through a loose mob of Administrative people by the Comp. Director--who appears to have thought variously that I am having a seizure (prying open my mouth to check for a throat clear of tongue), that I am somehow choking (a textbook Heimlich that left me whooping), that I am psychotically out of control (various postures and grips designed to transfer that control to him)--while about us roil deLint, trying to restrain the Director's restraint of me, the varsity tennis coach restraining deLint, my mother's half-brother speaking in rapid combinations of polysyllables to the trio of Deans, who variously gasp, wring hands, loosen neckties, waggle digits in C.T.'s face, and make pases with sheafs of now-pretty-clearly-superfluous application forms.
I am rolled over supine on the geometric tile. I am concentrating docilely on the question why U.S. restrooms always appear to us as infirmaries for public distress, the place to regain control. My head is cradled in a knelt Director's lap, which is soft, my face being swabbed with dusty-brown institutional paper towels he received from some hand out of the crowd overhead, staring with all the blankness I can summon into his jowls' small pocks, worst at the blurred jaw-line, of scarring from long-ago acne. Uncle Charles, a truly unparalleled slinger of shit, is laying down an enfilade of same, trying to mollify men who seem way more in need of a good browmopping than I.
`He's fine,' he keeps saying. `Look at him, calm as can be, lying there.'
`You didn't see what happened in there,' a hunched Dean responds through a face webbed with fingers.
`Excited, is all he gets, sometimes, an excitable kid, impressed with--'
`But the sounds he made.'
`Like an animal.'
`Subanimalistic noises and sounds.'
`Nor let's not forget the gestures.'
`Have you ever gotten help for this boy Dr. Tavis?'
`Like some sort of animal with something in its mouth.'
`This boy is damaged.'
`Like a stick of butter being hit with a mallet.'
`A writhing animal with a knife in its eye.'
`What were you possibly about, trying to enroll this--'
`And his arms.'
`You didn't see it, Tavis. His arms were--'
`Flailing. This sort of awful reaching drumming wriggle. Waggling,' the group looking briefly at someone outside my sight trying to demonstrate something.
Most Helpful Customer Reviews
I used to think that I'd read all the greatest books of today, and I may have been right. But from the first page to the last this stunning literary masterpiece captured my mind and held it in the vice grips of deep inner doubt, causing me to question my lifestyle, inspiring change. This book is a mental catalyst, a lightning strike in the primordial ooze of the sub conscious. Read it, he knows where you live.
how can people claim to have trouble reading this or that it is boring, I found myself holding off trips to the bathroom and food just to get through single, lucid paragraphs that contained everything from amazing tennis writing (granted I play) and shockingly insightful looks into addiction, freedom, will, and possibility. maybe its my generation (Im 23) and its hook with postmodern sensibilities, but something about this novel truly redefines for me what storytelling can be. whatever cerebral lightweight called this Iowa Finishing School writing is probably correct, keep in mind that place also has given us Flannery OConnor and boasts Kurt Vonneget as an instructor. keep Iowa writers coming I say
This is the real thing. Validates the vibrancy of art and literature in these modern times in a voice simultaneously full of hope and cynicism. He plays with the reader like Pynchon or Gaddis, but is not mean spirited about it. And I laughed out loud in public places while reading this beautiful book.
This is one of those rare novels to savor. Rather than reading to advance through the plot, one needs to linger on the superb descriptive writing, the unexpected metaphors, the brilliance of language, the spot-on dialogue, the surreal moments, and the command of structure. If this isn't enough, it is often laugh out loud funny. I will agree that this is not the novel for everyone - it is long, it is non-sequential, and it could be accused of being pedantic. It is also terrifically rewarding; and I don't use the word loosely, a work of and from a genius. I purchased the book for my Nook and never were the advantages of an eReader better expressed. The print copy is bulky and heavy and David Foster Wallace uses the unconventional technique of using footnotes - easily accessed via the electronic links.
This seminal work by DFW should not be passed up based on its length. Infinite Jest more than delivers. DFW inter-weaves several narratives expertly. There's more here than you would expect. Don't be intimidated by its length, you won't be disappointed.
My brain is getting a workout reading this vast verbal amusement park. A perfect NOOK read because it is over 1000 pgs long and for me requires frequent ' look-ups'.
I feel like I need a dumbed down version of the book- there are parts of it that are truly amazing and had me laughing out loud of up half the night thinking- and the parts of it that I just read time again, completely lost. I think I'll stick to his short stories.
Mr. Wallace's text is not Gravity's Rainbow or Ulysses, but it is a testament to writing and storytelling, something often ignored these days. Infinite Jest is an attempt at an epic, one that reaches very close to achieving it. But ultimately, it never fully gets off the ground. Still, there are portions that are beautifully written and Wallace should be acknowledged for his skill
Well, that only took 7 months...Dave Eggers comments in the foreword sum up this book best: "This book is like a spaceship with no recognizable components, no rivets or bolts, no entry points, no way to take it apart. It is very shiny, and it has no discernible flaws."
I can't believe it, but after two years (off and on, obviously) and 1100+ pages, I really want to start over! What an amazing book! absolutely recommend!
Don't be daunted by the reviews, the vocabulary, or the structure of the book. Do plan to read it twice (at least). Under the bleak and chilly surface, Infinite Jest is a warm story, told with compassion for the characters. It's very funny. It's hopeful but not sappy. And it's complex enough that the second reading seems to make the story fresh, as you put things together and pick up clues you'd missed the first time. I'd wanted to read it years ago, but waited because I'd heard it was a freak show and a hot mess. Finally I was too curious to resist. Don't make my mistake! You might love this book as I do now.
I loved it. I'm a fan of Mr. Wallace's other works too, but this one is by far my favorite. Well worth the time it took me to read it. And I don't think it's near as hard as everyone makes it out to be.
This book is a long one, it was sitting on my bookshelf for almost a year before I worked up enough courage to read it. There are many points where I began to feel dumb or things that seem like a waste of time to read but overall this book is amazing. DFW is a genius as evident by this masterpiece.
This book is everything the 90's ever was or wanted to be. The twisting plot takes place in a dystopian near-future where each year has advertising rights sold on it. To keep track of all the characters would drive anyone crazy. To keep track of every plot point would take longer than actually reading the book. This book is smart, funny, angsty, and witty. It reflects the time it was written in and it holds up as one of the greatest novels of the 20th century.
I just finished this book last night, and I was very pleased that I read this huge book. It is a huge book and a very difficult read but it is not impossible to read. The most important thing to be when you're reading this book is to be patient. At times you will ask yourself, "Is there a point to this?" I have asked myself this question but those sections that seem out of place are sometimes the best in the book. I would defiantly recommend this book. Overall there are four words/ phrases to describe this book: tennis, drugs, Quebecois separatists in wheelchairs, and movies. Enjoy!!!!
In Infinite Jest, David Foster Wallace leaves to us the last great gasp of the post-modern novel. Theories abound, characters proliferate, storylines interweave, elipses elide, and the whole mish-mash is paddywacked into a dogged tome. The work floats out there, severed from reality, in its own terribly clever and self reverential universe. A first read reveals a world filled with hilarity carefully crafted by a verbal maestro; a second read reveals a dark and disturbing world eating away at and consuming reality, written by the work's own victim and villain. There is much here to occupy, amuse and challenge the reader. What makes it all hold together and say something at least interesting about the world of which it is barely a part? About the world from which the work has become disassociated? Addiction. It is a book about addictions to things which help us to create worlds apart, and an exploration of worlds apart with or without addiction, from Shakespeare to Sports to Canada. These are things that drive us to an early grave. And those addictions teather it to the world it evades, distorts, and rejects. A sad and awe-ful and wholly unnerving work, filled with Wallace mocking his own grin. Be warned afore. RIP DFW.
I either have no words for this book or about a bazillion. It's not perfect, but its sprawling messiness and flaws are just as valuable as its wit and compassion and general genius. I'll never forget Infinite Summer.
How come I can't give Infinite Jest zero stars? I struggled through maybe 100 pages of this self-congratulatory horseshit. DFW has nothing to say, and he uses the maximum number of words to say it. He has no sense of rhythm. He's terribly impressed with himself for using big words. And when one is a bleeding edge hipster such as he is, one can't be bothered with plebian things like, say, developing characters. But the absolute stinkiest thing about DFW's writing here is that rather than show difficult scenes, such as when the protagonist has a breakdown in a bathroom, he simply tells us about them afterward. Much easier, isn't it, to cry "cut!" before the real action, and just encapsulate it later. Feh. This book is poorly edited as well, with for example the same word being used (not intentionally, I gather) two or three times in a short space. I suppose I can't blame the poor editor who was saddled with this monstrosity for not attentively editing all 1,000 pages.Why so many people apparently adore this book, I will NEVER understand.
To be honest, I only read about 500 pages and the equivalent pages of footnotes. And then someone told me that nothing happens at the end and ALSO the boy I was dating who I was reading it so we'd have something to talk about dumped me. But now I kind of regret not finishing it...maybe one day.
There are books that one loves and books that one does not. Infinite Jest rests in the latter category for me. I tried to focus on those aspects of the book that I found appealing, particularly the Incandenza family and ETA, but by the final third of the book it was a struggle to go on. Perhaps there was some humor that I was missing, no doubt a lot of humor, but if it was there in the book it was not my kind of humor. I've enjoyed humor in Rabelais, Chaucer, Dickens, Wilde - all the way up to and including Pynchon, but Wallace, not so much - too little in fact. There were plays on words, but too few of them. I was participating in the Infinite Summer project and that kept me going when I probably would have otherwise laid the novel aside.David Foster Wallace has a lot of great ideas and a facility with language, but in this novel the language and ideas do not seem to cohere and I found that frustrating (I did expand my vocabulary more than I do in the average book - advantage, Wallace). In the novel we meet a young tennis star, dozens of other brilliantly-conceived characters and learn the fates of exactly none of them. The settings are elegantly detailed, from a tennis high school full of secret passages to the train-station restroom home of a dying junkie, and none of them seem to matter to the characters. The time period described, a few years into the world's future, includes several intriguing speculations, all of them going nowhere. There's a cult for ugly people, a cross-dressing federal agent, a group of terrorists in wheelchairs, a lost movie that captures the minds of all who view it, and couple hundred more ingenious devices, not one of which changes a damn thing. The footnotes are at times interesting, but they also are just so much excess.Now there is nothing wrong with excess, the novel as a form of literature began with the excesses of Cervantes and Rabelais and Sterne. But each of those writers had stories and above-all were able to communicate ideas in ways that led to their works becoming classics that we still read today. Infinite Jest seems, by the end, to be close to sinking into a black hole of nothingness - at the edge of postmodern nothingness, the prose descending into loggorrhea. I do not believe this is the direction the novel should or will take. I applaud those who can relate to this form of writing, I do not relate to it, but will continue to read with the goal of finding those authors to whom I can relate. In the meantime there are always Dostoevsky, Mann, Faulkner and others on which to fall back upon.
This is simply one of the greatest post-WWII American novels. The measure of its greatness to me is that I have very little interest in any of the big subjects of the book¿tennis, AA and Quebecian separatists, but it just doesn¿t matter. Unlike so many other novels that get labeled postmodern, the level of detail in the writing is phenomenal and the characters are so vivid that you truly believe that you¿ve personally met them all.
I pronounce it to be bloated, pretentious, encyclopedic, prescient, and hilarious. At first, I was really pissed off at the ending, but the more I thought about the structure of the book and how it related to the themes presented, the better and more coherent it looked. This is a big, difficult, ambitious mess of a novel, but it gets right much more than it gets wrong. Probably the closest thing we'll get to a War and Peace for millennial America.
Hereby rate this book 0.5 and consign it to my Burned collection not because it's that bad, which it isn't, but (a) due to its substantial calorific value in face of another incoming hard winter in the West of Ireland and (b) in protest at the rating of 0.5 given to James Joyce's "Ulysses" by twelve members of the LT site and in particular a Certain Member of this site who has frankly welshed on a solemn undertaking (28/08/2010) to back off, for the love of God, to 1.5.
Yowza. After finishing Infinite Jest, in just over a month of reading time, I feel like I owe it to myself to spend a month reading nothing more complex than, say, the back of Froot Loops boxes, in order to give my overtaxed mind some time to recuperate.I liked this book, kind of a lot, but I can't think of another single living human being that I would recommend it to, at least not without a heaping spoonful of qualifications. It's a rewarding read, but so dense and - probably more to the point - narratively broken that I can't imagine sending someone into it without letting them know what they're in for. And that could be a problem. At this point, I don't really even know how or what to think about it, let alone write or talk about it. It's a book that deserved and probably requires at least a second reading, but I honestly don't know if I can put myself through it again.See what I mean? This is a book I liked, and yet I'm talking about it like it was some sort of cross to bear. No doubt it was a challenge, but I feel I must reiterate that it was worth it, at the end as well as throughout.So what did I like about it? I liked that it was complex and challenging. I liked that I had to go to the dictionary from time to time. I liked the language, especially as used by the grammatically precise Hal Incandenza. I liked the imagery. I liked the characters. I liked the outlandish premise and the ridiculous situations; I also liked the infusion of gritty realism and the minute detail. I even liked (yes, liked) how Wallace set up all these dots and, in the end, didn't connect all of them. I can't pretend that I fully understand the book as a whole, but it's definitely a lot to think about, and I like that too.This is the most difficult, interesting book I've read in probably the last ten years, at least. I'm glad I read it, and I hope I can convince myself to do it again, at least once more, at some point. But not soon.
Oh, God, Oh, God. The title is one-half correct. As far as the other half, I suppose it's there, too, but I resent being the butt of it.