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, Oblivion, 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!!!!
I am obsessed with Infinite Jest. If Infinite Jest were a bowling score (bingo!) it would be 300. Perfect! When the 10 year, $10 anniversary edition of IJ came out with the intro by David Eggers, I had to buy it even though the copy I possessed (I don't own Inifinite Jest or have a copy of Infinite Jest, I POSSESS Infinite Jest like a demon) was in great shape, good for another half dozen reads. Recently, I possessed a hardcover first edition of Infinite Jest, even though I had only read the 10 year, $10 anniversary edition of Infinite Jest with the intro by David Eggers twice. I saw IJ sitting in a pile on the floor in the fiction aisle of the Bookman in Orange, CA, where a gangly, geeky looking Gin Blossom t-shirt wearing no doubt writer-intellectual-type was about to grab it. That's right, the geek was about to snatch my first first edition of Infinite Jest away from me. "Get away from her!" I boomed, "the sow is mine!" And then my head spun round in sinister circles, and the geek (good riddance) fled for his life from the bookracks.Infinite Jest was a revelatory, revolutionary reading experience for me. Think "the British are coming!" as I turned each page; think the Bolsheviks. What a liberating read, opening new wormholes in fiction. Once I'd read IJ, the landscape of contemporary literature was irrevocably transformed for me, and I could never be content again (or so I thought) with what I saw as constant mediocrity in serious fiction. However, here's the downside: Wallace raised for me in contemporary literature such an Everest expectation of any new work, that I couldn't help have the nagging, always anti-climactic sense when thereafter approaching other author's works (and Wallace's, unfortunately, too) that what I was reading was somehow "less than" or "could've been better" or "just wasn't rich enough". In other words, once I'd conquered Everest, Mounts Kilimanjaro or Fuji -- world class summits in their own rights with fantastic views-- didn't satisfy. How could they--I'd been to the HIGHEST summit too many times. But then I realized over time that most writers don't aspire for Everest with every creative effort and, more importantly, if they do not aim for Everest, they should not be read nor critiqued as if they were aiming for Everest. Maybe they were summitting Rainier or Pikes Peak. Maybe they were happy with hills (and their readers too). Could it not, in fact, be argued that creating interesting, readable "hills" might demonstrate a talent requiring more nuance, subtlety and skill than Wallace demonstrated in IJ? Nah, not really, Wallace is still the best. But hey, there's nothing innately wrong with literary hills in the first place. Wildflowers, after all, bloom brilliantly in the hills here in So. CA every spring, don't they? True, wildflowers bloom, they do, but Wallace, premiere mountaineer, almost ruined me for fiction, I just can't shake his overarching influence and legacy. He put me, anonymous reader, on his genius back and lugged me to the top of Everest. And I just can't see the point in bowling again.
Yes, I got it. I read every footnote. And I was unimpressed. Maybe that's the point, but I still begrudge the time I spent on this (a month of reading about forty hours a week, when I was unemployed a few years ago). Like a lot of nonfiction polemics that come out about the burning issue du jour, this book offers nothing that couldn't be grasped by reading a five-page magazine article about it instead of wasting all that time.
Yes, I loved it - when I read it 10 years ago. I thought the story was intrigiuing and funny, the "alternate history" aspects novel. and the mathematical and footnote diversions fantastic. Years later the NFL kicker brother's obsession with his leg and the mother's radical grammer correction society stay with you. However, "Infinite Jest" was the first "meta fiction" book I read and I find myself less than enthusiatic about reading too many more - partly cuz I found the Girl with the Curious Hair horrid... Maybe I have grown up and find this too gimicky. Roth, Bellow, Banks - Wallace is not in the club.
yes I finished it, but just because I was not going to let the book beat me. It had some good moments but not enough to justify the length. Mostly a self-absobed author getting off on the sound of his own voice.
A deeply engaging and sometimes horrifying piece of fiction with a little something for everyone: political satire, social commentary, adolescent angst, sports, techno-futurism, comedy and some truly awful death scenes. Much as I liked it the first time around, I can't quite bring myself to read it a second time.
This is nothing short of a great book. It's also quirky and terribly wordy, and plot lines and characters can sometimes be tedious It's fraught and serious and hilarious and erudite all at the same time. It makes you feel simultaneously very smart and very low-life to read it. Imagine an army of wheelchair-bound geriatric Canadian separatists with red blankets in their laps threatening to overthrow the USA, as well as a society of people so horribly disfigured they go about with veils, and a slightly disreputable tennis academy full of kid athletes up the hill from a halfway house for junkies and crackheads, all stitched together in a pastiche that doesn't begin to show any form until about pag 700 or so.. Recommended to anyone with a large appetite for contemporary literature, and a stomach for gruesome murders and drug tales and willing to suspend disbelief until the plot is finally clarified.
There's a lot in David Foster Wallace's head. Whether it's the algebraic formula comparing a military arsenal to the number of combatants or the chemical formula of hallucinogens, Wallace comes across as one smart guy. Every page of his mammoth novel Infinite Jest contains enough cerebral spillage to fuel three or four high school classrooms for a year. I first took notice of Wallace when I read an essay on cruise lines he wrote for The New Yorker (it¿s now the title piece in his collection A Supposedly Fun Thing I¿ll Never Do Again). I was bowled over by this obviously huge comic talent. It was the Marx Brothers meet Royal Caribbean. When I picked up Infinite Jest at the bookstore, I expected more of the same. What I got was a large piece of literature that defies any attempt to categorize it or even explain its meaning. With his zest for satire and long-winded jokes, Wallace takes an obvious bow to the likes of Vonnegut, Pynchon and, yes, Groucho Marx. It¿s as hard to summarize the novel as it is to hang it on a peg. The novel sprawls with characters, places, ideas and footnotes. Yes, a novel with footnotes. Some of the best humor can be found here, tucked away at the back of the book. Infinite Jest takes place in the indefinite future, a time when years are subsidized by major corporations so that we get The Year of the Tucks Medicated Pad and The Year of the Depend Adult Undergarment. It¿s set at the Enfield Tennis Academy, a Boston-area institution founded by James O. Incandenza, whose offspring, athletic and academic prodigies, still reside there. Then there¿s Ennet House, a residence for recovering drug addicts and alcoholics just down the hill whose residents suffer from infinite torpor. James O., a former tennis prodigy, physicist specializing in optics and avant-garde film maker, has by the time the story opens killed himself by sticking his head in a microwave oven. In a footnoted filmography, Wallace gives us an idea of what kind of filmmaker he was: "Baby Pictures of Famous Dictators," "Dial C for Concupiscence" and "Pre-Nuptial Agreement of Heaven and Hell" are just a few of the titles Incandenza filmed. And, of course, "Infinite Jest," the movie he was working on when he microwaved himself to death. Only problem is, no one¿s seen it because it¿s so mesmerizing that anyone viewing it is rendered helpless and insensible to everything except the desire to keep watching it. No one survives "Infinite Jest," the movie. The same could also be said for the novel. Infinite Jest opens with a burst of comedy that immediately got me in the mood for a 1,079-page laugh-fest. Yes, I said 1,079 pages! As it turns out, I had a good chuckle while reading about 179 of those pages, but then energy (either mine or Wallace¿s) started to fizzle and sputter. The subsidized-years joke can only go so far. By the time I reached the final footnote on the final page, I was just barely hanging on to Wallace¿s coattails. I was grateful to make it all the way to the end of the book, but I was left asking myself things like, "What¿s it all about, Alfie?" and "Where¿s the payoff?" and "Huh?" I can¿t deny there¿s genius at work here. Heck, anyone who can use footnotes in a novel for comic effect deserves a round of applause. But if I¿m going to invest this much of my attention in a work that turns out to be the Godzilla of novels, then I want a little more satisfaction than I get here. This is certainly one of those 10-pound novels where thought overwhelms plot. There's a lot to think about in Wallace's condensed prose and my brain was firing on all circuits during the time I spent with it. Eventually, however, I blew a fuse. I suppose Infinite Jest begs for a second reading¿something for which I don¿t think I have the strength or time...unless I take that Marx Brothers cruise.
You either love him or you hate him, and if you love him this book is his best. Virtuoso prose style, inventive structure, jokes that are not just laugh-out-loud funny but laugh-out-loud-reread-the-page-in-disbelief-and-laugh-again funny, and beneath it all a core of heartfelt tragic empathy. Infinite Jest left me wanting more.
in the introduction to the new edition, this is described as "a book that gives so much, that required such sacrifice and dedication." i have only rarely encountered a book that causes me to react so viscerally. it is a sort of marriage of heaven and hell - of the ugliest and the loftiest aspects of human nature, of the grotesque and the gorgeous. its heft is not mere mass. i recommend this book sparingly but love it unconditionally.
Man, I wish this book were longer. I got to the end and felt like my boyfriend and his best friend ran off and took the cat and the hybrid and high tailed it out of Cambridge. Yes, it does have a very slow start in terms of plot, but the details about the characters from the first 300 pages will haunt you and make you laugh each time they are revisited by the author. Plus, if you get the 10th anniversary edition it¿s 0.9 cents per page and it doubles as a doorstop! You can¿t lose.