Authors: David Foster Wallace
It was only the maturer perspective of years and experience that let Matty find something to be thankful for, that the Da'd at least used a lube. The origins of the big man's clear familiarity with the stuff and its nighttime use not even adult perspective could illuminate, let Matty snap to, still, now, at twenty-three.
One hears, say, cirrhosis and acute pancreatitis and thinks of the subject clutching his middle like an old film's gutshot actor and slumping quietly over to eternal rest with lids shut and face composed. Matty's Da'd died choking on aspirated blood, a veritable fountain of the darkest possible blood, Matty coated a spray-paint-russet as he held the man's yellow wrists and Mum lumbered off down the ward in search of a crash-cart team. Particles aspirated so terribly fine, like almost atomized, so that they hung in the air like the air itself over the cribbed bed as the man expired, cat-yellow eyes wide open and face screwed into the very most godawful rictusized grin of pain, his last thoughts (if any) unknowable. Matty still toasted the man's final memory with his first shot, whenever he indulged.
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11 NOVEMBER YEAR OF THE DEPEND ADULT UNDERGARMENT
First thing after supper Hal drops around to Schtitt's room off the Comm.-Ad. lobby to go through the motions of getting some input on just what had gone so terribly wrong against Stice. Also to get maybe some kind of bead on why he'd had to play The Darkness publicly in the first place, so close to the WhataBurger. I.e. like what the exhibition might have signified. This endless tension among E.T.A.s about how the coaches are seeing you, gauging your progress — is your stock going up or down. But A. deLint's the only one in there, working on some sort of oversized spreadsheetish chart, lying prone and shirtless on the bare floor with his chin in his hand and a pungent Magic Marker, and says Schtitt has gone off on the cycle somewhere after confections, but to sit down. Presumably meaning in a chair. So Hal's subjected to several minutes of deLint's take on the match, complete with stats out of the prorector's head. DeLint's back is pale and constellated with red pits of old pimples, though the back's nothing compared to Struck's or Shaw's back. There's a cane chair and a wood chair. DeLint's liquid-crystal laptop screen pulses grayly on the floor next to him. Schtitt's room's overlit and there's no dust anywhere, not even in the very corners. Schtitt's sound system's lights are on but nothing's playing. Neither Hal nor deLint mentions Orin's profiler's presence in the match's stands, nor the big lady's long interchange with Poutrincourt, which had been conspicuous. Stice's and Wayne's names are at the top of the huge chart on the floor, but Hal's name isn't. Hal says he can't tell whether he'd made some sort of basic tactical error or whether he just wasn't quite up to snuff this afternoon or what.
'You just never quite occurred out there, kid,' deLint apprises him. He has regressed certain figures to back this up, this nonoccurrence. His choice of words chills Hal to the root.
After which, during what's supposed to be mandatory P.M. Study Period, and despite the three chapters of Boards-prep his Boards-prep schedule calls for, Hal sits alone up in Viewing Room 6, the bad leg out along the couch in front of him, flexing the bad ankle idly, holding the other leg's knee to his chest, squeezing a ball but with the hand he doesn't play with, chewing Kodiak and spitting directly into an unlined wastebasket, his expression neutral, watching some cartridges of his late father's entertainments. Anyone else looking at him in there tonight would call Hal depressed. He watches several cartridges all in a row. He watches The American Century as Seen Through a Brick and Pre-Nuptial Agreement of Heaven and Hell and then part of Valuable Coupon Has Been Removed, which is maddening because it's all a monologue from some bespectacled little contemporary of Miles Penn and Heath Pearson who was almost as ubiquitous as Reat and Bain in Himself's work but whose name right now Hal can't for the life of him recall. He watches parts of Death in Scarsdale and Union of Publicly Hidden in Lynn and Various Small Flames and Kinds of Pain. The Viewing Room has insulated panelling behind the wallpaper and is essentially soundproof. Hal watches half of the 'Medusa v. Odalisque' thing but takes it out abruptly when people in the audience start getting turned to stone.
Hal tortures himself by imagining swarthy leering types threatening to torture various loved ones if Hal can't come up with the name of the kid in Valuable Coupon and Low-Temperature Civics and Wave Bye-Bye to the Bureaucrat.
There are two cartridges on V.R. 6's glass shelves of Himself getting interviewed in various arty Community-Access-cable-type forums, which Hal declines to watch.
The lights' slight flicker and subtle change in the pressure of the room is from the E.T.A. furnaces kicking on way down in the tunnels below Comm.-Ad. Hal shifts uneasily on the couch, spitting into the wastecan. The very faint smell of burnt dust is also from the furnace.
A minor short didactic one Hal likes and runs twice in a row is Wave Bye-Bye to the Bureaucrat. A bureaucrat in some kind of sterile fluorescent-lit office complex is a fantastically efficient worker when awake, but he has this terrible problem waking up in the A.M., and is consistently late to work, which in a bureaucracy is idiosyncratic and disorderly and wholly unacceptable, and we see this bureaucrat getting called in to his supervisor's pebbled-glass cubicle, and the supervisor, who wears a severely dated leisure suit with his shirt-collar flaring out on either side of its rust-colored lapels, tells the bureaucrat that's he's a good worker and a fine man, but that this chronic tardiness in the A.M. is simply not going to fly, and if it happens one more time the bureaucrat is going to have to find another fluorescent-lit office complex to work in. It's no accident that in a bureaucracy getting fired is called 'termination,' as in ontological erasure, and the bureaucrat leaves his supervisor's cubicle duly shaken. That night he and his wife go through their Bauhaus condominium collecting every alarm clock they own, each one of which is electric and digital and extremely precise, and they festoon their bedroom with them, so there are like a dozen timepieces with their digital alarms all set for 0615h. But that night there's a power failure, and all the clocks lose an hour or just sit there blinking 0000h. over and over, and the bureaucrat still oversleeps the next A.M. He wakes late, lies there for a moment staring at a blinking 0000. He shrieks, clutches his head, throws on wrinkled clothes, ties his shoes in the elevator, shaves in the car, blasting through red lights on the way to the commuter rail. The 0816 train to the City pulls in to the station's lower level just as the crazed bureaucrat's car screeches into the station's parking lot, and the bureaucrat can see the top of the train sitting there idling from across the open lot. This is the very last temporally feasible train: if the bureaucrat misses this train he'll be late again, and terminated. He hauls into a Handicapped spot and leaves the car there at a crazy angle, vaults the turnstile, and takes the stairs down to the platform seven at a time, sweaty and bug-eyed. People scream and dive out of his way. As he careers down the long stairway he keeps his crazed eyes on the open doors of the 0816 train, willing them to stay open just a little longer. Finally, filmed in a glacial slo-mo, the bureaucrat leaps from the seventh-to-the-bottom step and lunges toward the train's open doors, and right in mid-lunge smashes headlong into an earnest-faced little kid with thick glasses and a bow-tie and those nerdy little schoolboy-shorts who's tottering along the platform under a tall armful of carefully wrapped packages. Kerwham, they collide. Bureaucrat and kid both stagger back from the impact. The kid's packages go flying all over the place. The kid recovers his balance and stands there stunned, glasses and bow-tie askew.
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The bureaucrat looks frantically from the kid to the litter of packages to the kid to the train's doors, which are still open. The train thrums. Its interior is fluorescent-lit and filled with employed, ontologically secure bureaucrats. You can hear the station's PA announcer saying something tinny and garbled about departure. The stream of platform foot-traffic opens around the bureaucrat and the stunned boy and the litter of packages. Ogilvie'd once lectured for a whole period on this kid's character as an instance of the difference between an antagonist and a deuteragonist in moral drama; he'd mentioned the child-actor's name over and over. Hal tries whacking himself just over the right eye several times, to dislodge the name. The film's bureaucrat's buggy eyes keep going back and forth between the train's open doors and the little kid, who's looking steadily up at him, almost studious, his eyes big and liquid behind the lenses. Hal doesn't remember who played the bureaucrat, either, but it's the kid's name that's driving him bats. The bureaucrat's leaning away, inclined way over toward the train doors, as if his very cells were being pulled that way. But he keeps looking at the kid, the gifts, struggling with himself. It's a clear internal-conflict moment, one of Himself's films' very few. The bureaucrat's eyes suddenly recede back into their normal places in his sockets. He turns from the fluorescent doors and bends to the kid and asks if he's OK and says it'll all be OK. He cleans the kid's spectacles with his pocket handkerchief, picks the kid's packages up. About halfway through the packages the PA issues something final and the train's doors close with a pressurized hiss. The bureaucrat gently loads the kid back up with packages, neatens them. The train pulls out. The bureaucrat watches the train pull out, expressionless. It's anybody's guess what he's thinking. He straightens the kid's bow-tie, kneeling down the way adults do when they're ministering to a child, and tells him he's sorry about the impact and that it's OK. He turns to go. The platform's mostly empty now. Now the strange moment. The kid cranes his neck around the packages and looks up at the guy as he starts to walk away:
'Mister?' the kid says. 'Are you Jesus?’
'Don't I wish,' the ex-bureaucrat says over his shoulder, walking away, as the kid shifts the packages and frees one little hand to wave Bye at the guy's topcoat's back as the camera, revealed now as mounted on the 0816's rear, recedes from the platform and picks up speed.
Wave Bye-Bye to the Bureaucrat remains Mario's favorite of all their late father's entertainments, possibly because of its unhip earnestness. Though to Mario he always maintains it's basically goo, Hal secretly likes it, too, the cartridge, and likes to project himself imaginatively into the ex-bureaucrat's character on the leisurely drive home toward ontological erasure.
As a kind of weird self-punishment, Hal also plans to subject himself to the horrific Fun with Teeth and Baby Pictures of Famous Dictators, then finally to one of Himself's posthumous hits, a cartridge called Blood Sister: One Tough Nun that he'd always found kind of gratuitously nasty and overwrought, but which Hal has no idea that this piece of entertainment actually germinated out of James O. Incandenza's one brief and unpleasant experience with Boston AA, in the B.S. mid-'90s, when Himself lasted two and a half months and then drifted gradually away, turned off by the simplistic God-stuff and covert dogma. Bob-Hopeless, Hal spits way more than is his norm, now, and also likes having the wastecan right nearby in case he might throw up. That afternoon he'd had zilch in the way of a kinesthetic sense: he couldn't feel the ball on his stick. His nausea has nothing to do with watching his father's cartridges. For the last year his arm's been an extension of his mind and the stick an extension of the arm, acutely sensitive. Each of the cartridges is a carefully labelled black diskette; they're all signed neatly out on the clipboard by the egg-shaped glass bookshelf and are loaded in the cueing slots and waiting to drop, in order, and be digitally decoded.
14 NOVEMBER YEAR OF THE DEPEND ADULT UNDERGARMENT
P. T. Krause: N. Cambridge: that infamous deceptive post-seizure feeling of well-being. That broken-fever, reversal-of-fortune-type highhearted feeling after a neuroelectric event. Poor Tony Krause awoke in the ambulance lizardless and continent and feeling right as rain. Lay there and flirted with the blue-jawed paramedic leaning over him, certain bawdy entendres on expressions like vital signs and dilation until the paramedic radioed ahead to Cambridge City's E. Room to cancel the crash-cart. Manipulated his skinny arms in a parodic Minimal Mambo, lying there. Fiddle-de-dee'd the paramedic's warning that post-seizure feelings of well-being were notoriously deceptive and transient.
And then also the little-mentioned advantage to being destitute and in possession of a Health Card that's expired and not even in your name: hospitals show you a kind of inverted respect; a place like Cambridge City Hospital bows to your will not to stay; they all of a sudden defer to your subjective diagnostic knowledge of your own condition, which post-seizure condition you feel has turned the corner toward improvement: they bow to your quixotic will: it's unfortunately not a free hospital but it is a free country: they honor your wishes and compliment your mambo and say Go with God.
It's a good thing you can't see what you look like, though.
And the serendipity of Cambridge City Hospital being just an eight-block stroll east on Cambridge St. and then south on Prospect, through mentholated autumn air, through Inman Square and up to Antitoi Entertainment, maybe the one last place where a renewed, post-seizure, on-the-diagnostic-upswing if still slightly shaky young gender-dysphoric might yet expect a bit of kindness, pharmacological credit, since the affairs of Wo and Copley Library and heart.
The big brick cake of the hospital behind Krause in purple twilight. The brisk click of his heels on pavement, boa semi-formally loose on his shoulders and down beneath each arm, hand holding red leather collar closed at the throat, head up and staying that way on its own, steady eyes meeting with blase dignity the eyes of whoever passes. The dignity of a man risen by will from the ashes of Withdrawal and now on the upswing and with places to go and potentially considerate Canadians to see. A charming and potentially once again in the not-too-distant future gorgeous creature with the renewed wherewithal to now meet the eyes of Inman Sq. pedestrians veering sharply away from the residual smells of men's room stall and subway vomit, the ashes from which he's been rescued and risen once again, feeling righter than rain. A rind of moon hanging cocked above a four-spired church. And the emergent stars are yo-yos, you feel, after a seizure: Poor Tony feels as if he could cast them out, draw them in again at will.