Category Archives: Posts from the Guides

After the Beach

For all the possible directions a last post about Infinite Jest could take, I’ve decided to look ahead to what comes next. The last few months with you guys have been totally awesome, and I’ve loved the adventure of helping “guide” y’all through the subterranean underbelly of the Enfield Tennis Academy and out to the freezing sand of Gately’s beach; we hope you’ve enjoyed the tour.

But so where does one go after Infinite Jest, novelistically speaking?

One of my favorite questions to ask people is what book they read after Jest, and to see how their experience compared. I remember reading David Sedaris’ Naked right after, and though it was a light, funny break from the density of Wallace’s dystopian future (or present as the case may be now, twenty years after publication), I recall feeling that it was somehow very lackluster, underwhelming by comparison. I’m sure if I’d read it any other time in my life, it would have been a great experience, but coming off the high of Jest is very hard to follow indeed. I feel like I’m still chasing the literary dragon almost ten years after my first read, and nothing has compared to that high since.

So here are my recommendations for books/authors that I think can hold something of a flame to Jest and Wallace, and that I think you might enjoy. (If you listen to The Great Concavity podcast I co-host, some of these will be familiar to you, since I’ve talked about books/authors other than Wallace there from time to time. If you don’t listen to it, now’s a good time to start, since you’ve now conquered Jest):

The Instructions by Adam Levin


Like IJ, it’s really big, mostly about teenagers, has violence, and takes place at a school. It’s not as dense or hard to follow as Jest, so it’s a nice follow-up if you want to carry on the theme of rich literary worlds, while also coming down off the big high. Not that this doesn’t pack a punch; it does.

White Noise, Underworld, and Libra by Don DeLillo


Don DeLillo started me on my path to Wallace, having read these three of his novels before I finally got to Jest. I was thrilled to later find out that the two writers had correspondence, and that Wallace looked up to DeLillo as a major influence. DeLillo even spoke at Wallace’s funeral (page 13). Underworld is a particularly massive and rich undertaking, so go there if you need more of that in your scene. Lots of stuff in there about garbage and waste, so shades of the Concavity abound.

Gob’s Grief & The Children’s Hospital by Chris Adrian


Mostly unrelated, these two books are brilliant. I recommend reading them in this order. GG takes place during the U.S. Civil War, and Walt Whitman is a main character. CH imagines a diluvian apocalypse wherein a children’s hospital serves as an ark. Magical realism of high order, this stuff. I saw Adrian give a reading at Buena Vista Park some years ago, and he was wearing a dog costume, so that’s tough to beat.

The Brief Wondrous Life of Oscar Wao by Junot Diaz


Pretty similar in style and tone to Wallace (footnotes included), Diaz introduces us to a nerdy loaner in the character of Oscar, with descriptions of comics, Dungeons and Dragons, and the romantic woes of someone with no game. Magical realism here too. Won the Pulitzer in 2008.

Anything by George Saunders


I’ve read Tenth of December, In Persuasion Nation, and Pastoralia by Saunders and they’re all brilliant. He’s a master short story writer. Wallace apparently loved CivilWarLand in Bad Decline, which I still have to get to. Really similar themes of techno-paranoia, waste, and absurd consumerism like those in Jest. Saunders also spoke at Wallace’s funeral (page 15 of the above document with DeLillo), and speaks of him with great respect and fondness (like in this Charlie Rose interview starting at 22:40).

The Brothers K by David James Duncan


We hear of “the good old Brothers K.” in IJ in the scene with Barry Loach and his Jesuit brother, and this novel picks that up heavily. Like Jest, Dostoevsky’s work is engaged big-time here, also in a contemporary U.S. setting. Lots about baseball, growing up in post-WWII America, and the spiritual paths of four brothers, this book is super funny and very poignant.

The Marriage Plot by Jeffrey Eugenides


A thinly veiled depiction of Wallace, Leonard in this book seems to capture all the qualities and traits of Wallace himself, though casted as a Biology major rather than an English/Philosophy/Math guy. Like Eugenides’ other novels The Virgin Suicides and Middlesex, this is a great read and sure to make Wallace fans smile. (Also won a Pulitzer)

The Convalescent by Jessica Anthony


Think Tommy Doocey but instead of being a drug dealer selling out of a camper in Massachusetts, the protagonist is a mute Hungarian dwarf selling meat out of one in Virginia: meet Rovar Pfliegman and the bizarre history he chronicles of his ancestors. Amazing cover by one of my favorite all-time artists Jacob Magraw-Mickelson.

The People of Paper by Salvador Plascencia


One of the wildest, most playful textual forms I’ve seen, this book is about a village that’s preparing to wage war against Saturn. The planet. Originally published by McSweeney’s, Dave Eggers’ publishing company continues to put out my favorite magical realism hits (The Instructions, The Children’s Hospital, The Convalescent, and this).

The Pale King, A Supposedly Fun Thing I’ll Never Do Again, and Girl With Curious Hair by David Foster Wallace


A novel, a collection of essays/journalism, and a short story collection, respectively, these three books are good places to go next if you want more Wallace. And if you made it this far, I wager you might.

Only Only: Infinite Winter

Infinite Winter.

It worked. We worked.

Each week of Infinite Winter a frozen white snowflake went hot orange on our countdown calendar.
Reading seven posts a week for fourteen weeks was a new experience for me (it has been awesome).

Between our countdown calendar and Jenni Baker’s diagrams and objective correlative collage portraits, I was actually able to visualize what time looks like when reading Infinite Jest with a group. Jenni also started our Reddit (a thing I’d never read before). I learned so many things from reading your Reddit posts that I never understood while reading Infinite Jest, twice, prior to Infinite Winter.
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I understood that it was possible for our group of guides to write a post a week, but I didn’t know that all those posts would be one of my major incentives to wake up and start each day.

Ryan Blanck candidly broke down the process of juggling Infinite Winter weeks and school weeks in his posts. Each time he did this, I kept remembering that it’d be just fine and probably a little fun to drop one of the obligations I was juggling. Turns out participants posting on Twitter were also trying to figure out how to pause and work on reading. We full-on got behind getting behind. For me this was at first disheartening and then all at once it was hilarious and communal.

It was endlessly more exciting to read what you were all writing and commenting on than taking on each week of scheduled Infinite Jest reading. The conversations surrounding the reading helped me focus in and write a post every week. At some point between every Saturday and Tuesday, I wrote something. Fortunately I was able to read my own fortune about how this writing would go if I didn’t have help. I asked Dave Laird to read my posts before I posted them.

It helped. Asking someone to read what I’d written made the process a conversation.

At the beginning of Infinite Winter, Mark Flanagan had the idea to set his copy of Infinite Jest in the snow and photograph it. I’ve been thinking about what exactly those images have symbolized for me, and I’ve realized that they represent both risk and wisdom. Turns out that I knew, but forgot, that certain types of snow are more like foam peanuts than cesspools.
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Infinite Spring
Now, at the end of Infinite Winter, Nathan Seppelt just posted an image of what it looks like to drive the car being driven on page 270 in Infinite Jest. Imagine all our views of this read piling up like his layered drawing. What I get is an active and complex stack of information. Disorienting yes, but recognizably patterned. Something like what an image rendered for 3D looks like, but viewed without 3D glasses.
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Thank you for taking the time to share your written and typed notes about Infinite Jest and how exactly moments within it connected with the goings on going on in the beginnings of your 2016.

Happy May!

Although Infinite Winter is coming to a close, all the guides and many of our participants can be found on Twitter. Hope to see you there.


Paratext – Part II

There’s a certain, logical-seeming thing we have a tendency to do when we reach this stage of reading Infinite Jest. Confused, overwhelmed, under-denouemented, we delve deeper into the meaning of all the words between page three’s “YEAR” and “U.S.” on pee-ten-seventy-nine.

Such an approach makes a lot of sense. Infinite Jest contains a huge number of words; all of which (surely) are carefully chosen and have either very particular or multiple very particular meanings.

But this approach also has a crucial weakness. It overlooks the fact that a text, like Jest, is more than the sum of its internal words. A text doesn’t stand alone. It’s a node in a whole network of texts.

Think of the ways Jest draws from and alludes to other texts like Ulysses, Hamlet, Hill Street Blues, the O.E.D., Cheers, Star Wars, M*A*S*H, the works of Heidegger and Derrida. All these names are just stand-ins for different nodes in a vast textual network.

There’s another textual network that’s always already (as our good, good friend Derrida would say) at play. It’s the web of texts – paratexts – that surround a published “main” text and influence a way we read that (quote-unquote) main text.

The examples I gave in my Part I post included things like covers, copyright pages, forewords (did I say forewords?), drafts, criticism and I should definitely add things like ads, images and other maybe less-seemingly related things that nonetheless appear with or near the text that serves as our main focus.

I guess, then, that the point I’m trying to make here is that we shouldn’t ignore these paratexts when we read and try to interpret (I can’t help myself: construct) texts.

Especially not with Wallace. His Optional Foreword (which is itself a paratext to both the book and audiobook versions of the essay) to the book version of Up Simba (which is itself a paratext to the audiobook and magazine versions of the essay (and I should mention that I’m really talking about the Consider the Lobster book version, not the McCain’s Promise book version) shows a definite awareness of the paratexts that surrounded the original magazine version:

The point here is that what you’ve just now purchased the ability to download or have e-mailed to you or whatever (it’s been explained to me several times, but I still don’t totally understand it) is the original uncut document, the as it were director’s cut, verbally complete and unoccluded by any lush photos of puffy-lipped girls with their Diesels half unzipped, etc.

If that doesn’t quite do it for you, how about this from the Author’s Foreword that appears 66 pages (even though a footnote, for some reason says seventy-nine) into (again – Derrida’s partly to blame) The Pale King?

I obviously need to explain. First flip back and look at the book’s legal disclaimer, which is on the copyright page, verso side, four leaves in from the rather unfortunate and misleading front cover.

God, the rest of the paragraph just gets so, so much better; and if you read it, I promise you’ll understand perfectly why all this paratext stuff matters. (Wallace, DF 2011, The Pale King, ed.M Pietsch, Little, Brown & Company, New York, NY. ISBN 978-0-316-07423-0).

I also love this example from ‘The Best of the Prose Poem’ that appears (this is where I’ve read it) in Both Flesh and Not:

Of these 9, # that are by one Jon Davis, a poet whom this  reviewer’d never heard of before but whose pieces in this anthology are so off-the-charts terrific that the reviewer has actually gone out and bought the one Jon Davis book mentioned in his bio-note and may well decide to try to advertise it in this magazine, at reviewer’s own expense if necessary – that’s how good this guy is: 5.

(If you can track down a copy of the anthology, or at least a lit-bookleggish pdf, the ad’s right there. The temporal implications of which, w/r/t the main text [not that Wallace’s essay is the main text in the anthology], I’ll let you try to unravel.)

There aren’t (but let’s not trust my memory after last week) any direct references to paratexts in Infinite Jest (unless citations of fictional texts as if they’re actual real-world texts counts?), but Wallace’s contributions to the book’s copyright page still signals a paratextual awareness.

And now is where some central point should become apparent in this final post.


If you’ve finished reading Jest‘s main text (and endnotes – which I am, here, including in the main text) and you haven’t yet done this one thing, I’m going to ask you to do it now.

Turn to page 1079 in your English-language copy of Infinite Jest. I have no idea whether this will work with translations.

Grip the bottom of the page – right where it says “1079” and maybe even has part of that circle-thing – and turn the page.

Read the page, recto side, you’ve just turned to.


Breaking Up with Infinite Jest

Reading Infinite Jest for the first time was like the start of any new relationship.

Someone I trusted had put in a good word for it, and I decided to give it a go (a new book is always a bit like a blind date). I spent some time getting to know it, and for awhile, I wasn’t sure what the outcome would be. There were some good times during the first few hundred pages – some moments of humor and sincerity – but some frustrating and confusing ones too. I didn’t know if it was the book for me, and I thought about breaking up with it several times. Was it really worth my time?

But, like any really good book, Infinite Jest won me over. I found myself eager to spend more time with it. I found myself thinking about its characters and plots between meetings at work and on the subway ride home. It was exciting. I felt all the feelings. We had a good thing going, this book and me.

And then we broke up. It had no more pages for me, and I was devastated. I’d sunk so much time in this book, these characters, this author. Not only was the book no more, but the author was no more. It was over. All over.

Even though we parted on good terms, I was reluctant when it came knocking at my door again earlier this year.  I didn’t know if the rapport was still there — if our time together would still be as good as I remembered. It was the same book, but I was a different person.

The last few months have been good – different than before, no doubt – but good. The excitement and thrilling uncertainty of the first read were gone, but in their place arose a calm space. In this space, and with more time together, I noticed new things I didn’t pick up on in the initial whirlwind of the first read. I appreciated the small things – the details you only notice after you’ve spent a long time with some thing. Our connection grew deeper, more intricate.

The latest break up feels less like a severance and more like a mutual separation. Sometimes a book and a reader need space to keep the relationship strong.  I know we’ll be in touch again.


Thanks to all who read along and followed along during Infinite Winter. If you’re attending the David Foster Wallace Conference this year, be sure to find me and say hi. I’ll be the introvert at the back of the room.

The Expectation of Memory (and vice versa)

This is it – the final week of Infinite Winter. You’ve closed the covers and, likely as not, you’ve left these digs for greener pastures. I’m sure you’re probably not even reading this. But if you are, I want to use this space to talk a little bit about paratext.

Just kidding, Nathan.

Infinite Spring

I’m not going to talk about paratext, but what I’m also not going to do is answer the questions that are writhing around in your skulls now that Wallace has left us (and Don Gately) on a freezing beach with the tide way out. We all realize of course that this is still part of Gately’s flashback, that this scene occurred prior to a bunch of stuff we’ve recently read, that this is – in fact – Don Gately’s bottom. But where’s Hal? What happened when the AFR descended upon Enfield Tennis Academy? And how do we get from there to Hal, Gately, and John Wayne digging up James O. Incandenza’s skull? These are the big questions that I’m not going to address – mostly because I don’t have the answers. Not good ones anyway. So I think I’ll leave some of that work to my fellow guides and take just a moment to thank you, my fellow Infinite Winter participants.

Five months ago, when the idea for Infinite Winter slapped me irresistibly upside my own skull, I could envision how it might work, and I was energized by the ridiculously cool possibility of it all. Beginnings are like that – they’re positively brimming with possibility, with potential and energy (and potential energy). Endings are not like that. There is (oftentimes) satisfaction to an ending – the satisfaction of having seen a project through to its conclusion, of a job well done – but there is also distraction and other-direction as other projects and priorities fill the space left in the ending’s wake. That’s happening to me right now, as I’m sure it is to many of you.

So before we go, I want to tell you that I’m grateful to have made connections with many of you and to have had the benefit of your input along the way. Clearly my engagement with Infinite Jest this second time around has been off the charts, engagement-wise. With new insights and perspectives from similarly-engaged participants from around the world, with frequently mind-blowing daily posts from my fellow guides, and with my own self-inflicted weekly assignment – to keep up with the reading and contribute meaningfully to the discussion on this site, Infinite Winter has crashed straight through my initial expectations, leaving them tumbling chaotically in the rear-view mirror.

A handful of first-time IJ readers have expressed gratitude for Infinite Winter, without which they’ve told me they wouldn’t have read Infinite Jest. Again, I have to tip my hat to Matthew Baldwin and 2009’s Infinite Summer which, as you know, was the catalyst for my first reading. In his post yesterday, Matt Bucher pointed to the likelihood of future readings. Perhaps one of you will continue the cycle with another Infinite Summer, Winter, Spring or Fall in 2018 or 2020. It kind of seems likely. And I look forward to seeing you there.

Kinds of Redemption

*I’ve made a slight change to this since its first appearance on Friday, as Mark Flannagan, during our last video round table, brought to my attention a point I’d misinterpreted in Hal’s timeline. (Yes, even guides are fallible.) 

Congratulations; you’ve finished my favorite book of all time. I’m sure, as I claimed in my intro post, that we’re better able to understand each other now.

I found I read faster and more earnestly this week than any previous during Infinite Winter. The in-sight finish line goaded me on. I don’t think I recall feeling this way on my first read though, approaching 981 with fear and trepidation about how the myriad plotlines could even remotely resolve in the dwindling pages between my thumb and forefinger. I recall seeing there wasn’t a paragraph break after Gately and Fackelmann’s flashback of reckoning, and being so discouraged there wouldn’t be a final word about Hal, Mario, Marathe, and the fate of the samizdat and O.N.A.N. I recall being confused, and even dissatisfied with Gately out there alone on the freezing sand.

But time does good things for this book. As do conversation, Googling, and straight-up rereading it.

The thing is, there is a final word (to some extent) about those characters and things. There are clues littered everywhere in plain sight, but on first encounter we don’t have the equipment to recognize them. So I recommend that you read it again to find them (the clues), many of which you will, with great investigative relish.

The things I love most about this last section are the ways we see Hal, Gately, and Mario resolve. I’m currently in the final stages of writing a long academic thing about this, regarding how these three end up, in the context of theological salvation. Now that we’re done, we know that Hal’s ending is in the first pages of the novel, in the Year of Glad, the final Subsidized year we’re given, according to page 223, that great Rosetta Stone I referred to in my intro post as the beginning of the novel’s generous relenting.

Hal has a psychic meltdown in his judgement by the trinity of the three Deans, but we’re given some other details about what happens to him after the Year of the Depend Adult Undergarment. On 16-17, we see Hal, “NR” Wayne, and Gately in a graveyard, at some earlier point which must also be in Year of Glad (given Gately’s hospitalization and recovery time), digging up J.O.I.’s head looking for the master copy of Infinite Jest. This week we read of Gately’s proleptic vision on 934, that “he’s with a very sad kid and they’re in a graveyard digging some dead guy’s head up and it’s really important, like Continental-Emergency important,” which Mark pointed us to on Monday. So Hal appears to be out in Arizona, but we do have a few other details about what he gets up to after the novel’s main action in Y.D.A.U.

Then Gately’s in a kind of limbo state, Abiding and overcoming addiction one gleaming car at a time, though in a great deal of pain. Again, we can thank that cryptic glimpse about the graveyard to know that he ends up recovering from his wounds. Gately by this point has not only come to manage his addiction, but has heroically saved the despicable Randy Lenz from certain death in a staggering gesture of self-sacrifice, and has come full circle with the A.D.A. coming to ask for Gately’s forgiveness for his own unforgiveness for the unfortunate toothbrush and bottom incident way back on 56. The final pages revisiting Gately’s narcotic rock-bottom, with his kind of baptismal reawakening on the beach, actually feels satisfying to me now, like a very fitting ending.

And then we have Mario, certainly a less central character than Hal and Gately in terms of air time, but packing a serious final scene in the recollection of Barry Loach’s redemption from a fate “dangerously close to disappearing forever into the fringes and dregs of metro Boston street life and spending his whole adult life homeless and louse-ridden and stemming in the Boston Common and drinking out of brown paper bags” (970). Along comes guileless Mario, offering his semblance of a hand, extending basic human warmth to the socio-economic leper that is Barry Loach, pulling him out of what is indeed a very bleak future, necrotic rot of the soul and all.

So I argue in my thesis that Hal, Gately, and Mario represent a kind of figurative salvation spectrum, with Hal unresolved or even doomed, Gately a sinner-turned-redeemer, and Mario a savior, marking one interesting theological conversation the novel engages with. And there are many other conversations the book has with a variety of other faith traditions. In the 20th anniversary foreword, Tom Bissell claims it’s “a mistake to view him [Wallace] as anything other than a religious writer. His religion, like many, was a religion of language. Whereas most religions deify only certain words, Wallace exalted all of them” (xiii).

I trust we can all now say together, “Amen.”

Garbage Cans are Portraits

Its glass was green and its bottom over his head was pebbled and the light inside p 971
Its glass was green and its bottom over his head was pebbled and the light inside was…green.
p 971

The thing about seeing is that we see more than is possible to understand.

I was once asked to be a part of a conversation that involved looking at a mesh garbage can as a piece of art.

I was sitting in a semi-circle across from the artist that was sitting next to the smallish mesh garbage can. He didn’t make the garbage can, but I estimated that he crumpled up the three pieces of typing paper that I could see clearly, through the dark gray mesh, from about 15 feet away, where I was sitting and staring in disbelief.

The garbage can was his final project for our first year of undergrad. We talked about it for 15 minutes, and I almost didn’t try to understand that it was art. I didn’t say very many things aloud. I was busy thinking about all the ways it wasn’t art.

Turns out it was art, but it took me 15 years to piece the message of those three crumpled pieces of typing paper together. At the time though, I just didn’t get it. We finished talking about the garbage can, and the next day, the artist sitting next to it dropped out of school.

Art is a reflection of a particular time and place. Not understanding it may just mean that I don’t see the same reflection of that particular time and place. The awesome thing is that by looking at art that I don’t understand I might somehow see part of a place and time that I didn’t realize was there.

Beyond popular belief, next to Enfield tennis academy, there is a guy sitting in front of a garbage can in his seminary dorm room. He is launching playing cards into the can. This is the only thing he is doing. Across from him, sits his brother.

…he managed to engage the brother in some rather heated and high-level debates on spirituality and the soul’s potential…

At Enfield, at a particular time and place, Hal is also sitting in front of a garbage can attempting to launch his toenail clippings into it. Across states, his brother Orin is with him on the phone.

Like the guy in my freshman class, Wallace has a lot to say about brothers sitting with garbage cans between them.

Dorm garbage cans are sometimes cylindrical like glasses or…


The last room we are in in Infinite Jest transforms into both an enormous garbage can of humans, entertainment, and one explosively colorful lens centered around Gately’s changing point of view.

Orin is elsewhere surrounded by a cylindrical green glass, magnified to his scale, not unlike the small suffocating scale of the clear drinking glasses that he uses to trap and discard the cockroaches in his bathroom. Green being solipsism. Like Green (the person) being the sounding board for…Lenz.

Lenz’s Lens.

And we are back with Gately.

The A.M. sun hung in the window, up and past the tree, yellowing.
Days go by.
Everything came at too many frames per second.

it was dawn outside, a glowing gray

If colors themselves could catch fire.
The air in the room got overclear, a glycerine shine, colors brightening terribly.

Seeing colors, as the most readily available form of coping.

Seeking Order

The first thing that many people do after finishing Infinite Jest is hunt down (aka, do a Google search for) a chronological timeline of the events as they happened in the book. It’s natural to crave some order after 1000+ pages of bouncing back and forth between characters and years, and after an ending which provided more questions than answers. There are some good timelines out there — this one by Drew Cordes (PDF) is my favorite and the one that I deem most complete.

One difficulty I have with these timelines is that they present everything linearly, intermixing characters and scenes. What I’d like to see is more of a grid, where the  timeline is tracked on the Y-axis, with the novel’s key characters or settings mapped out across the X-axis. I think this format has a lot of potential to better show what’s happening around the same time frame in each location.

I tried this in a limited scope, focusing on what happens to Hal and Gately on November 6, Year of the Depend Adult Undergarment, and beyond. Viewed this way, we start to see some interesting parallels.

YDAU November 6 Hal participates in the Port Washington tournament. We hear he “has made a kind of quantumish competitive plateaux-hop” and is at the top of his competitive tennis  game. Gately remains at the top of his sobriety game, having been off substances for 421 days.
YDAU November 11 – early hours November 12 Hal plays a showdown-style exhibition match against Ortho ‘The Darkness’ Stice with everyone watching the match. Hal, nearly beaten, emerges the victor from the match, but walks away spiritually (existentially?) injured. We learn, through his conversations with Mario, that he is facing an arduous recovery – not just from the exhibition match, but from the Bob Hope, as he has 30 days to produce clean urine. Gately enters a showdown with the Canadians outside of Ennet House, with all of the residents watching on. He emerges a victor (in that he was not killed), but walks away from the encounter physically injured. We learn that he is facing an arduous recovery of his own, as he attempts to recover from his physical wounds without the aid of narcotics and painkillers. He, like Hal, has a lot of ‘feeling’ to get through.
YDAU November 12-20 The wraith (James O. Incandenza) visits Enfield Tennis Academy – Pemulis finds his DMZ missing, and Ortho Stice’s bed becomes attached to the ceiling. The wraith visits Gately, and talks about his horror in seeing his youngest son (“the one most like him”) slowly disappear and be unable to express himself. The wraith talks about his desire to create “The Entertainment” as a way of drawing Hal back out.
YDAU November 12-20 Hal inadvertently attends an “Inner Infant” meeting on November 17. Gately in the hospital becomes like an infant, unable to communicate his needs and forced to have others take care of him. He has a dream from the perspective of an infant, with Joelle (as Death) leaning over him.
YDAU November 20 Hal brushes his teeth (possibly getting dosed with the DMZ), and we see his slow descent into emotional affect and a panic attack – a series of events that we know will later end up with him being wheeled into the emergency room. I have to believe this is right around the same time that we see Gately going through the worst of his physical recovery and descending mentally through the worst days of his drug addiction. Both he and Hal are going through their respective bottoms.
Late YDAU / Early Year of Glad (?) Hal and Gately, who we can presume met in the hospital, are together with John Wayne in Quebec as they dig up the skull of James O. Incandenza.

I knew that Hal and Gately are our two protagonists in the book, but laying out these events side by side in this grid made me realize how similar their journeys and struggles are and how there is — underlying the book’s chaotic surface — an order and a purpose.

What parallels or similarities were you excited to find in your reading of the book?

Temporal Shift

I’m not finished. Armed with every readerly intention of closing the Infinite Jest covers today, I didn’t pull it off. I’ve got a whole slew of excuses as to why that is, but I’m guessing that you’re not particularly interested in hearing them. And who knows – maybe you’re not done either.

I’m close, though. I’m on page 963, and frankly I’m not sure how I feel about finishing. A little ambivalent, I’d say. As you know, I read Infinite Jest once before, and if I recall correctly, I wasn’t terribly satisfied with the ending. As I’m sure you know by now, this is not a book that gets wrapped up with a bow. Questions are left unanswered and, as we approach the finish line, new ones emerge.

For instance, in the opening Year of Glad pages of Infinite Jest, we find Hal thinking of he and Don Gately digging up JOI’s head while a masked John Wayne stands watch. But on page 934, we have a gun-shot and delerious Don Gately in his hospital bed wracked with feverish dreams containing accurate details about this future event and about Hal, who Gately has yet to meet:

He dreams he’s with a very sad kid and they’re in a graveyard digging some dead guy’s head up and it’s really important, like Continental-Emergency important…and the sad kid is trying to scream at Gately that the important thing was buried in the guy’s head and to divert the Continental Emergency to start digging the guy’s head up before it’s too late, but the kid moves his mouth but nothing comes out…

Of course, Wallace has slowly nudged our suspension of disbelief ever further so that now we’re Abiding with big Don Gately in his hospital bed while JOI’s wraith holds forth on the temporal shift between the world of the living and the dead while balancing an East Asian can of Coke on Gately’s forehead, and I’m quibbling over the alignment between dreams and (what might be perceived by Hal as) reality? I think not. In truth, I’m eating all of this up, loving the connective tissue emerging between different parts of the story.

Reading Gately’s backstory has been particularly fascinating. While reading the early bits about his childhood, I realized that a whole novel could be devoted to pre-YDAU Don Gately, as is the case with many of Infinite Jest‘s characters, and further that one of the reasons I love IJ so much is the intricacy with which Wallace has created these characters, the extent to which they are built out. Whether elaborated upon in the text or not, each one of their stories has the potential for an ancillary novel (Is there IJ fan fiction out there?).

More connective tissue: In the later bits of Gately’s story, I recognized Sixties Bob as the tie-dyed old man who, much earlier, traded the DMZ to the Antitois brothers, and (as a segueless aside) I looked on jaw agape as a mentally-buckling Ortho Stice, still not underestimating objects, stands on a chair betting Kyle Coyle that he can lift it into the air at the same time.

Of course agápe is just one of four Greek words for love, and I am nothing if not still very much in love with this book. I’m 20 pages away and a little anxious about the idea of it all coming to an end, so maybe I’m allowing a little temporal shift of my own to forestall that moment.