Tag Archives: Marie Mundaca

Swamped by ‘Infinite Jest’

On failing to finish David Foster Wallace’s masterpiece novel.

 Beach Stick x

Carry nothing even remotely vegetabalish if in the path of a feral herd.

Infinite Jest

To paraphrase Clint Eastwood in Unforgiven, “It’s a terrible thing to quit a book. To take from it less than it has to give.” I don’t believe that about books—we should quit any one that’s not working for us and start another—but David Foster Wallace’s 1,079-page novel Infinite Jest is a special case. And I’ve just failed to read it for the second time.

How many sail around the world on their first try? Still, there’s a sense of failure involved in quitting any one of the world’s acknowledged Great Novels. (I have a secret list.) And a special poignancy for me in giving up yet again on Infinite Jest since I love Wallace’s nonfiction and wanted to join those who’ve beaten on against the current to the bitter end. It appears, as well, to be a novel, like Catch-22 and Zen and the Art of Motorcycle Maintenance were for my generation, that’s an important marker for twentysomething readers and writers. Alas, I am not young. Just dropping Infinite Jest on my toe, even in this paperback version, might be tragic at my age.

I’ve had plenty of reading time between semesters, down here in Florida in my sister’s beach condo. Even so, I feared the cetaceous bulk of Infinite Jest. And once you open it and see its pages covered in a smaller-than-usual font, with sentences at tighter than usual spacing—and I’m not talking about the 96 pages of tiny single-spaced endnotes—you instantly know one thing for sure. Reading Infinite Jest is an opportunity cost. Because you could read at least six good novels in the time it’d take you to read it. Just sayin’.

Wallace's Infinite Jest

But that’s not relevant if it’s worth six good novels. There’s testimony it is, though in all honesty I made it only to Page 109 so how would I really know? Yet Wallace’s genius, energy, and belief in his work are palpable from the start. He could do anything as a writer, and he seems to do everything in Infinite Jest; of course he’s got all the basic chops, from sentences to scenes, from point of view to voice. Incidentally, Wallace, both a grammarian and someone who could write circles around almost anyone, had no problem with breaking the heart of his frenemy Jonathan Franzen by using the “, then” construction that drives Franzen crazy. Franzen’s hatred of this common and useful usage pattern has made me weirdly sensitive to it; I see it everywhere, and I see his point. But his point, in his way, is also annoyingly overstated (and partly specious). (Watch Wallace cruelly dominate Franzen on Charlie Rose’s show.)  A minor quirk in Infinite Jest is Wallace’s use of single quotation marks; reviewing another book of his, Oblivion, for The Modern World, Marie Mundaca said they “seem to indicate that the entire story is enclosed in a set of double quotes.”

But to stand back. Wallace had the genius’s way with metaphor—at the sentence level, sure, but pertinently here in the overarching sense: how he sets up a bleak exaggerated future America. One in which our prosperity and beloved diversions (video, drugs, sports, advertising) turn hellish as richly flawed people struggle amid ascendant corporations and an environmental holocaust. New England is a toxic waste dump called the Great Concavity and roamed by Québécois separatist terrorists.

Blessedly I made it to Page 93, and so to the horde of rampaging hamsters:

     It’s a herd of feral hamsters, a major herd, thundering across the yellow plains of the southern reaches of the Great Concavity in what used to be Vermont, raising dust that forms a uremic-hued cloud with somatic shapes interpretable from as far away as Boston and Montreal. The herd is descended from two domestic hamsters set free by a Watertown NY boy at the beginning of the Experialist migration in the subsidized Year of the Whopper. The boy now attends college in Champaign IL and has forgotten that his hamsters were named Ward and June.

 

The noise of the herd is tornadic, locomotival. The expression on the hamsters’ whiskered faces is businesslike and implacable—it’s that implacable-herd expression. They thunder eastward across pedalferrous terrain that today is fallow, denuded. To the east, dimmed by the fulvous cloud the hamsters send up, is the vivid verdant ragged outline of the annularly overfertilized forests of what used to be central Maine.

 

All these territories are now property of Canada.

 

With respect to a herd of this size, please exercise the sort of common sense that come to think of it would keep your thinking man out of the southwest Concavity anyway. Feral hamsters are not pets. They mean business. Wide berth advised. Carry nothing even remotely vegetabalish if in the path of a feral herd. If in the path of such a herd, move quickly and calmly in a direction perpendicular to their own. If American, north not advisable. Move south, calmly and in all haste, toward some border metropolis—Rome NNY or Glens Falls NNY or Beverly, MA, say, or those bordered points between them at which the giant protective ATHSCME fans atop the hugely convex protective walls of adonized Lucite hold off the drooling and piss-colored bank of teratogenic Concavity clouds and move the bank well back, north, away, jaggedly, over your protected head.

One of the funniest passages I’ve read, it thrums with a deep sadness, maybe like all humor. Like Wallace’s, anyway. Like watching reruns of Leave it to Beaver and aching for your lost youth and for a more innocent America. Maybe you’ve not read Infinite Jest or, like me, have failed so far to finish it (in my case for largely unknown reasons but probably involving a reading hangover from my personal best reading year just ended, work I lugged with me, and a stupor induced by ocean waves breaking a stone’s throw from my pillow). If so, remember you read it here first: Carry nothing even remotely vegetabalish if in the path of a feral herd.

In 2009, my son, Tom Gilbert, reviewed Infinite Jest for Narrative.

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