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Wallace has been described as ``postmodern", a word that seems to get smacked onto anything written after World War II. I don't see it. To me, postmodernism involves a few things: 1) irony, in liberal doses (e.g., DeLillo's _White Noise_); 2) a continuous awareness that we're *reading a book* and that there's an author talking to us, and that the characters are under his control (e.g., anything by Kurt Vonnegut); 3) self-reference, sometimes to the point of disorienting involution (e.g., Wallace's story ``Westward The Course Of Empire Makes Its Way" from his book _Girl With Curious Hair_ - and that story is, notably, a spoof of postmodernism). This may be an overly conservative definition of postmodernism, but the word's overapplication justifies some conservatism.
_Infinite Jest_ is not postmodern; it's just a great story with beautifully constructed characters. It is a book about a movie that is so addictive that anyone who starts watching it has no choice but to keep watching it forever - foregoing food, water, and sleep, and suffering as much pain as is necessary to keep watching. The movie itself is, to paraphrase a friend, an uber-McGuffin (I'm never sure whether I've spelled that right) - an object that never gets clearly explained, but around which the plot coheres.
The movie itself is not the main point of the book. _Infinite Jest_ is a novel about American addictions: television, drugs, sex, fame, and indeed the American need to be addicted to something. An addiction to addictions. Wallace summarizes the book's mood well when he says,
``There's something particularly sad about it, something that doesn't have very much to do with physical circumstances, or the economy, or any of the stuff that gets talked about in the news. It's more like a stomach-level sadness. I see it in myself and my friends in different ways. It manifests itself as a kind of lostness. Whether it's unique to our generation I really don't know."
(...)
The main sign of Wallace's genius - and yes, I mean that word with all it entails, content in the knowledge that it is overused but that it fits here - is that he can make us feel this gut-level sadness without even appearing to work at it. Heavy use of irony can make you feel that there's some deeper, unseen, lurking gloominess about the world, and for that reason it's the easy way out. Ditto self-reference, which after a while is dizzying and confusing. Wallace is too brilliant a writer to take any of the easy postmodern routes. He's just written a great story with an unpleasant underlying mood. It's been a long time since I've read a book of such masterful subtlety.
It has all the classic aspects of a great novel: characters whom the reader *understands*, a compelling story that edges inexorably toward an uncertain ending, a gut-level mood, and a habit of dispensing brilliant toss-offs so suddenly that the reader can't help but gasp. For instance, see the attached text file containing Wallace's future-retrospective explanation of why videophones failed.
My first inclination was that this book - weighing in at over a thousand pages, including hundreds of footnotes (some of which have their own footnotes) - needed an editor. And it may, at points. But there's very little chaff amongst the wheat: the book's heft serves at least three purposes:
1) To build characters, slowly and methodically. One of Wallace's flaws is that his characters' dialogue - particularly that of his youthful protagonist and tennis prodigy, Hal Incandenza - doesn't sound genuine. It sounds like Wallace talking through 17-year-olds, not 17-year-olds who've been transcribed. I think Wallace realizes this, which is why most of his character development comes through narration.
2) To dump out the contents of Wallace's swirling brain. He has so much to say, and he seems to want to get it all down on paper in this one book. Less profound thoughts from a less talented author might have left me screaming for an editor, but they didn't do so here.
3) To structure the book as a conversation. Reading this book, one feels as though one is talking directly with Wallace. More often than not, his sentences will contain heavy Latinate words like ``epicanthic" just a short distance from the conversational stammerings ``like" and ``and so but". Again, had a lesser writer written these words, I would have edited the book myself, filling the margins with red pen.
The book's length will discourage all but a few readers, but it handsomely rewards the patient.
The novel takes place in Enfield, Massachusetts in the near future. In the story, Canada, the United States, and Mexico formed a federation called the Organization of North American Nations (known as O.N.A.N.). The citizens of this confederation spend their time watching entertainment cartridges playable on their "teleputers," devices that came about when broadcast television went bankrupt. Advertisers predictably had a cow over the loss of television, so the government allowed companies to purchase calendar years and rename them. Hence, we have years called "The Year of Glad," and "The Year of the Depend Adult Undergarment." Not everyone is happy with the O.N.A.N. arrangement; Quebecois revolutionaries continue to seek an independent homeland from their Canadian masters, only now they have to deal with the United States as well. In a devious bid for independence, a group of terrorists known as "The Wheelchair Assassins" (!) are seeking a film cartridge that supposedly kills anyone who watches it by turning them into pleasure seeking zombies. Moreover, a new energy system called annular fusion requires the confederation to dump its toxic waste into a place called "The Great Concavity," an abandoned area encompassing most of Maine and other northeastern regions. The concavity borders Quebec, and the toxins flung there with giant catapults (!!) have leeched into surrounding areas, thus causing thousands of people to develop life-threatening deformities.
Wallace introduces dozens of oddball characters in the course of his narrative, with special emphasis placed on the students at the Enfield Tennis Academy and the addicts populating a drug rehab right down the hill called Ennet House. The primary character at Enfield is one Hal Incandenza, a genius and a tennis star with a growing addiction to marijuana. Living with Hal are his horribly disfigured brother Mario, his promiscuous but hyper intelligent mother Avril, and several fellow students who redefine our conceptions of the bizarre. Hal has difficulties dealing with his family due to, among other issues, the horrific suicide via microwave oven of his father James. Dad was a scientist who helped develop annular fusion before going into experimental filmmaking. It was, in fact, James Incandenza who made the fatal entertainment cartridge that is causing so many headaches. In opposition to the madhouse that is Enfield is the madhouse that is Ennet House, where drug addict Don Gately attempts to take things one day at a time. Gately lived a life of desperate abandon, burglarizing homes in order to pay for his addictions. The only thing harder than living on drugs is kicking the habit, and Wallace describes in minute detail the hard sought sobriety of Don Gately and his fellow addicts. I know this summary stinks, I know I'm leaving tons of stuff out, but place the blame on Wallace for constructing such a complex novel.
Several themes thread their way through the novel. The most notable is the theme of addiction and recovery represented by Hal Incandenza and Don Gately. Another theme is the role of entertainment in American society, something Wallace sees as a calamity of epic proportions that will only end in death. If you tire of looking for deeper meaning in "Infinite Jest," don't worry. You can laugh yourself sick over the humorous aspects of the book or stare in open-mouthed awe at the numerous digressions from the main story. Wallace is a powerful writer, capable of infusing seemingly banal situations like filmmaking and sports with amazing energy. Check out the story about Hal's brother Orin punting in his first football game, or the Eschaton disaster at the academy, or James Incandenza's filmography in one of the endnotes for proof of this assertion. I especially loved the filmography and the endnote explaining the origins of the Wheelchair Assassins, two of the funniest, most wildly inventive things I have ever read. Most of the book is as equally brilliant even as it veers off in a dozen different directions.
"Infinite Jest" is intricate, with its multitude of subplots, OED inspired vocabulary, and tragic characters, yet the book still entertains because Wallace knows how to drape a compelling, easily understood story over all of the complexities. I'm under no illusions that I picked up on more than a fraction of the many things Wallace was attempting to say, but who cares? I had a heckuva a ride through this book, and hopefully you will too. Remember, take your time, breathe easy, and don't worry too much about carpal tunnel syndrome.
P.S. Allston Rules.
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