The David Foster Wallace Reader by David Foster Wallace
But and so the idea of a person in the grip of It being bound by a ‘Suicide Contract’ some well-meaning Substance-abuse halfway house makes her sign is simply absurd. Because such a contract will constrain such a person only until the exact psychic circumstances that made the contract necessary in the first place assert themselves, invisibly and indescribably. That the well-meaning halfway-house Staff does not understand Its overriding terror will only make the depressed resident feel more alone.
One fellow psychotically depressed patient Kate Gompert came to know at Newton-Wellesley Hospital in Newton two years ago was a man in his fifties. He was a civil engineer whose hobby was model trains—like from Lionel Trains Inc., etc.—for which he erected incredibly intricate systems of switching and track that filled his basement recreation room. His wife brought photographs of the trains and networks of trellis and track into the locked ward, to help remind him. The man said he had been suffering from psychotic depression for seventeen straight years, and Kate Gompert had had no reason to disbelieve him. He was stocky and swart with thinning hair and hands that he held very still in his lap as he sat. Twenty years ago he had slipped on a patch of 3-In-1-brand oil from his model-train tracks and bonked his head on the cement floor of his basement rec room in Wellesley Hills, and when he woke up in the E.R. he was depressed beyond all human endurance, and stayed that way. He’d never once tried suicide, though he confessed that he yearned for unconsciousness without end. His wife was very devoted and loving. She went to Catholic Mass every day. She was very devout. The psychotically depressed man, too, went to daily Mass when he was not institutionalized. He prayed for relief. He still had his job and his hobby. He went to work regularly, taking medical leaves only when the invisible torment got too bad for him to trust himself, or when there was some radical new treatment the psychiatrists wanted him to try. They’d tried Tricyclics, M.A.O.I.s, insulin-comas, Selective-Serotonin-Reuptake Inhibitors,283 the new and side-effect-laden Quadracyclics. They’d scanned his lobes and affective matrices for lesions and scars. Nothing worked. Not even high-amperage E.C.T. relieved It. This happens sometimes. Some cases of depression are beyond human aid. The man’s case gave Kate Gompert the howling fantods. The idea of this man going to work and to Mass and building miniaturized railroad networks day after day after day while feeling anything like what Kate Gompert felt in that ward was simply beyond her ability to imagine. The rationo-spiritual part of her knew this man and his wife must be possessed of a courage way off any sort of known courage-chart. But in her toxified soul Kate Gompert felt only a paralyzing horror at the idea of the squat dead-eyed man laying toy track slowly and carefully in the silence of his wood-panelled rec room, the silence total except for the sounds of the track being oiled and snapped together and laid into place, the man’s head full of poison and worms and every cell in his body screaming for relief from flames no one else could help with or even feel.
The permanently psychotically depressed man was finally transferred to a place on Long Island to be evaluated for a radical new type of psychosurgery where they supposedly went in and yanked out your whole limbic system, which is the part of the brain that causes all sentiment and feeling. The man’s fondest dream was anhedonia, complete psychic numbing. I.e. death in life. The prospect of radical psychosurgery was the dangled carrot that Kate guessed still gave the man’s life enough meaning for him to hang onto the windowsill by his fingernails, which were probably black and gnarled from the flames. That and his wife: he seemed genuinely to love his wife, and she him. He went to bed every night at home holding her, weeping for it to be over, while she prayed or did that devout thing with beads.
The couple had gotten Kate Gompert’s mother’s address and had sent Kate an Xmas card the last two years, Mr. and Mrs. Ernest Feaster of Wellesley Hills MA, stating that she was in their prayers and wishing her all available joy. Kate Gompert doesn’t know whether Mr. Ernest Feaster’s limbic system got yanked out or not. Whether he achieved anhedonia. The Xmas cards had had excruciating little watercolor pictures of locomotives on them. She could barely stand to think about them, even at the best of times, which the present was not.
—Pages 692–698
JOELLE USED TO like to get really high and then clean. Now she was finding she just liked to clean. She dusted the top of the fiberboard dresser she and Nell Gunther shared. She dusted the oval top of the dresser’s mirror’s frame and cleaned off the mirror as best she could. She was using Kleenex and stale water from a glass by Kate Gompert’s bed. She felt oddly averse to putting on socks and clogs and going down to the kitchen for real cleaning supplies. She could hear the noise of all the post-meeting nighttime residents and visitors and applicants down there. She could feel their voices in the floor. When the dental nightmare tore her upright awake her mouth was open to scream out, but the scream was Nell G. down in the living room, whose laugh always sounds like she’s being eviscerated. Nell preempted Joelle’s own scream. Then Joelle cleaned. Cleaning is maybe a form of meditation for addicts too new in recovery to sit still. The 5-Woman’s scarred wood floor had so much grit all over she could sweep a pile of grit together with just an unappliquéd bumper sticker she’d won at B.Y.P. Then she could use damp Kleenex to get up most of the pile. She had only Kate G.’s little bedside lamp on, and she wasn’t listening to any YYY tapes, out of consideration for Charlotte Treat, who was unwell and missed her Saturday Night Lively Mtng. on Pat’s OK and was now asleep, wearing a sleep mask but not her foam earplugs. Expandable foam earplugs were issued to every new Ennet resident, for reasons the Staff said would clarify for them real quick, but Joelle hated to wear them—they shut out exterior noise, but they made your head’s pulse audible, and your breath sounded like someone in a space suit—and Charlotte Treat, Kate Gompert, April Cortelyu, and the former Amy Johnson had all felt the same way. April said the foam plugs made her brain itch.
It had started with Orin Incandenza, the cleaning. When relations were strained, or she was seized with anxiety at the seriousness and possible impermanence of the thing in the Back Bay’s co-op, the getting high and cleaning became an important exercise, like creative visualization, a preview of the discipline and order with which she could survive alone if it came to that. She would get high and visualize herself solo in a dazzlingly clean space, every surface twinkling, every possession in place. She saw herself being able to pick, say, dropped popcorn up off the rug and ingest it with total confidence. An aura of steely independence surrounded her when she cleaned the co-op, even with the little whimpers and anxious moans that exited her writhing mouth when she cleaned high. The place had been provided nearly gratis by Jim, who said so little to Joelle on their first several meetings that Orin kept having to reassure her that it wasn’t disapproval—Himself was missing the part of the human brain that allowed for being aware enough of other people to disapprove of them, Orin had said—or dislike. It was just how The Mad Stork was. Orin had referred to Jim as ‘Himself’ or ‘The Mad Stork’—family nicknames, both of which gave Joelle the creeps even then.
It’d been Orin who introduced her to his father’s films. The Work was then so obscure not even local students of serious film knew the name. The reason Jim kept forming his own distribution companies was to ensure distribution. He didn’t become notorious until after Joelle’d met him. By then she was closer to Jim than Orin had ever been, part of which caused part of the strains that kept the brownstone co-op so terribly clean.
She’d barely thought consciously of any Incandenzas for four years before Don Gately, who for some reason kept bringing them bubbling up to mind. They were the second-saddest family Joelle’d ever seen. Orin felt Jim disliked him to the precise extent that Jim was even aware of him. Orin had spoken about his family at length, usually at night. On how no amount of punting success could erase the psychic stain of basic fatherly dislike, failure to be seen or acknowledged. Orin’d had no idea how banal and average his same-sex-parent-issues were; he’d felt they were some hideou
Joelle scrubbed at the discolored square of fingerprints around the light-switch until the wet Kleenex disintegrated into greebles.
Never trust a man on the subject of his own parents. As tall and basso as a man might be on the outside, he nevertheless sees his parents from the perspective of a tiny child, still, and will always. And the unhappier his childhood was, the more arrested will be his perspective on it. She’s learned this through sheer experience.
Greebles had been her own mother’s word for the little bits of sleepy goo you got in your eyes’ corners. Her own personal Daddy called them ‘eye-boogers’ and used to get them out for her with the twisted corner of his hankie.
Though it’s not as if you could trust parents on the subject of their memory of their children either.
The cheap glass shade over the ceiling’s light was black with interior grime and dead bugs. Some of the bugs looked like they might have been from long-extinct species. The loose grime alone filled half an empty Carefree box. The more stubborn crud would take a scouring pad and ammonia. Joelle put the shade aside for until she’d shot down to the kitchen to toss out different boxes of crud and wet Kleenex and grab some serious Chore-type supplies from under the sink.
Orin had said she was the third-neatnikest person he knew after his Moms and a former player he’d played with with Obsessive Compulsive Disorder, a dual diagnosis with which the U.H.I.D. membership was rife. But at the time the import had missed her. At that time it had never occurred to her that Orin’s pull toward her could have had anything either pro or con to do with his mother. Her biggest worry was that Orin was pulled only by what she looked like, which her personal Daddy’d warned her the sweetest syrup draws the nastiest flies, so to watch out.
Orin hadn’t been anything like her own personal Daddy. When Orin was out of the room it had never seemed like a relief. When she was home, her own Daddy never seemed to be out of the room for more than a few seconds. Her mother said she hardly even tried to talk to him when his Pokie was home. He kind of trailed her around from room to room, kind of pathetically, talking batons and low-pH chemistry. It was like when she exhaled he inhaled and vice versa. He was all through the house. He was real present at all times. His presence penetrated a room and outlasted him there. Orin’s absence, whether for class or practice, emptied the co-op out. The place seemed vacuumed and buffed sterile before the cleaning even started, when he went. She didn’t feel lonely in the place without him, but she did feel alone, what alone was going to feel like, and she, no one’s fool,305 was erecting fortifications real early into it.
It was Orin, of course, who’d introduced them. He’d had this stubborn idea that Himself would want to use her. In the Work. She was too pretty for somebody not to want to arrange, capture. Better Himself than some weak-chinned academic. Joelle’d protested the whole idea. She had a brainy girl’s discomfort about her own beauty and its effect on folks, a caution intensified by the repeated warnings of her personal Daddy. Even more to the immediate point, her filmic interests lay behind the lens. She’d do the capturing thank you very much. She wanted to make things, not appear in them. She had a student filmmaker’s vague disdain for actors. Worst, Orin’s idea’s real project was developmentally obvious: he thought he could somehow get to his father through her. That he pictured himself having weighty, steeple-fingered conversations with the man, Joelle’s appearance and performance the subjects. A three-way bond. It made her real uneasy. She theorized that Orin unconsciously wished her to mediate between himself and ‘Himself,’ just as it sounded like his mother had. She was uneasy about the excited way Orin predicted that his father wouldn’t be able to ‘resist using’ her. She was extra uneasy about how Orin referred to his father as ‘Himself.’ It seemed painfully blatant, developmental-arrest-wise. Plus she felt—only a little less than she made it sound, on the futon at night, protesting—she’d felt uneasy at the prospect of any sort of connection with the man who had hurt Orin so, a man so monstrously tall and cold and remotely hidden. Joelle heard a howl and a crash from the kitchen, followed by McDade’s tubercular laugh. Twice Charlot
She might have known from the Work. The man’s Work was amateurish, she’d seen, when Orin had had his brother—the unretarded one—lend them some of The Mad Stork’s Read-Only copies. Was amateurish the right word? More like the work of a brilliant optician and technician who was an amateur at any kind of real communication. Technically gorgeous, the Work, with lighting and angles planned out to the frame. But oddly hollow, empty, no sense of dramatic towardness—no narrative movement toward a real story; no emotional movement toward an audience. Like conversing with a prisoner through that plastic screen using phones, the upperclassman Molly Notkin had said of Incandenza’s early oeuvre. Joelle thought them more like a very smart person conversing with himself. She thought of the significance of the moniker ‘Himself.’ Cold. Pre-Nuptial Agreement of Heaven and Hell—mordant, sophisticated, campy, hip, cynical, technically mind-bending; but cold, amateurish, hidden: no risk of empathy with the Job-like protagonist, whom she felt like the audience was induced to regard like somebody sitting atop a dunk-tank. The lampoons of ‘inverted’ genres: archly funny and sometimes insightful but with something provisional about them, like the finger-exercises of someone promising who refused to really sit down and play something to test that promise. Even as an under-grad Joelle’d been convinced that parodists were no better than camp-followers in ironic masks, satires usually the work of people with nothing new themselves to say.306 ‘The Medusa v. the Odalisque’—cold, allusive, inbent, hostile: the only feeling for the audience one of contempt, the meta-audience in the film’s theater presented as objects long before they turn to blind stone.