This is the latest entry in Words, Words, Words the ongoing liveblog of David Foster Wallace’s “Infinite Jest.”
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February 3, 2012, pgs 736-755/1062. The strangeness with Orin and his mother puts Joelle van Dyne in the habit of getting high and compulsively cleaning, the irony of which being that compulsive cleanliness is one of Orin’s mother things. Joelle has retained the habit into sobriety, and as she careens around her shared room at Ennet House, we get a look back at her own family and some of the interactions with the Incandenza family. Contrary to the “Anna Karenina” bit referenced in our title, Joelle notes that “Orin’d had no idea how banal and average his same-sex-parent-issues were…Joelle’d known her mother didn’t much like her from the first time her own personal Daddy’d told her he’d rather take Pokie to the pictures alone.” Here again we have the possible indication that Joelle’s father abused her at the movies.
Joelle’s impressions of JOI’s movies sound like Wallace’s critique of his own writing. She describes JOI’s films as “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.” This probably sounds just about spot-on to anyone who’s stuck with it for 740 pages, and Wallace himself seemed to feel the same way. He was quoted in a D.T. Max New Yorker piece that, in his early writing, he “saw himself as having been driven by a “basically vapid urge to be avant-garde and post structural and linguistically calisthenic.'” Interestingly, after this sort-of layered in apology by the author, Joelle talks about the split second shots in The Medusa v. The Odalisque where his fighting monsters seems to feel a deep concern over the audience, showing brief flashes of pain when their actions turn the seated people into stone. “It was like he couldn’t help putting human flashes in, but he wanted to get them in as quickly and unstudyably as possible.”
In Pre-Nuptial Agreement of Heaven and Hell, the Ecstasy of St. Theresa figures heavily again, as it does in M v. O and in Joelle’s own life (another drug induced experience along with compulsive cleaning was to visualize the Ecstasy at the peak of her high). In Pre-Numptial… a slow four-minute shot of the sculpture is the only point indicating “Freedom from one’s own head, one’s inescapable P.O.V.” Again we see the building blocks of “This is Water.”
Marathe, while successfully interviewing for admission to Ennet House, spots some potential versions of The Entertainment. He makes his decision about which side to land on once the ONAN-AFR battle begins, and decides correctly since Fortier does not plan to let him live. But Marathe doesn’t decide on when he should make his move, leading to a possible but unlikely Hamlet Sighting.