The improbable thing of the whole thing is that, when the soda and water and cocaine are mixed right and heated right and stirred just right as the mix cools down, then when the stuff’s too stiff to stir and is finally ready to come on out it comes out slick as shit from a goat, just an inverted-ketchup-bottle thump and out the son of a fucking whore slides, one molded cylinder hard-ened onto the black wire, its snout round from the glass tube’s bottom. The average pre-chopped freebase rock looks like a .38 round. What Joelle now slides with three fillips from the cigar tube is a monstrous white wiener, a county-fair corn dog, its sides a bit rough, like mâché, a couple clots left on the inside of the tube that are what you forage and smoke before the Chore Boys and panties.
She is now a little under two deliberate minutes from Too Much Fun for anyone mortal to hope to endure. Her unveiled face in the dirty lit mirror is shocking in the intensity of its absorption. Out in the bedroom doorway she can hear Reeves Mainwaring telling some helium-voiced girl that life is essentially one long search for an ashtray. Too Much Fun. She uses the razor blade to cross-section chunks out of the freebase wiener. You can’t whittle thin deli-shaved flakes off because they’ll crumble back to powder right away and they anyway don’t smoke as well as you’d think. Blunt chunks are S.O.P. Joelle chops out enough chunks for maybe twenty good-sized hits. They form a little quarry on the soft cloth of her folded veil on the counter. Her Brazilian skirt is no longer damp. Reeves Mainwaring’s blond imperial often had little bits of food residue in it. ‘The Ecstasy of St. Teresa’ is on perpetual display at the Vittoria in Rome and she never got to see it. She will never again say And Loand invite people to watch darkness dance on the face of the deep. ‘The Face of the Deep’ had been the title she’d suggested for Jim’s unseen last cartridge, which he’d said would be too pretentious and then used that skull-fragment out of the Hamlet graveyard scene instead, which talk about pretentious she’d laughed. His frightened look when she’d laughed is for the life of her the last facial-expression memory she can remember of the man. Orin had referred to his father sometimes as Himself and sometimes as The Mad Stork and once in a slip as The Sad Stork. She lights one wooden match and blows it right out and touches the hot black head to the side of the plastic pop bottle. It melts right through and makes a little hole. The helicopter was probably a traffic helicopter. Somebody at their Academy had had some connection to some traffic helicopter that had had an accident. She can’t for the life of her. No one out there knows she is in here getting ready to have Too Much. She can hear Molly Notkin calling through rooms about has anyone seen Keck. In her first theory seminar Reeves Mainwaring had called one film ‘wretchedly ill-conceived’ and another ‘desperately acquiescent’ and Molly Notkin had pretended to have a coughing fit and had had a Tennessee accent and that was how they met. The Reynolds Wrap is to make a screen that will rest in the bottle’s open top. A regular dope screen is the size of a thimble, its sides spread like an opening bud. Joelle uses the point of some curved nail scissors on the back of the toilet to poke tiny holes in the rectangle of aluminum foil and shapes it into a shallow funnel large enough to siphon gasoline, narrowing its tip to fit in the bottle’s mouth. She now owns a pipe with a monster-sized bowl and screen, now, and puts in enough chunklets to make five or six hits at once. The little rocks lie there piled and yellow-white. She puts her lips experimentally to the melted hole in the side of the bottle and draws, then, very deliberately, lights another match and extinguishes it and makes the hole bigger. The idea that she’ll never see Molly Notkin or the cerebral Union or her U.H.I.D. support-brothers and -sisters or the YYY engineer or Uncle Bud on a roof or her stepmother in the Locked Ward or her poor personal Daddy again is sentimental and banal. The idea of what she’s about in here contains all other ideas and makes them banal. Her glass of juice is on the back of the toilet, half-empty. The back of the toilet is lightly sheened with condensation of unknown origin. These are facts. This room in this apartment is the sum of very many specific facts and ideas. There is nothing more to it than that. Deliberately setting about to make her heart explode has assumed the status of just one of these facts. It was an idea but now is about to become a fact. The closer it comes to becoming concrete the more abstract it seems. Things get very abstract. The concrete room was the sum of abstract facts. Are facts abstract, or are they just abstract representations of concrete things? Molly Notkin’s middle name is Cantrell. Joelle puts two more matches together and prepares to strike them, breathing rapidly in and out like a diver preparing for a long descent.
‘I say is someone in there?’ The voice is the young post-New Formalist from Pittsburgh who affects Continental and wears an ascot that won’t stay tight, with that hesitant knocking of when you know perfectly well someone’s in there, the bathroom door composed of thirty-six that’s three times a lengthwise twelve recessed two-bevelled squares in a warped rectangle of steam-softened wood, not quite white, the bottom outside corner right here raw wood and mangled from hitting the cabinets’ bottom drawer’s wicked metal knob, through the door and offset ‘Red’ and glowering actors and calendar and very crowded scene and pubic spiral of pale blue smoke from the elephant-colored rubble of ash and little blackened chunks in the foil funnel’s cone, the smoke’s baby-blanket blue that’s sent her sliding down along the wall past knotted washcloth, towel rack, blood-flower wallpaper and intricately grimed electrical outlet, the light sharp bitter tint of a heated sky’s blue that’s left her uprightly fetal with chin on knees in yet another North American bathroom, deveiled, too pretty for words, maybe the Prettiest Girl Of All Time (Prettiest G.O.A.T.), knees to chest, slew-footed by the radiant chill of the claw-footed tub’s porcelain, Molly’s had somebody lacquer the tub in blue, lacquer, she’s holding the bottle, recalling vividly its slogan for the last generation was The Choice of a Nude Generation, when she was of back-pocket height and prettier by far than any of the peach-colored titans they’d gazed up at, his hand in her lap her hand in the box and rooting down past candy for the Prize, more fun way too much fun inside her veil on the counter above her, the stuff in the funnel exhausted though it’s still smoking thinly, its graph reaching its highest spiked prick, peak, the arrow’s best descent, so good she can’t stand it and reaches out for the cold tub’s rim’s cold edge to pull herself up as the white- party-noise reaches, for her, the sort of stereophonic precipice of volume to teeter on just before the speakers blow, people barely twitching and conversations strettoing against a ghastly old pre-Carter thing saying ‘We’ve Only Just Begun,’ Joelle’s limbs have been removed to a distance where their acknowledgment of her commands seems like magic, both clogs simply gone, nowhere in sight, and socks oddly wet, pulls her face up to face the unclean medicine-cabinet mirror, twin roses of flame still hanging in the glass’s corner, hair of the flame she’s eaten now trailing like the legs of wasps through the air of the glass she uses to locate the de-faced veil and what’s inside it, loading up the cone again, the ashes from the last load make the world’s best filter: this is a fact. Breathes in and out like a savvy diver —
‘Look here then who’s that in there? Is someone in there? Do open up. I’m on one foot then the other out here. I say Notkin someone’s been in here locked in and, well, sounding unwell, amid rather a queer scent.’
— and is knelt vomiting over the lip of the cool blue tub, gouges on the tub’s lip revealing sandy white gritty stuff below the lacquer and porcelain, vomiting muddy juice and blue smoke and dots of mercuric red into the claw-footed trough, and can hear again and seems to see, against the fire of her closed lids’ blood, bladed vessels aloft in the night to monitor flow, searchlit helicopters, fat fingers of blue light from one sky, searching.
Enfield MA is one of the stranger little facts that make up the idea that is metro Boston, because it is a township composed almost entirely of medical, corporate, and spiritual facilities. A kind of arm-shape extending north from Commonwealth Avenue and separating Brighton into Upper and Low
er, its elbow nudging East Newton’s ribs and its fist sunk into Allston, Enfield’s broad municipal tax-base includes St. Elizabeth’s Hospital, Franciscan Children’s Hospital, The Universal Bleacher Co., the Provident Nursing Home, Shuco-Mist Medical Pressure Systems Inc., the Enfield Marine Public Health Hospital Complex, the Svelte Nail Co., half the metro Boston turbine and generating stations of Sunstrand Power and Light (the part that gets taxed is in incorporated Allston), corporate headquarters for ‘The ATHSCME Family of Air-Displacement Effectuators’ (meaning they make really big fans), the Enfield Tennis Academy, St. John of God Hospital, Hanneman Orthopedic Hospital, the Leisure Time Ice Company, a Dicalced monastery, the combined St. John’s Seminary and offices for the RCC’s Boston Archdiocese (partly in Upper Brighton; neither half taxed), convent headquarters of The Sisters for Africa, the National Cranio-Facial Pain Foundation, the Dr. George Roebling Runyon Memorial Institute for Podiatric Research, regional shiny-truck, land-barge, and catapult facilities for the O.N.A.N.-subsidized Empire Waste Displacement Co. (what the Québecois call les trebuchets noirs, spectacular block-long catapults that make a sound like a giant stamping foot as they fling great twine-bundled waste-vehicles into the subannular regions of the Great Concavity at a parabolic altitude exceeding 5 km.; the devices’ slings are of alloy-belted elastic and their huge cupped vehicle-receptacles like catcher’s mitts from hell, a half dozen or so of the catapults in this like blimp-hangarish thing with a selectively slide-backable roof, taking up a good six square blocks of Enfield’s brachiform incursion into the Allston Spur, occasional school tours tolerated but not encouraged), and so on. W/ the whole flexed Enfield limb sleeved in a perimeter layer of light residential and mercantile properties. The Enfield Tennis Academy occupies probably now the nicest site in Enfield, some ten years after balding and shaving flat the top of the big abrupt hill that constitutes a kind of raised cyst on the township’s elbow, the better part of 75 hectares of broad lawns and cloverleafing paths and topologically cutting-edge erections, 32 asphalt tennis courts and sixteen Har-Tru composition tennis courts and extensive underground maintenance and storage and athletic-training facilities and briers and calliopsis and pines mixed artfully in on the inclines with deciduous trees, the E.T.A. hilltop overlooking on one side, east, historic Commonwealth Avenue’s acclivated migration out of the squalor of Lower Brighton — liquor stores and Laundromats and bars and palisades of somber and guano-dappled tenement facades, the huge and brooding Brighton Project high-rises with three-story-high orange I.D.-numerals on the sides, plus liquor stores, and pale men in leather and whole gangs of pale children in leather on the corners and Greek-owned pizza places with yellow walls and dirty corner markets owned by Orientals who try like heck to keep their sidewalks clean but can’t, even with hoses, plus the quarter-hourly trundle and ding of the Green Line train’s labor up the Ave.’s long rise to Boston College — into the spiky elegance of B.C. and the broad gentrification of Newton out to the west, where the haze-haloed Boston sun drops behind the last node in the four-km. sine wave that is collectively called the historic April Marathon’s ‘Heartbreak Hill,’ the sun always setting fifteen minutes to the nanosecond after deLint turns on the courts’ high-tower lights. To I think it must be the southwest, E.T.A. overlooks the steely gray tangle of Sunstrand’s transformers and high-voltage grids and coaxial chokers strung with beads of ceramic insulators, with not one Sunstrand smokestack anywhere in sight but a monstrous mega-ohm insulator-cluster at the terminus of a string of signs trailing in from the northeast, each sign talking with many Φ’s about how many annular-generated amps are waiting underground for anyone who digs or in any way dicks around, with hair-raising nonverbal stick-figure symbols of somebody with a shovel going up like a Kleenex in the fireplace. There are smokestacks in the visual background slightly south of Sunstrand, though, from the E.W.D. hangars, each stack with a monstrous ATHSCME 2100-Series A.D.E. (fan) bolted behind it and blowing due north with an insistent high-pitched fury that is somehow soothing, aurally, at E.T.A.’s distance and height. From both the north and northeast tree-lines E.T.A. looks down its hill’s steepest, best-planted decline into the complexly decaying grounds of Enfield Marine.
5 NOVEMBER — YEAR OF THE DEPEND ADULT UNDERGARMENT
The transparent phone sounded from somewhere under the hill of bedding 82 as Hal was on the edge of the bed with one leg up and his chin on its knee, clipping his nails into a wastebasket that sat several meters away in the middle of the room. It took four rings to find the receiver in the bedding and pull the antenna out.
‘Mmmyellow.’
‘Mr. Incredenza, this is the Enfield Raw Sewage Commission, and quite frankly we’ve had enough shit out of you.’
‘Hello Orin.’
‘How hangs it, kid.’
‘God, please no, please O., not more Separatism questions.’
‘Relax. Never crossed my mind. Social call. Shoot the breeze.’
‘Interesting you should call just now. Because I’m clipping my toenails into a wastebasket several meters away.’
‘Jesus, you know how I hate the sound of nail clippers.’
‘Except I’m shooting seventy-plus percent. The little fragments of clipping. It’s uncanny. I keep wanting to go out in the hall and get somebody in here to see it. But I don’t want to break the spell.’
‘The fragile magic-spell feel of those intervals where it feels you just can’t miss.’
‘It’s definitely one of those can’t-miss intervals. It’s just like that magical feeling on those rare days out there playing. Playing out of your head, de-Lint calls it. Loach calls it The Zone. Being in The Zone. Those days when you feel perfectly calibrated.’
‘Coordinated as God.’
‘Some groove in the shape of the air of the day guides everything down and in.’
‘When you feel like you couldn’t miss if you tried to.’
‘I’m so far away the wastebasket’s mouth looks more like a slot than a circle. And yet in they go, ka-ching ka-ching. There went another one. Even the misses are near-misses, caroms off the rim.’
‘I’m sitting here with the leg in a whirlpool in the bathroom of a Norwegian deep-tissue therapist’s ranch-style house 1100 meters up in the Superstition mountains. Mesa-Scottsdale in flames far below. The bathroom’s redwood-panelled and overlooks a precipice. The sunlight’s the color of the bronze.’
‘But you never know when the magic will descend on you. You never know when the grooves will open up. And once the magic descends you don’t want to change even the smallest detail. You don’t know what concordance of factors and variables yields that calibrated can’t-miss feeling, and you don’t want to soil the magic by trying to figure it out, but you don’t want to change your grip, your stick, your side of the court, your angle of incidence to the sun. Your heart’s in your throat every time you change sides of the court.’
‘You start to get like a superstitious native. What’s the word propitiatethe divine spell.’
‘I suddenly understand the gesundheit-impulse, the salt over the shoulder and apotropaic barn-signs. I’m actually frightened to switch feet right now. I’m clipping off the tiniest aerodynamically viable clippings possible, to prolong the time on this foot, in case the magic’s a function of the foot. This isn’t even the good foot.’
‘These can’t-miss intervals make superstitious natives out of us all, Hallie. The professional football player’s maybe the worst superstitious native of all the sports. That’s why all the high-tech padding and garish Lycra and complex play-terminology. The like self-reassuring display of high-tech. Because the bug-eyed native’s lurking just under the surface, we know. The bug-eyed spear-rattling grass-skirted primitive, feeding virgins to Popogatapec and afraid of planes.’
‘The new Discursive O.E.D.says the Ahts of Vancouver used to cut virgins’ throats and pour the blood very carefully into the orifices of the embalmed bodies of their ancestors.’
‘I can hear those clippe
rs. Quit with the clippers a second.’
Infinite Jest Page 37
