A Supposedly Fun Thing I'll Never Do Again

by David Foster Wallace

  1305h.: I’ve darted just for a second into Deck 7’s Celebrity Show Lounge to catch some of the rehearsals for tomorrow night’s climactic Passenger Talent Show. Two crew-cut and badly burned U. Texas guys are doing a minimally choreographed dance number to a recording of “Shake Your Groove Thing.” Asst. Cruise Director “Dave the Bingo Boy” is coordinating activities from a canvas director’s chair at stage left. A septuagenarian from Halifax VA tells four ethnic jokes and sings “One Day at a Time (Sweet Jesus).” A retired Century 21 Realtor from Idaho does a long drum solo to “Caravan.” The climactic Passenger Talent Show is apparently a 7NC tradition, as was Tuesday night’s Special Costume Party. 128 Some of the Nadirites are deeply into this stuff and have brought their own costumes, music, props. A lithe Canadian couple does a tango complete w/ pointy black shoes and an interdental rose. Then the finale of the P.T.S. is apparently going to be four consecutive stand-up comedy routines delivered by very old men. These men totter on one after the other. One has one of those three-footed canes, another a necktie that looks uncannily like a Denver omelette, another an excruciating stutter. What follow are four successive interchangeable routines where the manner and humor are like exhumed time capsules of the 1950s: jokes about how impossible it is to understand women, about how very much men want to play golf and how their wives try to keep them from playing golf, etc. The routines have the same kind of flamboyant unhipness that makes my own grandparents objects of my pity, awe, and embarrassment all at once. One of the senescent quartet refers to his appearance tomorrow night as a “gig.” The one with the tridential cane stops suddenly in the middle of a long joke about skipping his wife’s funeral to play golf and, pointing the cane’s tips at Dave the Bingo Boy, demands an immediate and accurate estimate of what the attendance will be for tomorrow night’s Passenger Talent Show. Dave the Bingo Boy sort of shrugs and looks at his emery board and says that it’s hard to say, that it like varies week to week, whereupon the old guy kind of brandishes his cane and says well it better be substantial because he goddamn well hates playing to an empty house.

  1320h.: The ND neglects to mention that the skeetshooting is a competitive Organized Activity. The charge is $1.00 a shot, but you have to purchase your shots in sets of 10, and there’s a large and vaguely gun-shaped plaque for the best X/10 score. I arrive at 8-Aft late; a male Nadirite is already shooting skeet, and several other men have formed a line and are waiting to shoot skeet. The Nadir’s wake is a big fizzy V way below the aft rail. Two sullen Greek NCOs run the show, and between their English and their earmuffs and the background noise of shotguns—plus the fact that I’ve never touched any kind of gun before and have only the vaguest idea of which end even to point—negotiations over my late entry and the forwarding of the skeetshooting bill to Harper’s are lengthy and involved.

  I am seventh and last in line. The other contestants in line refer to the skeet as “traps” or “pigeons,” but what they really look like is tiny discuses painted the Day-Glo orange of high-cost huntingwear. The orange, I posit, is for ease of visual tracking, and the color must really help, because the trim bearded guy in aviator glasses currently shooting is perpetrating absolute skeetocide in the air over the ship.

  I assume you already know the basic skeetshooting conventions from movies and TV: the lackey at the weird little catapultish device, the bracing and pointing and order to Pull, the combination thud and kertwang of the catapult, the brisk crack of the weapon, and the midair disintegration of the luckless skeet. Everybody in line with me is male, though there are a number of females in the crowd that’s watching the competition from the 9-Aft balcony above and behind us.

  From the line, watching, three things are striking: (a) what on TV is a brisk crack is here a whooming roar that apparently is what a shotgun really sounds like; (b) skeetshooting looks comparatively easy, because now the stocky older guy who’s replaced the trim bearded guy at the rail is also blowing these fluorescent skeet away one after the other, so that a steady rain of lumpy orange crud is falling into the Nadir’s wake; (c) a flying skeet, 129 when shot, undergoes a frighteningly familiar-looking midflight peripeteia—erupting material, changing vector, and plummeting seaward in a distinctive corkscrewy way that all eerily recalls footage of the 1986 Challenger disaster.

  Striking thing (b) turns out to be an illusion, one not unlike the illusion I’d had about the comparative easiness of golf from watching golf on TV before I’d actually ever tried to play golf. The shooters who precede me do all seem to fire with a kind of casual scorn, and they all get 8/10 or above. But it turns out that, of these six guys, three have military-combat backgrounds, another two are insufferable East-Coast retro-Yuppie brothers who spend weeks every year hunting various fast-flying species with their “Papa” in southern Canada, and the last has not only his own earmuffs, plus his own shotgun in a special crushed-velvet-lined case, but also his own skeetshooting range in his backyard 130 in North Carolina. When it’s finally my turn, the earmuffs they give me have somebody else’s ear-oil on them and don’t fit my head. The gun itself is shockingly heavy and stinks of what I’m told is cordite, small pubic spirals of which are still exiting the barrel from the Korea-vet who preceded me and is tied for first with 10/10. The two Yuppie brothers are the only entrants even near my age; both got scores of 9/10 and are now appraising me coolly from identical prep-school-slouch positions against the starboard rail. The Greek non-coms seem extremely bored. I am handed the heavy gun and told to “be bracing a hip” against the aft rail and then to place the stock of the weapon against no not the shoulder of my hold-the-gun arm but the shoulder of my pull-the-trigger arm—my initial error in this latter regard results in a severely distorted aim that makes the Greek by the catapult do a rather neat drop-and-roll.

  OK, let’s not spend a lot of time drawing this whole incident out. Let me simply say that, yes, my own skeetshooting score was noticeably lower than the other entrants’ scores, then simply make a few disinterested observations for the benefit of any novice contemplating shooting skeet from the rolling stern of a 7NC Megaship, and then we’ll move on: (1) A certain level of displayed ineptitude with a firearm will cause everyone in the vicinity who knows anything about firearms to converge on you all at the same time with cautions and advice and handy tips passed down from Papa. (2) A lot of the advice in (1) boils down to exhortations to “lead” the launched skeet, but nobody explains whether this means that the gun’s barrel should move across the sky with the skeet or should instead lie in a sort of static ambush along some point in the skeet’s projected path. (3) TV skeetshooting is not totally unrealistic in that you really are supposed to say “Pull” and the weird little catapultish thing really does produce a kertwanging thud. (4) Whatever a “hair trigger” is, a shotgun does not have one. (5) If you’ve never fired a gun before, the urge to close your eyes at the precise moment of concussion is, for all practical purposes, irresistible. (6) The well-known “kick” of a fired shotgun is no misnomer: it does indeed feel like being kicked, and hurts, and sends you back several steps with your arms pinwheeling wildly for balance, which, when you’re holding a gun, results in mass screaming and ducking and then on the next shot a conspicuous thinning of the crowd in the 9-Aft gallery above.

  Finally, (7), know that an unshot skeet’s movement against the vast lapis lazuli dome of the open ocean’s sky is sun-like—i.e. orange and parabolic and right-to-left—and that its disappearance into the sea is edge-first and splashless and sad.

  1600h. – 1700h.: Lacuna.

  1700h. – 1815h.: Shower, personal grooming, third viewing of the heart-tweaking last act of Andre, attempted shower-steam-rehabilitation of wool slacks and funereal sportcoat for tonight’s 5C.R. supper, which in the ND is designated sartorially “Formal.” 131

  1815h.: The cast and general atmospherics of the 5CR.’s T64 have already been covered. Tonight’s supper is exceptional only in its tension. The hideous Mona has, recall, opted to represent today as her birthday to
Tibor and the maître d’, resulting tonight in bunting and a tall cake and a chair-balloon, plus in Wojtek leading a squad of Slavic busboys in a ceremonial happy-birthday mazurka around Table 64, and in an overall smug glow of satisfaction from Mona (who when The Tibster sets her cake down before her claps her hands once before her face like a small depraved child) and in an expression of blank tolerance from Mona’s grandparents that’s impossible to read or figure.

  Additionally, Trudy’s daughter Alice—whose birthday, recall, really is today—has in silent protest against Mona’s fraud said nothing all week to Tibor about it—i.e. her own birthday—and sits tonight across from Mona wearing just the sort of face you would expect from one privileged child watching another privileged child receive natal treats and attentions that are by all rights her own.

  The result of all this is that stony-faced Alice and I 132 have tonight established a deep and high-voltage bond across the table, united in our total disapproval and hatred of Mona, and are engaging in a veritable ballet of coded little stab-, strangle-, and slap-Mona pantomimes for each other’s amusement, Alice and I are, which I’ve got to say is for me a fun and therapeutic anger-outlet after the day’s tribulations.

  But the supper’s tensest development is that Alice’s mother and my own new friend Trudy—whose purslane-and-endive salad, rice pilaf, and Tender Medallions of Braised Veal are simply too perfect tonight to engage any of her critical attention, and who I should mention has, all week, made little secret of the fact that she’s not exactly crazy about Alice’s Serious Boyfriend Patrick, or about his and Alice’s Serious Relationship 133 —that Trudy notices and misconstrues my and Alice’s coded gestures and stifled giggles as signs of some kind of burgeoning romantic connection between us, and Trudy begins yet once again extracting and spreading out her purse’s 4×5s of Alice, and relating little tales of Alice’s childhood designed to make Alice appear adorable, and talking Patrick down, and in general I have to say acting like a procuress… and this would be bad enough, tension-wise (especially when Esther gets into the act), but now poor Alice—who, even though deeply preoccupied with birthday-deprivation and Mona-hatred, is by no means dim or unperceptive—quickly sees what Trudy’s doing, and, apparently terrified that I might possibly share her mother’s misperception of my connection with her as anything more than an anti-Mona alliance, begins directing my way a kind of Ophelia-type mad monologue of unconnected Patrick-references and Patrick-anecdotes, all of which causes Trudy to start making her weird dentally asymmetric grimace at the same time she begins cutting at her Tender Medallions of Braised Veal so hard that the sound of her knife against the 5C.R.’s bone china gives everybody at the table tooth-shivers; and the mounting tension causes fresh sweatstains to appear in the underarms of my funereal sportcoat and spread nearly to the perimeter of the faded salty remains of Pier 21’s original sweatstains; and when Tibor makes his customary post-entrée circuit of the table and asks How Is All Of Everything, I am for the first time since the educational second night unable to say anything other than: Fine.

  2045h.

  CELEBRITY SHOWTIME

  Celebrity Cruises Proudly Presents

  HYPNOTIST

  NIGEL ELLERY

  Hosted by your Cruise Director Scott Peterson

  PLEASE NOTE: Video and audio taping of all shows is strictly prohibited. Children, please remain seated with your parents during shows. No children in the front row.

  CELEBRITY SHOW LOUNGE

  Other Celebrity Showtime headline entertainments this week have included a Vietnamese comedian who juggles chain saws, a husband-and-wife team that specializes in Broadway love medleys, and, most notably, a singing impressionist named Paul Tanner, who made simply an enormous impression on Table 64’s Trudy and Esther, and whose impressions of Engelbert Humperdinck, Tom Jones, and particularly Perry Como were apparently so stirring that a second Popular Demand Encore Performance by Paul Tanner has been hastily scheduled to follow tomorrow night’s climactic Passenger Talent Show. 134

  Stage-hypnotist Nigel Ellery is British 135 and looks uncannily like 1950s B-movie villain Kevin McCarthy. Introducing him, Cruise Director Scott Peterson informs us that Nigel Ellery “has had the honor of hypnotizing both Queen Elizabeth II and the Dalai Lama.” 136 Nigel Ellery’s act combines hypnotic highjinks with a lot of rather standard Borscht Belt patter and audience abuse. And it ends up being such a ridiculously apposite symbolic microcosm of the week’s whole 7NC Luxury Cruise experience that it’s almost like a setup, some weird form of journalistic pampering.

  First off, we learn that not everyone is susceptible to serious hypnosis—Nigel Ellery puts the C.S.L.’s whole 300+ crowd through some simple in-your-seat tests 137 to determine who in the C.S.L.’s crowd is “suggestibly gifted” enough to participate in the “fun” to come.

  Second, when the six most suitable subjects—all still locked in complex contortions from the in-your-seat tests—are assembled onstage, Nigel Ellery spends a long time reassuring them and us that absolutely nothing will happen that they do not wish to have happen and voluntarily submit to. He then persuades a young lady from Akron that a loud male Hispanic voice is issuing from the left cup of her brassiere. Another lady is induced to smell a horrific odor coming off the man in the chair next to her, a man who himself believes that the seat of his chair periodically heats to 100°C. The other three subjects respectively flamenco, believe they are not just nude but woefully ill-endowed, and are made to shout “Mommy, I want a wee-wee!” whenever Nigel Ellery utters a certain word. The audience laughs very hard at all the right times. And there is something genuinely funny (not to mention symbolically microcosmic) about watching these well-dressed adult cruisers behave strangely for no reason they understand. It is as if the hypnosis enables them to construct fantasies so vivid that the subjects do not even know they are fantasies. As if their heads were no longer their own. Which is of course funny.

  Maybe the single most strikingly comprehensive 7NC symbol, though, is Nigel Ellery himself. The hypnotist’s boredom and hostility are not only undisguised, they are incorporated kind of ingeniously into the entertainment itself: Ellery’s boredom gives him the same air of weary expertise that makes us trust doctors and policemen, and his hostility—via the same kind of phenomenon that makes Don Rickles a big star in Las Vegas, I guess—is what gets the biggest roars of laughter from the lounge’s crowd. The guy’s stage persona is extremely hostile and mean. He does unkind imitations of people’s U.S. accents. He ridicules questions from both the subjects and the audience. He makes his eyes burn Rasputinishly and tells people they’re going to wet the bed at exactly 3:00 A.M. or drop trou at the office in exactly two weeks. The spectators—mostly middle-aged, it looks like—rock back and forth with mirth and slap their knee and dab at their eyes with hankies. Each moment of naked ill will from Ellery is followed by an enormous circumoral constriction and a palms-out assurance that he’s just kidding and that he loves us and that we are a simply marvelous bunch of human beings who are clearly having a very good time indeed.