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Mario had been given the name of Dr. James Incandenza’s father’s father, a dour and golf-addicted Green Valley AZ oculist who made a small fortune, just after Jim grew up and fled east, by inventing those quote X-Ray Specs! that don’t work but whose allure for mid-’60s pubescent comic-book readers almost compelled mail-order, then selling the copyrights to New England novelty-industry titan AcméCo, then promptly in mid-putt died, Mario Sr. did, allowing James Incandenza Sr. to retire from a sad third career as the Man From Glad 114 in sandwich-bag commercials during...
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That he and his late father had been, no pun intended, inseparable. That Mario’d been like an honorary assistant production-assistant and carried the late Incandenza’s film and lenses and filters in a complex backpack the size of a joint of beef for most of the last three years of the late-blooming filmmaker’s life,
After Orin Incandenza left the nest to first hit and then kick collegiate balls, there was almost nobody at E.T.A. or its Enfield-Brighton environs who did not treat Mario M. Incandenza with the casual gentility of somebody who doesn’t pity you or admire you so much as just vaguely prefer it when you’re around.
And his younger and way more externally impressive brother Hal almost idealizes Mario, secretly. God-type issues aside, Mario is a (semi-) walking miracle, Hal believes. People who’re somehow burned at birth, withered or ablated way past anything like what might be fair, they either curl up in their fire, or else they rise.
Hal fears that Avril sees Mario as the family’s real prodigy, an in-bent savant-type genius of no classifiable type, a very rare and shining thing, even if his intuition — slow and silent — scares her, his academic poverty breaks her heart, the smile he puts on each A.M. without fail since the suicide of their father makes her wish she could cry.
30 APRIL / 1 MAY YEAR OF THE DEPEND ADULT UNDERGARMENT
The without-end pursuit of a happiness of which someone let you forget the old things which made happiness possible.
Marathe’s chair squeaked slightly as his weight shifted. ‘Always with you this freedom! For your walled-up country, always to shout “Freedom! Freedom!” as if it were obvious to all people what it wants to mean, this word. But look: it is not so simple as that. Your freedom is the freedom-from: no one tells your precious individual U.S.A. selves what they must do. It is this meaning only, this freedom from constraint and forced duress.’
‘No? you say, not children? You say: What is the difference, please, if you make a recorded pleasure so entertaining and diverting it is lethal to persons, you find a Copy-Capable copy and copy it and disseminate it for us to choose to see or turn off, and if we cannot choose to resist it, the pleasure, and cannot choose instead to live? You say what your Fortier believes, that we are children, not human adults like the noble Québecers, we are children, bullies but still children inside, and will kill ourselves for you if you put the candy within the arms’ reach.’
8 NOVEMBER YEAR OF THE DEPEND ADULT UNDERGARMENT INTERDEPENDENCE DAY GAUDEAMUS IGITUR
Every year at E.T.A., maybe a dozen of the kids between maybe like twelve and fifteen — children in the very earliest stages of puberty and really abstract-capable thought, when one’s allergy to the confining realities of the present is just starting to emerge as weird kind of nostalgia for stuff you never even knew 120 — maybe a dozen of these kids, mostly male, get fanatically devoted to a homemade Academy game called Eschaton.
Eschaton is the most complicated children’s game anybody around E.T.A.’d ever heard of. No one’s entirely sure who brought it to Enfield from where. But you can pretty easily date its...
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Eschaton takes eight to twelve people to play, w/ 400 tennis balls so dead and bald they can’t even be used for service drills anymore, plus an open expanse equal to the area of four contiguous tennis courts, plus a head for data-retrieval and coldly logical cognition, along with at least 40 megabytes of available RAM and wide array of tennis paraphernalia.
8 NOVEMBER YEAR OF THE DEPEND ADULT UNDERGARMENT INTERDEPENDENCE DAY GAUDEAMUS IGITUR
The people from the other Group who are here at like your Group speaking are here on something called a Commitment. Commitments are where some members of one Group commit to hit the road and travel to another Group’s meeting to speak publicly from the podium.
Then a bunch of people from the host Group hit the opposite lane of the same road on some other night and go to the visiting Group’s meeting, to speak.
AA does not take holidays any more than the Disease does. This is the big established Sunday P.M. meeting for AAs in Enfield and Allston and Brighton. Regulars come every week from Watertown and East Newton, too, often, unless they’re out on Commitments with their own Groups.
Concord’s John L. has a huge hanging gut and just no ass at all, the way some big older guys’ asses seem to get sucked into their body and reappear out front as gut. Gately, in sobriety, does nightly sit-ups out of fear this’ll all of a sudden happen to him, as age thirty approaches. Gately is so huge no one sits behind him for several rows.
and then you’re in serious trouble, very serious trouble, and you know it, finally, deadly serious trouble, because this Substance you thought was your one true friend, that you gave up all for, gladly, that for so long gave you relief from the pain of the Losses your love of that relief caused, your mother and lover and god and compadre, has finally removed its smily-face mask to reveal centerless eyes and a ravening maw, and canines down to here, it’s the Face In The Floor, the grinning root-white face of your worst nightmares, and the face is your own face in the mirror, now, it’s you, the
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If you listen for the similarities, all these speakers’ Substance-careers seem to terminate at the same cliff’s edge. You are now Finished, as a Substance-user. It’s the jumping-off place. You now have two choices. You can either eliminate your own map for keeps — blades are the best, or else pills, or there’s always quietly sucking off the exhaust pipe of your repossessable car in the bank-owned garage of your familyless home. Something whimpery instead of banging.
Limp AA looks, at first, and actually limp it sometimes really is, Gately tells the new residents, and he says no way he’d expect them to believe on just his say-so that the thing’ll work if they’re miserable and desperate enough to Hang In against common sense for a while. But he says he’ll clue them in on a truly great thing about AA: they can’t kick you out. You’re In if you say you’re In. Nobody can get kicked out, not for any reason.
This is what you do if you’re new and have what’s called The Gift of Desperation and are willing to go to any excruciating lengths to stay straight, you officially join a Group and put your name and sobriety-date down on the Group secretary’s official roster, and you make it your business to start to get to know other members of the Group on a personal basis, and you carry their numbers talismanically in your wallet;
and Eugenio Martinez over at Ennet House never tires of pointing out that your personal will is the web your Disease sits and spins in, still. The will you call your own ceased to be yours as of who knows how many Substance-drenched years ago. It’s now shot through with the spidered fibrosis of your Disease. His own experience’s term for the Disease is: The Spider. 139 You have to Starve The Spider: you have to surrender your will. This is why most people will Come In and Hang In only after their own entangled will has just about killed them. You have to want to surrender your will to people
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One of Ennet House’s live-in Staffers’ rotating P.M. jobs is to be awake and on-call in the front office all night for Dream Duty — people in early recovery from Substances often get hit with real horror-show dreams, or else traumatically seductive Substance-dreams, and sometimes trite but important epiphanic dreams, and the Staffer on Dream Duty is required to be up doing paperwork or sit-ups or staring out the broad bay window in the front office downstairs, ready to make coffee and listen to the residents’ dreams and offer the odd practical upbeat Boston-AA-type insight into possible
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Kate Gompert’s counselor Danielle S. reported at the last Staff Meeting that Kate had finally opened up and told her she’d mostly Come In for weed, too, and not the lightweight prescription tranqs she’d listed on her Intake form.
One of the tricks to being of real service to newcomers is not to lecture or give advice but only talk about your own personal experience and what you were told and what you found out personally, and to do it in a casual but positive and encouraging way. Plus you’re supposed to try and Identify with the newcomer’s feelings as much as possible. Ferocious Francis G. says this is one of the ways guys with just a year or two sober can be most helpful: being able to sincerely ID with the newly Sick and Suffering.
And to make a long story short (the speaker says, not trying to be funny as far as the Flaggers can see), the traumatically scarred adopted girl had legged it from the bedroom and foster house into the brooding North Shore teen-runaway night, and had stripped and semi-whored and IV-injected her way all the way to that standard two-option addicted cliff-edge, hoping only to Forget.
Theme: dealing with past trauma
30 APRIL / 1 MAY YEAR OF THE DEPEND ADULT UNDERGARMENT
There’d been that first brutal winter night, early in the O.N.A.N.ite temporo-subsidized era, soon after the InterLace dissemination of The Man Who Began to Suspect He Was Made of Glass, that Himself emerged from the sauna and came to Lyle all sloppy-blotto and depressed over the fact that even the bastards in the avant-garde journals were complaining that even in his commercially entertaining stuff Incandenza’s fatal Achilles’ heel was plot, that Incandenza’s efforts had no sort of engaging plot, no movement that sucked you in and drew you along. 144 Mario and Ms. Joelle van Dyne are probably
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James Incandenza was one of those profound-personality-change drinkers who seemed quiet and centered and almost affectless when he was sober but would move way out to one side or the other of the human emotional spectrum, when drunk, and seem to open up in a way that was almost injudicious.
E.g. one night Mario, leaning way forward into the police lock’s support, drifted awake to the sound of his father saying that if he had to grade his marriage he’d give it a C–. This seems injudicious in the extreme, potentially, though Mario, like Lyle, tends to take data pretty much as it comes.
8 NOVEMBER YEAR OF THE DEPEND ADULT UNDERGARMENT GAUDEAMUS IGITUR
If it’s odd that Mario Incandenza’s first halfway-coherent film cartridge — a 48-minute job shot three summers back in the carefully decorated janitor-closet of Subdorm B with his head-mount Bolex H64 and foot-treadle — if it’s odd that Mario’s first finished entertainment consists of a film of a puppet show — like a kids’ puppet show — then it probably seems even odder that the film’s proven to be way more popular with E.T.A.’s adults and adolescents than it is with the woefully historically underin-formed children it had first been made for.
The thing about this Marlon was that he was always wet. Arms purling, T-shirt darkly V’d, face and forehead ever gleaming. Orin’s Academy doubles partner. It had had a lemony, low-cal taste, the boy’s omniwetness. It wasn’t exactly sweat, because you could lick off the forehead and more beads instantly replaced what you’d taken. None of real sweat’s frustratingly gradual accretion. The kid was always in the shower, always doing his best to stay clean. There were powders and pills and electrical appliqués. And still this Marlon dripped and shone. The kid wrote accomplished juvenile verses about
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Every character in the book is struggling with something. It depicts real life where everyone has baggage and personal struggle.
Sometimes, he says, lately, he won’t take risks in tournament matches even when risks are OK or even called for, because he finds he’s too scared of losing and hurting his chances for the Show and hype and fame, down the road. A couple times this year the cold clenched fear of losing has itself made him lose, he believes.
After the first photograph has been in a magazine, the famous men do not enjoy their photographs in magazines so much as they fear that their photographs will cease to appear in magazines. They are trapped, just as you are.’
Himself, during his anticonfluential middle period, went through this subphase of being obsessed with the idea of audiences’ relationships with various sorts of shows.
The most hated Incandenza film, a variable-length one called The Joke, had only a very brief theatrical release, and then only at the widely scattered last remains of the pre-InterLace public art-film theaters in arty places like Cambridge MA and Berkeley CA.
The art-film theaters’ marquees and posters and ads for the thing were all required to say something like ‘THE JOKE’: You Are Strongly Advised NOT To Shell Out Money to See This Film, which art-film habitués of course thought was a cleverly ironic anti-ad joke, and so they’d shell out for little paper theater tickets and file in in their sweater vests and tweeds and dirndls and tank up on espresso at the concession stand and find seats and sit down and make those little pre-movie leg and posture adjustments, and look around with that sort of vacant intensity, and they’d figure the tri-lensed
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Mario said Lyle had said Incandenza had confessed that he’d loved the fact that The Joke was so publicly static and simple-minded and dumb, and that those rare critics who defended the film by arguing at convolved length that the simple-minded stasis was precisely the film’s aesthetic thesis were dead wrong, as usual.
This catastatic feature of the puppet-film’s plot — that Johnny Gentle, Famous Crooner threatens to bomb his own nation and toxify neighbors in an insane pout over Canada’s reluctance to take redemised title over O.N.A.N.’s very own vast dump — resonates powerfully with those members of the movie’s E.T.A. audience who know that this whole parodic pseudo-ONANtiad scenario is actually a puppet-à-clef-type allusion to the dark legend of one Eric Clipperton and the Clipperton Brigade.
Eric Clipperton appeared for the first time as an unseeded sixteen-year-old in East Coast regional tournament play. The little Town-or-Academy-Hailed-From slot after Clipperton’s name on tournament draw-sheets just said ‘Ind.,’ presumably for ‘Independent.’ Nobody’d heard of him before or knew where he came from. He’d just sort of seepily risen, some sort of human radon, from someplace low and unknown, whence he lent the cliché ‘Win or Die in the Attempt’ grotesquely literal new levels of sense.
Thus there came to be, in most every tournament with an initial draw of 64, a group of three boys, then four, and by the semifinals five, then finally six boys who for that tournament formed the Clipperton Brigade, players who’d had the misfortune to draw and meet Eric Clipperton and Clipperton’s well-oiled Glock 17, and who understandably declined to be the player to cause Clipperton to eliminate his own map for keeps in public for something as comparatively cheesy as a tournament win over Clipperton.
His only even remote friend on the jr. tour is eight-year-old Mario Incandenza, whom Clipperton meets because, even though Disney Leith and an early prorector named Cantrell are shepherding the male tournament contingent (including a solid but sort of plateau-stuck and no longer much improving seventeen-year-old Orin Incandenza) that summer, E.T.A. Headmaster Dr. J. O. Incandenza shows up at quite a few of the events on the domestic circuit, doing under ostensible U.S.T.A. auspices a two-part documentary on jr. competitive tennis, stress, and light, and so Mario’s tottering around with
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