Infinite Jest (67 page)

But then in equally paradoxical contrast have a look at the next Advanced Basics speaker — this tall baggy sack of a man, also painfully new, but this poor bastard here completely and openly nerve-racked, wobbling his way up to the front, his face shiny with sweat and his talk full of blank cunctations and disassociated leaps — as the guy speaks with terrible abashed chagrin about trying to hang on to his job Out There as his A.M. hangovers became more and more debilitating until he finally got so shaky and aphasiac he just couldn't bear to even face the customers who'd come knocking on his Department's door — he was, from 0800 to !6OOh., the Complaint Department of Filene's Department Store —

— 'What I did finally, Jesus I don't know where I got such a stupid idea from, I brought this hammer in from home and brought it in and kept it right there under my desk, on the floor, and when somebody knocked at the door I'd just... I'd sort of dive onto the floor and crawl under the desk and grab up the hammer, and I'd start in to pounding on the leg of the desk, real hard-like, whacketa whacketa, like I was fixing something down there. And if they opened the door finally and came in anyhow or came in to bitch about me not opening the door I'd just stay out of sight under there pounding away like hell and I'd yell out I was going to be a moment, just a moment, emergency repairs, be with them momentarily. I guess you can guess how all that pounding felt, you know, under there, what with the big head I had every morning. I'd hide under there and pound and pound with the hammer till they finally gave up and went away, I'd watch from under the desk and tell when they finally went away, from I could see their feet from under the desk.’

— And about how the hiding-under-the-desk-and-pounding thing worked, incredibly enough, for almost the whole last year of his drinking, which ended around this past Labor Day, when one vindictive complainant finally figured out where in Filene's to go to complain about the Complaint Dept. — the White Flaggers all fell about, they were totally pleased and amused, the Crocodiles removed their cigars and roared and wheezed and stomped both feet on the floor and showed scary teeth, everyone roaring with Identification and pleasure. This even though, as the speaker's confusion at their delight openly betrays, the story wasn't meant to be one bit funny: it was just the truth.

Gately's found it's got to be the truth, is the thing. He's trying hard to really hear the speakers — he's stayed in the habit he'd developed as an Ennet resident of sitting right up where he could see dentition and pores, with zero obstructions or heads between him and the podium, so the speaker fills his whole vision, which makes it easier to really hear — trying to concentrate on receiving the Message instead of brooding on that odd old dark moment of aphasiac terror with this veiled like psuedo-intellectual-type girl who was probably just in some sort of complex Denial, or on whatever doubtlessly grim place he feels like he knows that smooth echoless slightly Southern voice from. The thing is it has to be the truth to really go over, here. It can't be a calculated crowd-pleaser, and it has to be the truth unslanted, unfortified. And maximally unironic. An ironist in a Boston AA meeting is a witch in church. Irony-free zone. Same with sly disingenuous manipulative pseudo-sincerity. Sincerity with an ulterior motive is something these tough ravaged people know and fear, all of them trained to remember the coyly sincere, ironic, self-presenting fortifications they'd had to construct in order to carry on Out There, under the ceaseless neon bottle.

This doesn't mean you can't pay empty or hypocritical lip-service, however. Paradoxically enough. The desperate, newly sober White Flaggers are always encouraged to invoke and pay empty lip-service to slogans they don't yet understand or believe — e.g. 'Easy Does It!' and 'Turn It Over!' and 'One Day At a Time!' It's called Take It Till You Make It,' itself an oft-invoked slogan. Everybody on a Commitment who gets up publicly to speak starts out saying he's an alcoholic, says it whether he believes he is yet or not; then everybody up there says how Grateful he is to be sober today and how great it is to be Active and out on a Commitment with his Group, even if he's not grateful or pleased about it at all. You're encouraged to keep saying stuff like this until you start to believe it, just like if you ask somebody with serious sober time how long you'll have to keep schlepping to all these goddamn meetings he'll smile that infuriating smile and tell you just until you start to want to go to all these goddamn meetings. There are some definite cultish, brainwashy elements to the AA Program (the term Program itself resonates darkly, for those who fear getting brainwashed), and Gately tries to be candid with his residents re this issue. But he also shrugs and tells them that by the end of his oral-narcotics and burglary careers he'd sort of decided the old brain needed a good scrub and soak anyway. He says he pretty much held his brain out and told Pat Montesian and Gene M. to go ahead and wash away. But he tells his residents he's thinking now that the Program might be more like deprogramming than actual washing, considering the psychic job the Disease's Spider has done on them all. Gately's most marked progress in turning his life around in sobriety, besides the fact that he no longer drives off into the night with other people's merchandise, is that he tries to be just about as verbally honest as possible at almost all times, now, without too much calculation about how a listener's going to feel about what he says. This is harder than it sounds. But so that's why on Commitments, sweating at the podium as only a large man can sweat, his thing is that he always says he's Lucky to be sober today, instead of that he's Grateful today, because he admits that the former is always true, every day, even though a lot of the time he still doesn't feel Grateful, more like shocked that this thing seems to work, plus a lot of the time also ashamed and depressed about how he's spent over half his life, and scared he might be permanently brain-damaged or retarded from Substances, plus also usually without any sort of clue about where he's headed in sobriety or what he's supposed to be doing or about really anything at all except that he's not at all keen to be back Out There behind any bars, again, in a hurry. Ferocious Francis G. likes to punch Gately's shoulder and tell him he's right where he's supposed to be.

So but also know that causal attribution, like irony, is death, speaking-on-Commitments-wise. Crocodiles' temple-veins will actually stand out and pulse with irritation if you start trying to blame your Disease on some cause or other, and everybody with any kind of sober time will pale and writhe in their chair. See e.g. the White Flag audience's discomfort when the skinny hard-faced Advanced Basics girl who gets up to speak next to last posits that she was an eight-bag-a-day dope fiend because at sixteen she'd had to become a stripper and semi-whore at the infamous Naked I Club out on Route 1 (a number of male eyes in the audience flash with sudden recognition, and despite all willed restraint automatically do that crawly north-to-south thing down her body, and Gately can see every ashtray on the table shake from the force of Joelle V.'s shudder), and then but that she'd had to become a stripper at sixteen because she'd had to run away from her foster home in Saugus MA, and that she'd had to run away from home because ... — here at least some of the room's discomfort is from the fact that the audience can tell the etiology is going to get head-clutchingly prolix and involved; this girl has not yet learned to Keep It Simple —... because, well, to begin with, she'd been adopted, and the foster parents also had their own biological daughter, and the biological daughter had, from birth, been totally paralyzed and retarded and catatonic, and the foster mother in the household was — as Joelle V. put it later to Gately — crazy as a Fucking Mud-Bug, and was in total Denial about her biological daughter's being a vegetable, and not only insisted on treating the invertebrate biological daughter like a valid member of the chordate phylum but also insisted that the father and the adopted daughter also treat It as normal and undamaged, and made the adopted daughter share a bedroom with It, bring It along to slumber parties (the speaker uses the term It for the invertebrate sister, and also to tell the truth uses the phrase 'drag It along' rather than 'bring It along,' which Gately wisely doesn't dwell over), and even to school with her, and softball practice, and the hairdresser's, and Campfire Girls, etc., where at whatever place she'd dragged It along to It would lie in a heap, drooling and incontinent under exquisite mother-bought fashions specially altered for atrophy and top-shelf Lancôme cosmetics that looked just lurid on It, and with only the whites of Its eyes showing, with fluid dribbling from Its mouth and elsewhere, and making unspeakable gurgly noises, completely pale and moist and stagnant; and then, when the adopted daughter now speaking turned fifteen, the rabidly Catholic wacko foster mother even announced that OK now that the adopted daughter was fifteen she could go out on dates, but only as long as It got to come along too, in other words that the only dates the fifteen-year-old adopted daughter could go out on were double dates with It and whatever submammalian escort the speaker could root up for It; and how this sort of stuff went on and on; and how the nightmarishness of Its continual pale soggy ubiquitousness in her young life would alone be more than sufficient to cause and explain the speaker's later drug addiction, she feels, but that also it so happened that the foster family's quiet smiling patriarch, who worked 0900 to 2100 as a claims processor for Aetna, it turned out that the cheerful smiling foster father actually made the wacko foster mother look like a Doric column of stability by comparison, because there turned out to be things about the biological daughter's utter paralytic pliability and catatonic inability to make anything except unspeakable gurgly noises that the smiling father found greatly to a certain very sick advantage the speaker says she has trouble openly discussing, still, even at thirty-one months sober in AA, being as yet still so retroactively Wounded and Hurting from it; but so in sum that she'd been ultimately forced to run away from the adoptive foster Saugus home and so become a Naked-I stripper and so become a raging dope fiend not, as in so many ununique cases, because she had been incestuously diddled, but because she'd been abusively forced to share a bedroom with a drooling invertebrate who by fourteen was Itself getting incestuously diddled on a nightly basis by a smiling biological claims processor of a father who — the speaker pauses to summon courage — who apparently liked to pretend It was Raquel Welch, the former celluloid sex goddess of the father's glandular heyday, and he even called It 'RAQUEL!' in moments of incestuous extremity; and how, the New England summer the speaker turned fifteen and had to start dragging It along on double dates and then having to make sure to drag It back home again by 2300h. so It had plenty of time to be incestuously diddled, that summer the smiling quiet foster father even bought, had found somewhere, a cheesy rubber Raquel Welch full-head pull-on mask, with hair, and would now nightly come in in the dark and lift Its limp soft head up and struggle and lug to get the mask on and the relevant holes aligned for air, and then would diddle his way to extremity and cry out 'RAQUEL!' and then but he would just clamber out and off and leave the dark bedroom smiling and sated and lots of times leave the mask still on It, he'd like forget, or not care, just as he seemed oblivious (But For the Grace of God, in a way) to the fetally curled skinny form of the adopted daughter lying perfectly still in the next bed, in the dark, pretending to sleep, silent, shell-breathing, with her hard skinny wounded pre-addiction face turned to the wall, in the room's next bed, her bed, the one without the collapsible crib-like hospital railings along the sides. . . . The audience is clutching its collective head, by this time only partly in empathy, as the speaker specifies how she was de facto emotionally all but like forced to flee and strip and swan-dive into the dark spiritual anesthesia of active drug addiction in a dysfunctional attempt to psychologically deal with one particular seminally scarring night of abject horror, the indescribable horror of the way It, the biological daughter, had looked up at her, the speaker, one particular final time on this one particular one of the frequent occasions the speaker had to get out of bed after the father had come and gone and tiptoe over to Its bed and lean over the cold metal hospital railing and remove the rubber Raquel Welch mask and replace it in a bedside drawer under some back issues of Ramparts and Commonweal, after carefully closing Its splayed legs and pulling down Its variously-stained designer nightie, all of which she made sure to do when the father didn't bother to, at night, so that the wacko foster mother wouldn't come in in the A.M. and find It in a rubber Raquel Welch mask with Its nightie hiked up and Its legs agape and put two and two together and get all kinds of deep Denial shattered about why the foster father always went around the foster house with a silent creepy smile, and flip out and make the invertebrate catatonic's father stop diddling It — because, the speaker figured, if the foster father had to stop diddling It it didn't exactly take Sally Jessy Raphael M.S.W. to figure out who was then probably going to get promoted to the role of Raquel, over in the next bed. The silent smiling claims-processor father never once acknowledged the adopted daughter's little post-incestuous tidyings-up. It's the kind of sick unspoken complicity characteristic of wildly dysfunctional families, confides the speaker, who's also proud she says to be a member of a splinter 12-Step Fellowship, an Adult-Child-type thing called Wounded, Hurting, Inadequately Nurtured but Ever-Recovering Survivors. But so she says it was this one particular night soon after she'd turned sixteen, after the father had come and gone and uncaringly just left Its mask on again, and over to Its bedside the speaker had to creep in the dark, to tidy up, and but this time it turned out there was a problem with the Raquel Welch mask's long auburn horsehair tresses having gotten twisted and knotted into the semi-living strands of Its own elaborately overmoussed coiffure, and the adopted daughter had to activate the perimeter of lights on Its bedside table's many-bulbed vanity mirror to see to try to get the Raquel Welch wig untangled, and when she finally got the mask off, with the vanity mirror still blazing away, the speaker says how she was forced to gaze for the first time on Its lit-up paralytic post-diddle face, and how the expression thereon was most assuredly quite enough to force anybody with an operant limbic system
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to leg it right out of her dysfunctional foster family's home, nay and the whole community of Saugus MA, now homeless and scarred and forced by dark psychic forces straight to Route 1 's infamous gauntlet of neon-lit depravity and addiction, to try and forget, rasa the tabula, wipe the memory totally out, numb it with opiates. Voice trembling, she accepts the chairperson's proffered bandanna-hankie and blows her nose one nostril at a time and says she can almost see It all over again: Its expression: in the vanity's lights only Its eyes' whites showed, and while Its utter catatonia and paralysis prevented the contraction of Its luridly rouged face's circumoral muscles into any conventional human facial-type expression, nevertheless some hideously mobile and expressive layer in the moist regions below real people's expressive facial layer, some slow-twitch layer unique to It, had blindly contracted, somehow, to gather the blank soft cheese of Its face into the sort of pinched gasping look of neurologic concentration that marks a carnal bliss beyond smiles or sighs. Its face looked post-coital sort of the way you'd imagine the vacuole and optica of a protozoan looking post-coital after it's shuddered and shot its mono-cellular load into the cold waters of some really old sea. Its facial expression was, in a word, the speaker says, unspeakably, unforgettably ghastly and horrid and scarring. It was also the exact same expression as the facial expression on the stone-robed lady's face in this one untitled photo of some Catholic statue that hung (the photo) in the dysfunctional household's parlor right above the little teak table where the dysfunctional foster mother kept her beads and Hours and lay breviary, this photo of a statue of a woman whose stone robes were half hiked up and wrinkled in the most godawfully sensually prurient way, the woman reclined against uncut rock, her robes hiked and one stone foot hanging off the rock as her legs hung parted, with a grinning little totally psychotic-looking cherub-type angel standing on the lady's open thighs and pointing a bare arrow at where the stone robe hid her cold tit, the woman's face upturned and cocked and pinched into that exact same shuddering-protozoan look beyond pleasure or pain. The wacko foster mom knelt daily to that photo, in a beaded and worshipful posture, and also required daily that It be hoisted by the adopted daughter from Its never-mentioned wheelchair and held under Its arms and lowered so as to approximate the same knelt devotion to the photo, and while It gurgled and Its head lolled the speaker had gazed at the photo with a nameless revulsion each morning as she held Its dead slumped weight and tried to keep Its chin off Its chest, and now was being forced into seeing by mirror-light the exact same expression on the face of a catatonic who'd just been incestuously diddled, an expression at once reverent and greedy on a face connected by dead hair to the slack and flapping rubber visage of an old sex goddess's empty face. 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. That's what caused it, she says; that's what she's trying to recover from, a Day at a Time, and she's sure grateful to be here with her Group today, sober and courageously remembering, and newcomers should definitely Keep Coming.... As she's telling what she sees as etiological truth, even though the monologue seems sincere and unaffected and at least a B+ on the overall AA-story lucidity-scale, faces in the hall are averted and heads clutched and postures uneasily shifted in empathetic distress at the look-what-happened-to-poor-me invitation implicit in the tale, the talk's tone of self-pity itself less offensive (even though plenty of these White Flaggers, Gately knows, had personal childhoods that made this girl's look like a day at Six Flags Over the Poconos) than the subcurrent of explanation, an appeal to exterior Cause that can slide, in the addictive mind, so insidiously into Excuse that any causal attribution is in Boston AA feared, shunned, punished by empathic distress. The Why of the Disease is a labrynth it is strongly suggested all AAs boycott, inhabited as the maze is by the twin minotaurs of Why Me? and Why Not?, a.k.a. Self-Pity and Denial, two of the smily-faced Sergeant at Arms' more fearsome aides de camp. The Boston AA 'In Here' that protects against a return to 'Out There' is not about explaining what caused your Disease. It's about a goofily simple practical recipe for how to remember you've got the Disease day by day and how to treat the Disease day by day, how to keep the seductive ghost of a bliss long absconded from baiting you and hooking you and pulling you back Out and eating your heart raw and (if you're lucky) eliminating your map for good. So no whys or wherefores allowed. In other words check your head at the door. Though it can't be conventionally enforced, this, Boston AA's real root axiom, is almost classically authoritarian, maybe even proto-Fascist. Some ironist who decamped back Out There and left his meager effects to be bagged and tossed by Staff into the Ennet House attic had, all the way back in the Year of the Tucks Medicated Pad, permanently engraved his tribute to AA's real Prime Directive with a rosewood-handled boot-knife in the plastic seat of the 5-Man men's room's commode: