Quote:
Originally Posted by JudgeHoldem
Infinite jest - really doing it this time, full commitment
Quick tip: since it takes a couple hundred pages for the characters/conflicts to be truly "introduced," one thing to focus on is how the prose style and selection of details depict consciousness. That's one of
IJ's main subjects—the modernist technique of filtering details through unique perspectives, making mundane details very interesting.
(I don't want to give away any spoilers, so I'll use the first few paragraphs.)
I am seated in an office, surrounded by heads and bodies. [The unconventional separation of heads and bodies isn't accidental.] My posture is consciously congruent to the shape of my hard chair. [Focus on posture and body position. Why? We'll find out.] This is a cold room in University Administration, wood-walled, Remington-hung, double-windowed against the November heat, insulated from Administrative sounds by the reception area outside, at which Uncle Charles, Mr. deLint and I were lately received.
I am in here. [The rest of this scene will reveal this to be a sort of double entendre.]
Three faces have resolved into place above summer-weight sportcoats and half-Windsors across a polished pine conference table shiny with the spidered light of an Arizona noon. These are three Deans — of Admissions, Academic Affairs, Athletic Affairs. I do not know which face belongs to whom. [Once again, separation of head and body, which will turn out to be a double entendre, in a way. Note the curious phrasing, "resolved into place" (resolved also has film connotations, and film is an important subject in IJ), and the synecdochical reduction of people to their clothing. "[W]hich face belongs to whom," almost as if faces are interchangeable, like masks.]
That's not an exhaustive exploration of that passage—there are many, many different interpretations. You don't have to do this, but if you're reading and it's a slog and you don't have a good idea of who the characters are yet and you're not sure why you're reading other than to finish it, it could be a fun exercise. Nothing on a diction or syntactic level is chosen purposelessly in
IJ. Chaotically, sometimes, but not purposelessly.
Also, you probably already know that
IJ's plot won't ever resolve in the text itself, but one good approach, I think, is to treat
IJ, on a plot level, like a mish-mash collection of interlinked short stories and novellas. The content is varied enough for it to be treated as that. Viewed that way, the way plot is shunned isn't a bad thing, at all, here.
Last edited by ToTheInternet; 06-24-2012 at 07:37 PM.