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'Look: a huge black bird has curved through the corner of my sight and let loose a strangely lovely berry rainbow of guano on the center of the windshield near Smyrna, Maine; and under the arc of this spectrum from a remote height a unit of memories is laid out and systematized like colored print on the gray, chewed-looking two-lane road ahead of me. The trip I took with my family here to Prosopopeia, just two summers ago, and how she braved her own stone-faced parents' disapproval to come along, how she and my sister discovered they could be friends, how she and I touched knees instead of holding hands on the airplane because my mother was seated next to her and she felt embarrassed. I remember with my gut the unbreathable promise of a whole new kind of distance implicit in the dizzying new height we all seemed to reach in the airplane on this long, storm-threatened flight, up to where the sky first turned cold and then darkened to cadet and we smelled space just above. How the shapes of a whole terrain of clouds, from inside the sky, took on the modal solidity of the real: shaggy buffalo heads; tattered bridges; the topology of states; political profiles; intricately etched turds. We flew away over the flat summer board games of Indiana and Ohio. Thunderstorms over Pennsylvania were great anvils that narrowed darkly to rain on Counties. We had a steel belly. I remember a jutting, carbuncular ruby ring on the finger of an Indian woman in the seat across the aisle, a dot stained into her forehead, robes so full they seemed to foam. Her dark husband, in a business suit, with white eyes and White teeth and impossibly well-combed hair.'
just a beautiful passage
'The harnessed bundles of insulated wires all seem well connected to their burners' transformers, so I have to disconnect each bundle from its outflow jack on the distributor circuit and look at the circuit itself. The circuit is just too old and grimy and crude and pathetic to be certain about, but its AC-input and hot-current-outputs seem free of impediment or shear or obvious misconnection. My aunt is conjugating French ir-verbs in the imperfect. She has a soft voice. Its quite pretty. She says: "Je venais, tu venais, il venait, elle venait, nous venions, vous veniez, ils venaient, elles venaient." I am deep in the bowels of the stove when she says my uncle once mentioned that it was just a matter of a screw to be tightened or something that had to be given a good knock. This is not especially helpful. I tighten the rusted screws on the case of the distributor circuit, reattach the unit cord to the input jack, and am about to reattach the bundles of wire from the burners when I see that the harnesses, bundle casings, and the outflow jacks on the circuit are so old and worn and be-gooed that I can't possibly tell which bundle of wires corresponds to which outflow jack on the circuit. I am afraid of a fire hazard if the current is made to cross improperly in the circuit, and the odds are (1/2)4! that anyone could guess the proper jack for each bundle correctly. "Je tenais," my aunt says to herself. "Tu tenais, il tenait." She asks me if everything is going all right. I tell her I've probably almost got it. [...] The current used to heat a large oven even to WARM could melt a burner down. It's not impossible. I begin almost to cry. My aunt is moving on to ir/iss verbs. "Je partissais, tu partissais, il partissait, elle partissait".'
the aunt conjugating interspersed with him fixing the stove is pretty cool
Cinnamon girl. Full-lipped, candy-skinned, brandy-haired South American-type girl. A type: a girl the color of dirty light, eyes a well-boiled white and hair like liquor, scintillant and smoky; precisely pointed breasts that shimmy when her chest caves in, when her chest caves in and hand flutters worried about the breastbone, from the laughter. [...]
And I watched her crumple, eyes the color of cream squeezed right, [...]
describing women (esp. if they're dark-skinned) using food-based adjectives
inspiration: CF describing women pre-epiphany
By now Mark and D.L. were being seen together. Why? [...]
Yes and but he, Mark: why?
another example of this
Life goes on. You're empty, sad, probably the least appreciated creative virtuoso in the industry; well and but life just goes on, emptily, sadly, with always direction but never center. The hubless wheels spins ever faster, no? Yes. Admen approach challenges thus: concede what's hopelessly true, what you can't make folks ever want to not be so; concede; then take your creative arm and hammer a big soaked wedge, hard as can be, into whatever's open to interpretation. Interpret, argue, sing, whisper, work the wedge down into the pulp, where the real red juices be, where folks feel alone, fear their genitals, embrace their own shadows, want so badly it's a great subsonic groan, a lambent static only the trained adman's sticky ear can trap, retain, digest. Interpretation, he's fond of telling DeHaven, is persuasion's driveway. Persuasion is desire
nice passage, esp the beginning (inspiration for MC?)
What's contemporarily tragic about Sternberg is that he has a fatal physical flaw. One of his eyes is turned completely around in his head. From the front it looks like a boiled egg. It won't come back around straight. It's like an injury. It's incredibly bad for his ambitions as a commercial actor. He doesn't talk about what the backward eye sees. He's offended that D.L. in person asked him right off the bat.
He has other flaws, too.
just a hilarious and really typical DFW passage
Eyes the broad-shouldered faceless character that symbolizes Men's Room, does Sternberg, and struggles with himself. He's needed a bowel movement for hours, and since the LordAloft 7:10 lifted things have gotten critical. He tried, back at O'Hare. But he was unable to, because he was afraid to, afraid that Mark, who has the look of someone who never just has to, might enter the rest room and see Sternberg's shoes under a stall door and know that he, Sternberg, was having a bowel movement in the stall, infer that Sternberg had bowels, and thus organs, and thus a body. Like many Americans of his generation in this awkwardest of post-Imperial decades, an age suspended between exhaustion and replenishment, between input too ordinary to process and input too intense to bear, Sternberg is deeply ambivalent about being embodied; an informing fear that, were he really just an organism, he'd be nothing more than an ism of his organs.
typical DFW passage, esp the first sentence (idea for story)
[...] Ironically, a good part of his anticorporeal stance (it was his idea to call having a body Corporeal Punishment) derives from his non_fatal flaw, the skin trouble, the skin trouble itself deriving from a weekend years past, just before a cattle call for a Wisk spot he didn't get, a weekend of solo camping and getting-into-collar-soiled-character, with a tent, in the Berkshires, West of Boston, during which he'd contracted a mild spatter of poison sumac, and had purchased a discount generic brand of poison-sumac medicine he curses now and forever (like most terse-labeled generics the product was untrustworthy, turned out in fact to be medicine for the _sumac, not the sufferer therefrom, but if the label says MEDICINE FOR POISON SUMAC what the fuck are you going to think, standing there?) that had set his face, neck, chest and back aflame: pulsing, cystic, volcanic, allergic, clotted, almost sacredly scarred. The sumac is so bad it hurts--which of course is a constant reminder that it's there, on his body--and it won't go away, no sooner healed by brand-name antitoxin than reinfected. The whole thing's just pretty loathsome, and you can bet Sternberg loathes it. He's unhappy, but in that comparatively neat and easy way of those who are at least pretty sure they know why they're unhappy, and what to curse, now and forever.
typical long-winded DFW passage but also hilarious (honestly the characterisation of Sternberg is amazing)
But and so things are slow, and like you they have this irritating suspicion that any real satisfaction is still way, way off, and it's frustrating; but like basically decent kids they suck it up, bite the foil, because what's going on is just plain real; and no matter what we want, the real world is pretty slow, at present, for kids our age.
another instance of "but and so"-esque writing but also just a nice paragraph (I think the narrator here is another MFA student?)
[...] We just want to ride, dude. Gratis. To the Reunion. We just want to do the bare unavoidable minimum. Pay taxes, die. Sternberg has resentment even he can't see, it's so deep inside. So an ugly mood, and a desperate need to evacuate his body. It's loathsomely real, I'm afraid. But what's to be done?