1. Methamphetamine hydrochloride, a.k.a. crystal meth.
3. E.T.A. is laid out as a cardioid, with the four main inward-facing bldgs. convexly rounded at the back and sides to yield a cardioid’s curve, with the tennis courts and pavilions at the center and the staff and students’ parking lots in back of Comm.-Ad. forming the little bashed-in dent that from the air gives the whole facility the Valentine-heart aspect that still wouldn’t have been truly cardioid if the buildings themselves didn’t have their convex bulges all derived from arcs of the same r, a staggering feat given the uneven ground and wildly different electrical-and-plumbing-conduit wallspace required by dormitories, administrative offices, and polyresinous Lung, pull-offable probably by on the whole East Coast one guy, E.T.A.’s original architect, Avril’s old and very dear friend, the topology world’s closed-curve-mapping-Übermensch A.Y. (‘Vector-Field’) Rickey of Brandeis U., now deceased, who used to wow Hal and Mario in Weston by taking off his vest without removing his suit jacket, which M. Pemulis years later exposed as a cheap parlor-trick-exploitation of certain basic features of continuous functions, which revelation Hal mourned in a Santa’s-not-real type of secret way, and which Mario simply ignored, preferring to see the vest thing as plain magic.
4. Those younger staffers who double as academic and athletic instructors are, by convention at North American tennis academies, known as ‘prorectors.’
5. Known usually as ’drines—i.e. lightweight speed: Cylert, Tenuate,a Fastin, Preludin, even sometimes Ritalin. It’s worth an N.B. that, unlike Jim Troeltsch or the Preludin-happy Bridget Boone, Michael Pemulis (out of maybe some queer sort of blue-collar street-type honor) rarely ingests any ’drines before a match, reserving them for recreation—some people are wired to find heart-pounding eye-wobbling ’drine-stimulation recreational.
a. Tenuate’s the trade name of diethylpropion hydrochloride, Marion Merrell Dow Pharmaceuticals, technically a prescription antiobesity agent, favored by some athletes for its mildly euphoric and resources-rallying properties w/o the tooth-grinding and hideous post-blood-spike crash that the hairier-chested ’drines like Fastin and Cylert inflict, though with a discomfitting tendency to cause post-spike ocular nystagmus. Nystagmus or no nystagmus, Tenuate’s a particular favorite of Michael Pemulis, who hoards for personal ingestion every 75-mg. white Tenuate capsule he can lay hands on, and does not sell or trade them, except sometimes to roommate Jim Troeltsch, who nags Pemulis for them and also goes into Pemulis’s special entrepôt-yachting-cap and promotes still more of them on the sly, a couple at a time, feeling that they help his sports-color-commentary loquacity, which secret promotions Pemulis knows about all too well, and is biding his time to retaliate, never you fear.
6. Lightweight tranqs: Valium-III and Valrelease, good old dependable Xanax, Dalmane, Buspar, Serax, even Halcion (legally available in Canada, unbelievably, still); with those kids inclined toward a heavier slide—reds, Meprospan, ‘Happy Patch’ transdermals, Miltown, Stelazine, the odd injury-’scrip Darvon) never lasting for more than a couple seasons for the obvious reason that serious tranqs can make even breathing seem like too much trouble to go to, the cause of a meaty percentage of tranq-related deaths being attributed off the record by Emergency Room personnel to ‘P.S.’ or ‘Pulmonary Sloth.’
7. Top jr. players are for the most part pretty cautious with alcohol, mostly because the physical consequences of heavy intake—like nausea and dehydration and poor hand-eye interface—make high-level performance almost impossible. Very few other standard substances have prohibitive short-term hangovers, actually, though an evening of even synthetic cocaine will make the next day’s Dawn Drills very unpleasant indeed, which is why so few of E.T.A.’s hard core do cocaine, though there’s also the issue of expense: though many E.T.A.s are the children of upscale parents, the children themselves are rarely flush with $ from home, since the gratification of pretty much every physical need is either taken care of or prohibited by E.T.A. itself. It’s maybe worth noting that the same people hardwired to enjoy recreational ’drines also tend to gravitate toward cocaine and methedrine and other engine-revvers, while another broad class of more naturally higher-strung types tend more toward the edge-bevelling substances: tranqs, cannabis, barbiturates, and—yes—alcohol.
8. I.e.: psylocibin; Happy Patchesa; MDMA/Xstasy (bad news, though, X); various low-tech manipulations of the benzene-ring in methoxy-class psychedelics, usually homemakable; synthetic dickies like MMDA, DMA, DMMM, 2CB, para-DOT I-VI, etc.—though note this class doesn’t and shouldn’t include CNS-rattlers like STP, DOM, the long-infamous West-U.S.-Coast ‘Grievous Bodily Harm’ (gamma hydroxybutyric acid), LSD-25 or -32, or DMZ/M.P. Enthusiasm for this stuff seems independent of neurologic type.
a. Homemade transdermals, usually MDMA or Muscimole, with DDMS or the over-counter-available DMSO as the transdermal carrier.
9. A.k.a. LSD-25, often with a slight ’drine kicker added, called ‘Black Star’ because in metro Boston the available acid usually comes on chip-sized squares of thin cardboard with a black stencilled star on them, all from a certain shadowy node of supply down in New Bedford. All acid and Grievous Bodily Harm, like cocaine and heroin, come into Boston mostly from New Bedford MA, which in turn gets most of its supply from Bridgeport CT, which is the true lower intestine of North America, Bridgeport, be advised, if you’ve never been through there.
10. Like most sports academies, E.T.A. maintains the gentle fiction that 100% of its students are enrolled at their own ambitious volition and not that of, say for instance, their parents, some of whom (tennis-parents, like the stage-mothers of Hollywood legend) are bad news indeed.
11. An involved Arab women’s game involving little shells and a quilted gameboard—rather like mah jongg without rules, by the diplomatic and medical husbands’ estimate.
12. Meperedine hydrochloride and pentazocine hydrochloride, Schedule C-II and C-IVa narcotic analgesics, respectively, both from the good folks over at Sanofi Winthrop Pharm-Labs, Inc.
a. Following the Continental Controlled Substance Act of Y.T.M.P., O.N.A.N.D.E.A.’s hierarchy of analgesics/antipyretics/anxiolytics establishes drug-classes of Category-II through Category-VI, with C-II’s (e.g. Dilaudid, Demerol) being judged the heaviest w/r/t dependence and possible abuse, down to C-VI’s that are about as potent as a kiss on the forehead from Mom.
13. Though masked in the evidentiary photo and never once given up or named by Gately to anyone, this can be presumed to have been one Trent (‘Quo Vadis’) Kite, Gately’s old and once-gifted friend from his Beverly MA childhood.
14. This A.D.A.’s little personal trademark was that he always wore an anachronistic but quality Stetson-brand businessman’s hat with a decorative feather in the band, and frequently touched or played with the hat in tense situations.
15. The Bureau of Alcohol/Tobacco/Firearms, at that time under the temporary aegis of the United States Office of Unspecified Services.
16. Extremely unpleasant Québecois-insurgents-and-cartridge-related subsequent developments make it clear that this was (again) Trent (‘Quo Vadis’) Kite.
17. The codeineless kind, though—almost the first physical datum Gately took in in the nasty flashbulb-flash shock of the occupied bedroom’s light coming on, to give you an idea of an oral-narcotics man’s depth of psychic investment.
18. On top of the seascape safe’s more negotiable contents, themselves on top of an unplugged and head-parked and absolutely top-hole genuine InterLace state-of-the-art TP/viewer ensemble in a multishelved hardwood rollable like entertainment-system-console thing, with a cartridge-dock and double-head drive in a compartment underneath with doors with classy little brass maple-leaf knob things and several shelves crammed tight with upscale arty-looking film cartridges, which latter Don Gately’s colleague just about drooled all over the parquet flooring at the potential discriminating-type-fence-value of, potentially, if they were rare or celluloid-transferred or not available on the InterLace Dissemination Grid.
19. ‘Une Personne de l’Importance Terrible,’ presumably.
20. Fluorescence has been banned in Québec, as have computerized telephone solicitations, the little ad-cards that fall out of magazines and have to be looked at to be picked up and thrown in the trash, and the mention of any religious holiday whatsoever to sell any sort of product or service, is just one reason why his volunteering to come live down here was selfless.
23. Office of Naval Research, U.S.D.D.
24.
The following listing is as complete as we are able to make it. Because the twelve years of Incandenza’s directorial activity also coincided with large shifts in film venue—from public art cinemas, to VCR-capable magnetic recordings, to InterLace TelEntertainment laser dissemination and reviewable storage disk laser cartridges—and because Incandenza’s output itself comprises industrial, documentary, conceptual, advertorial, technical, parodic, dramatic noncommercial, nondramatic (‘anticonfluential’) noncommercial, nondramatic commercial, and dramatic commercial works, this filmmaker’s career presents substantive archival challenges. These challenges are also compounded by the facts that, first, for conceptual reasons, Incandenza eschewed both L. of C. registration and formal dating until the advent of Subsidized Time, secondly, that his output increased steadily until during the last years of his life Incandenza often had several works in production at the same time, thirdly, that his production company was privately owned and underwent at least four different changes of corporate name, and lastly that certain of his high-conceptual projects’ agendas required that they be titled and subjected to critique but never filmed, making their status as film subject to controversy.
Accordingly, though the works are here listed in what is considered by archivists to be their probable order of completion, we wish to say that the list’s order and completeness are, at this point in time, not definitive.
Each work’s title is followed: by either its year of completion, or by ‘B.S.,’ designating undated completion before Subsidization; by the production company; by the major players, if credited; by the storage medium’s (‘film’ ’s) gauge or gauges; by the length of the work to the nearest minute; by an indication of whether the work is in black and white or color or both; by an indication of whether the film is silent or in sound or both; by (if possible) a brief synopsis or critical overview; and by an indication of whether the work is mediated by celluloid film, magnetic video, InterLace Spontaneous Dissemination, TP-compatible InterLace cartridge, or privately distributed by Incandenza’s own company(ies). The designation UNRELEASED is used for those works which never saw distribution and are now publicly unavailable or lost.
Cage.b Dated only ‘Before Subsidization.’ Meniscus Films, Ltd. Uncredited cast; 16 mm.; .5 minutes; black and white; sound. Soliloquized parody of a broadcast-television advertisement for shampoo, utilizing four convex mirrors, two planar mirrors, and one actress. UNRELEASED
Kinds of Light. B.S. Meniscus Films, Ltd. No cast; 16 mm.; 3 minutes; color; silent. 4,444 individual frames, each of which photo depicts lights of different source, wavelength, and candle power, each reflected off the same unpolished tin plate and rendered disorienting at normal projection speeds by the hyperretinal speed at which they pass. CELLULOID, LIMITED METROPOLITAN BOSTON RELEASE, REQUIRES PROJECTION AT .25 NORMAL SPROCKET DRIVE
Dark Logics. B.S. Meniscus Films, Ltd. Players uncredited; 35 mm.; 21 minutes; color; silent w/ deafening Wagner/Sousa soundtrack. Griffith tribute, Iimura parody. Child-sized but severely palsied hand turns pages of incunabular manuscripts in mathematics, alchemy, religion, and bogus political autobiography, each page comprising some articulation or defense of intolerance and hatred. Film’s dedication to D. W. Griffith and Taka Iimura. UNRELEASED
Tennis, Everyone? B.S. Heliotrope Films, Ltd./U.S.T.A. Films. Documentary cast w/ narrator Judith Fukuoka-Hearn; 35 mm.; 26 minutes; color; sound. Public relations/advertorial production for United States Tennis Association in conjunction with Wilson Sporting Goods, Inc. MAGNETIC VIDEO
‘There Are No Losers Here.’ B.S. Heliotrope Films, Ltd./U.S.T.A. Films. Documentary cast w/ narrator P. A. Heaven; 35 mm.; color; sound. Documentary on B.S. 1997 U.S.T.A. National Junior Tennis Championships, Kalamazoo MI and Miami FL, in conjunction with United States Tennis Association and Wilson Sporting Goods. MAGNETIC VIDEO
Flux in a Box. B.S. Heliotrope Films, Ltd./Wilson Inc. Documentary cast w/ narrator Judith Fukuoka-Hearn; 35 mm.; 52 minutes; black and white/color; sound. Documentary history of box, platform, lawn, and court tennis from the 17th-century Court of the Dauphin to the present. MAGNETIC VIDEO
Infinite Jest (I). B.S. Meniscus Films, Ltd. Judith Fukuoka-Hearn; 16/35 mm.; 90(?) minutes; black and white; silent. Incandenza’s unfinished and unseen first attempt at commercial entertainment. UNRELEASED
Annular Fusion Is Our Friend. B.S. Heliotrope Films, Ltd./Sunstrand Power & Light Co. Documentary cast w/ narrator C. N. Reilly; Sign-Interpreted for the Deaf; 78 mm.; 45 minutes; color; sound. Public relations/advertorial production for New England’s Sunstrand Power and Light utility, a nontechnical explanation of the processes of DT-cycle lithiumized annular fusion and its applications in domestic energy production. CELLULOID, MAGNETIC VIDEO
Annular Amplified Light: Some Reflections. B.S. Heliotrope Films/Sunstrand Power & Light
Co. Documentary cast w/ narrator C. N. Reilly; Sign-Interpreted for the Deaf; 78 mm.; 45 minutes; color; sound. Second infomercial for Sunstrand Co., a nontechnical explanation of the applications of cooled-photon lasers in DT-cycle lithiumized annular fusion. CELLULOID, MAGNETIC VIDEO
Union of Nurses in Berkeley. B.S. Meniscus Films, Ltd. Documentary cast; 35 mm.; 26 minutes; color; silent. Documentary and closed-caption interviews with hearing-impaired RNs and LPNs during Bay Area health care reform riots of 1996. MAGNETIC VIDEO, PRIVATELY RELEASED BY MENISCUS FILMS, LTD.
Union of Theoretical Grammarians in Cambridge. B.S. Meniscus Films, Ltd. Documentary cast; 35 mm.; 26 minutes; color; silent w/ heavy use of computerized distortion in facial close-ups. Documentary and closed-caption interviews with participants in the public Steven Pinker–Avril M. Incandenza debate on the political implications of prescriptive grammar during the infamous Militant Grammarians of Massachusetts convention credited with helping incite the M.I.T. language riots of B.S. 1997. UNRELEASED DUE TO LITIGATION
Widower. B.S. Latrodectus Mactans Productions. Cosgrove Watt, Ross Reat; 35 mm.; 34 minutes; black and white; sound. Shot on location in Tucson AZ, parody of broadcast television domestic comedies, a cocaine-addicted father (Watt) leads his son (Reat) around their desert property immolating poisonous spiders. CELLULOID; INTERLACE TELENT CARTRIDGE RERELEASE #357–75–00 (Y.P.W.)
Cage II. B.S. Latrodectus Mactans Productions. Cosgrove Watt, Disney Leith; 35 mm.; 120 minutes; black and white; sound. Sadistic penal authorities place a blind convict (Watt) and a deaf-mute convict (Leith) together in ‘solitary confinement,’ and the two men attempt to devise ways of communicating with each other. LIMITED CELLULOID RUN; RERELEASED ON MAGNETIC VIDEO
Death in Scarsdale. B.S. Latrodectus Mactans Productions. Cosgrove Watt, Marlon R. Bain; 78 mm.; 39 minutes; color; silent w/ closed-caption subtitles. Mann/Allen parody, a world-famous dermatological endocrinologist (Watt) becomes platonically obsessed with a boy (Bain) he is treating for excessive perspiration, and begins himself to suffer from excessive perspiration. UNRELEASED
Fun with Teeth. B.S. Latrodectus Mactans Productions. Herbert G. Birch, Billy Tolan, Pam Heath; 35 mm.; 73 minutes; black and white; silent w/ non-human screams and howls. Kosinski/Updike/Peckinpah parody, a dentist (Birch) performs sixteen unanesthetized root-canal procedures on an academic (Tolan) he suspects of involvement with his wife (Heath). MAGNETIC VIDEO, PRIVATELY RELEASED BY LATRODECTUS MACTANS PROD.
Infinite Jest (II). B.S. Latrodectus Mactans Productions. Pam Heath; 35/78 mm.; 90(?) minutes; black and white; silent. Unfinished, unseen attempt at remake of Infinite Jest (I). UNRELEASED
Immanent Domain. B.S. Latrodectus Mactans Productions. Cosgrove Watt, Judith Fukuoka-Hearn, Pam Heath, Pamela-Sue Voorheis, Herbert G. Birch; 35 mm.; 88 minutes; black and white w/ microphotography; sound. Three memory-neurons (Fukuoka-Hearn, Heath, Voorheis (w/ polyurethane costumes)) in the Inferior frontal gyrus of a man’s (Watt’s) brain fight heroically to prevent their displacement by new memory-neurons as the man undergoes intensive psychoanalysis. CELLULOID; INTERLACE TELENT CARTRIDGE RERELEASE #340–03–70 (Y.P.W.)
Kinds of Pain. B.S. Latrodectus Mactans Productions. Anonymous cast; 35/78 mm.; 6 minutes; color; silent. 2,222 still-frame close-ups of middle-aged white males suffering from almost every conceivable type of pain, from an ingrown toenail to cranio-facial neuralgia to inoperable colo-rectal neoplastis. CELLULOID, LIMITED METRO BOSTON RELEASE, REQUIRES PROJECTION AT .25 NORMAL SPROCKET-DRIVE
Various Small Flames. B.S. Latrodectus Mactans Productions. Cosgrove Watt, Pam Heath, Ken N. Johnson; 16 mm.; 25 minutes w/ recursive loop for automatic replay; color; silent w/ sounds of human coitus appropriated from and credited to Caballero Control Corp. adult videos. Parody of neoconceptual structuralist films of Godbout and Vodriard, n-frame images of myriad varieties of small household flames, from lighters and birthday candles to stovetop gas rings and grass clippings ignited by sunlight through a magnifying glass, alternated with antinarrative sequences of a man (Watt) sitting in a dark bedroom drinking bourbon while his wife (Heath) and an Amway representative (Johnson) have acrobatic coitus in the background’s lit hallway. UNRELEASED DUE TO LITIGATION BY 1960s US CONCEPTUAL DIRECTOR OF VARIOUS SMALL FIRES ED RUSCHA—INTERLACE TELENT CARTRIDGE RERELEASE #330–54–94 (Y.T.-S.D.B.)
Cage III—Free Show. B.S. Latrodectus Mactans Productions/Infernatron Animation Concepts, Canada. Cosgrove Watt, P. A. Heaven, Everard Maynell, Pam Heath; partial animation; 35 mm.; 65 minutes; black and white; sound. The figure of Death (Heath) presides over the front entrance of a carnival sideshow whose spectators watch performers undergo unspeakable degradations so grotesquely compelling that the spectators’ eyes become larger and larger until the spectators themselves are transformed into gigantic eyeballs in chairs, while on the other side of the sideshow tent the figure of Life (Heaven) uses a megaphone to invite fairgoers to an exhibition in which, if the fairgoers consent to undergo unspeakable degradations, they can witness ordinary persons gradually turn into gigantic eyeballs. INTERLACE TELENT FEATURE CARTRIDGE #357–65–65
‘The Medusa v. the Odalisque.’ B.S. Latrodectus Mactans Productions. Uncredited cast; zone-plating laser holography by James O. Incandenza and Urquhart Ogilvie, Jr.; holographic fight-choreography by Kenjiru Hirota courtesy of Sony Entertainment-Asia; 78 mm.; 29 minutes; black and white; silent w/ audience-noises appropriated from network broadcast television. Mobile holograms of two visually lethal mythologic females duel with reflective surfaces onstage while a live crowd of spectators turns to stone. LIMITED CELLULOID RUN; PRIVATELY RERELEASED ON MAGNETIC VIDEO BY LATRODECTUS MACTANS PRODUCTIONS
The Machine in the Ghost: Annular Holography for Fun and Prophet. B.S. Heliotrope Films, Ltd./National Film Board of Canada. Narrator P. A. Heaven; 78 mm.; 35 minutes; color; sound. Nontechnical introduction to theories of annular enhancement and zone-plating and their applications in high-resolution laser holography. UNRELEASED DUE TO US/CANADIAN DIPLOMATIC TENSIONS
Homo Duplex. B.S. Latrodectus Mactans Productions. Narrator P. A. Heaven; Super-8 mm.; 70 minutes; black and white; sound. Parody of Woititz and Shulgin’s ‘poststructural antidocumentaries,’ interviews with fourteen Americans who are named John Wayne but are not the legendary 20th-century film actor John Wayne. MAGNETIC VIDEO (LIMITED RELEASE)
Zero-Gravity Tea Ceremony. B.S. Latrodectus Mactans Productions. Ken N. Johnson, Judith Fukuoka-Hearn, Otto Brandt, E. J. Kenkle; 35 mm.; 82 minutes; black and white/color; silent. The intricate Ocha-Kai is conducted 2.5 m. off the ground in the Johnson Space Center’s zero-gravity-simulation chamber. CELLULOID; INTERLACE TELENT RERELEASE #357–40–01 (Y.P.W.)
Pre-Nuptial Agreement of Heaven and Hell. B.S. Latrodectus Mactans Productions/Infernatron Animation Concepts, Canada. Animated w/ uncredited voices; 35 mm.; 59 minutes; color; sound. God and Satan play poker with Tarot cards for the soul of an alcoholic sandwich-bag salesman obsessed with Bernini’s ‘The Ecstasy of St. Teresa.’ PRIVATELY RELEASED ON CELLULOID AND MAGNETIC VIDEO BY LATRODECTUS MACTANS PRODUCTIONS
The Joke. B.S. Latrodectus Mactans Productions. Audience as reflexive cast; 35 mm. × 2 cameras; variable length; black and white; silent. Parody of Hollis Frampton’s ‘audience-specific events,’ two Ikegami EC-35 video cameras in theater record the ‘film’ ’s audience and project the resultant raster onto screen—the theater audience watching itself watch itself get the obvious ‘joke’ and become increasingly self-conscious and uncomfortable and hostile supposedly comprises the film’s involuted ‘antinarrative’ flow. Incandenza’s first truly controversial project, Film & Kartridge Kultcher’s Sperber credited it with ‘unwittingly sounding the death-knell of post-poststructural film in terms of sheer annoyance.’ NONRECORDED MAGNETIC VIDEO SCREENABLE IN THEATER VENUE ONLY, NOW UNRELEASED
Various Lachrymose U.S. Corporate Middle-Management Figures. Unfinished. UNRELEASED
Every Inch of Disney Leith. B.S. Latrodectus Mactans Productions/Medical Imagery of Alberta, Ltd. Disney Leith; computer-enlarged 35 mm./x 2 m.; 253 minutes; color; silent. Miniaturized, endoscopic, and microinvasive cameras traverse entire exterior and interior of one of Incandenza’s technical crew as he sits on a folded serape in the Boston Common listening to a public forum on uniform North American metricization. PRIVATE RELEASE ON MAGNETIC VIDEO BY LATRODECTUS MACTANS PRODUCTIONS; INTERLACE TELENT RERELEASE #357–56–34 (Y.P.W.)
Infinite Jest (III). B.S. Latrodectus Mactans Productions. Uncredited cast; 16/35 mm.; color; sound. Unfinished, unseen remake of Infinite Jest (I), (II). UNRELEASED
Found Drama I.
Found Drama II.
Found Drama III.… conceptual, conceptually unfilmable. UNRELEASED
The Man Who Began to Suspect He Was Made of Glass. Year of the Whopper. Latrodectus Mactans Productions. Cosgrove Watt, Gerhardt Schtitt; 35 mm.; 21 minutes; black and white; sound. A man undergoing intensive psychotherapy discovers that he is brittle, hollow, and transparent to others, and becomes either transcendentally enlightened or schizophrenic. INTERLACE TELENT FEATURE CARTRIDGE #357–59–00
Found Drama V.
Found Drama VI.… conceptual, conceptually unfilmable. UNRELEASED
The American Century as Seen Through a Brick. Year of the Whopper. Latrodectus Mactans Productions. Documentary cast w/ narration by P. A. Heaven; 35 mm.; 52 minutes; color w/ red filter and oscillophotography; silent w/ narration. As U.S. Boston’s historical Back Bay streets are stripped of brick and repaved with polymerized cement, the resultant career of one stripped brick is followed, from found-art temporary installation to displacement by E.W.D. catapult to a waste-quarry in southern Québec to its use in the F.L.Q.-incited anti-O.N.A.N. riots of January/Whopper, all intercut with ambiguous shots of a human thumb’s alterations in the interference pattern of a plucked string. PRIVATELY RELEASED ON MAGNETIC VIDEO BY LATRODECTUS MACTANS PRODUCTIONS
The ONANtiad. Year of the Whopper. Latrodectus Mactans Productions/Claymation action sequences © Infernatron Animation Concepts, Canada. Cosgrove Watt, P. A. Heaven, Pam Heath, Ken N. Johnson, Ibn-Said Chawaf, Squyre Frydell, Marla-Dean Chumm, Herbert G. Birch, Everard Meynell; 35 mm.; 76 minutes; black and white/color; sound/silent. Oblique, obsessive, and not very funny claymation love triangle played out against live-acted backdrop of the inception of North American Interdependence and Continental Reconfiguration. PRIVATELY RELEASED ON MAGNETIC VIDEO BY LATRODECTUS MACTANS PRODUCTIONS
The Universe Lashes Out. Year of the Whopper. Latrodectus Mactans Productions. Documentary cast w/ narrator Herbert G. Birch; 16 mm.; 28 minutes; color; silent w/ narration. Documentary on the evacuation of Atkinson NH/New Québec at the inception of Continental Reconfiguration. MAGNETIC VIDEO (LIMITED RELEASE)
Poultry in Motion. Year of the Whopper. Latrodectus Mactans Productions. Documentary cast w/ narrator P. A. Heaven; 16 mm.; 56 minutes; color; silent w/ narration. Documentary on renegade North Syracuse NNY turkey farmers’ bid to prevent toxification of Thanksgiving crop by commandeering long, shiny O.N.A.N. trucks to transplant over 200,000 pertussive fowl south to Ithaca. MAGNETIC VIDEO (LIMITED RELEASE)
Found Drama IX.
Found Drama X.
Found Drama XI.… conceptual, conceptually unfilmable. UNRELEASED
Möbius Strips. Year of the Whopper. Lactrodectus Mactans Productions. ‘Hugh G. Rection,’ Pam Heath, ‘Bunny Day,’ ‘Taffy Appel’; 35 mm.; 109 minutes; black and white; sound. Pornography-parody, possible parodic homage to Fosse’s All That Jazz, in which a theoretical physicist (‘Rection’), who can only achieve creative mathematical insight during coitus, conceives of Death as a lethally beautiful woman (Heath). INTERLACE TELENT FEATURE CARTRIDGE #357–65–32 (Y.W.)
Wave Bye-Bye to the Bureaucrat. Year of the Whopper. Latrodectus Mactans Productions. Everard Maynell, Phillip T. Smothergill, Paul Anthony Heaven, Pamela-Sue Voorheis; 16 mm.; 19 minutes; black and white; sound. Possible parody/homage to B.S. public-service-announcement cycle of Church of Jesus Christ of Latter-Day Saints,c a harried commuter is mistaken for Christ by a child he knocks over.
Blood Sister: One Tough Nun. Year of the Tucks Medicated Pad. Latrodectus Mactans Productions. Telma Hurley, Pam Heath, Marla-Dean Chumm, Diane Saltoone, Soma Richardson-Levy, Cosgrove Watt; 35 mm.; 90 minutes; color; sound. Parody of revenge/recidivism action genre, a formerly delinquent nun’s (Hurley’s) failure to reform a juvenile delinquent (Chumm) leads to a rampage of recidivist revenge. INTERLACE TELENT PULSE-DISSEMINATION 21 JULY Y.T.M.P., CARTRIDGE #357–87–04
Infinite Jest (IV). Year of the Tucks Medicated Pad. Latrodectus Mactans Productions. Pam Heath (?), ‘Madame Psychosis’(?); 78 mm.; 90 minutes(?); color; sound. Unfinished, unseen attempt at completion of Infinite Jest (III). UNRELEASED
Let There Be Lite. Year of the Tucks Medicated Pad. Poor Yorick Entertainment Unlimited. Documentary cast w/ narrator Ken N. Johnson; 16mm.; 50 minutes(?); black and white; silent w/ narration. Unfinished documentary on genesis of reduced-calorie bourbon industry. UNRELEASED
Untitled. Unfinished. UNRELEASED
No Troy. Year of the Whopper. Latrodectus Mactans Productions. No cast; liquid-surface holography by Urquhart Ogilvie, Jr.; 35 mm.; 7 minutes; enhanced color; silent. Scale-model holographic recreation of Troy NY’s bombardment by miscalibrated Waste Displacement Vehicles, and its subsequent elimination by O.N.A.N. cartographers. MAGNETIC VIDEO (PRIVATE RELEASE LIMITED TO NEW BRUNSWICK, ALBERTA, QUÉBEC) Note: Archivists in Canada and the U.S. West Coast do not list No Troy but do list titles The Violet City and The Violet Ex-City, respectively, leading scholars to conclude that the same film was released under several different appellations.
Untitled. Unfinished. UNRELEASED
Valuable Coupon Has Been Removed. Year of the Tucks Medicated Pad. Poor Yorick Entertainment Unlimited. Cosgrove Watt, Phillip T. Smothergill, Diane Saltoone; 16 mm.; 52 minutes; color; silent. Possible Scandinavian-psychodrama parody, a boy helps his alcoholic-delusional father and disassociated mother dismantle their bed to search for rodents, and later he intuits the future feasibility of D.T.-cycle lithiumized annular fusion. CELLULOID (UNRELEASED)
Baby Pictures of Famous Dictators. Year of the Tucks Medicated Pad. Poor Yorick Entertainment Unlimited. Documentary or uncredited cast w/ narrator P. A. Heaven; 16 mm.; 45 minutes; black and white; sound. Children and adolescents play a nearly incomprehensible nuclear strategy game with tennis equipment against the real or holographic(?) backdrop of sabotaged ATHSCME 1900 atmospheric displacement towers exploding and toppling during the New New England Chemical Emergency of Y.W. CELLULOID (UNRELEASED)
Stand Behind the Men Behind the Wire. Year of the Tucks Medicated Pad. Poor Yorick Entertainment Unlimited. Documentary cast w/ narrator Soma Richardson-Levy; Super-8 mm.; 52 minutes; black and white/color; sound. Shot on location north of Lowell MA, documentary on Essex County Sheriff’s Dept. and Massachusetts Department of Social Services’ expedition to track, verify, capture, or propitiate the outsized feral infant alleged to have crushed, gummed, or picked up and dropped over a dozen residents of Lowell in January, Y.T.M.P. INTERLACE TELENT CARTRIDGE #357–12–56
As of Yore. Year of the Tucks Medicated Pad. Poor Yorick Entertainment Unlimited. Cosgrove Watt, Marlon Bain; 16/78 mm.; 181 minutes; black and white/color; sound. A middle-aged tennis instructor, preparing to instruct his son in tennis, becomes intoxicated in the family’s garage and subjects his son to a rambling monologue while the son weeps and perspires. INTERLACE TELENT CARTRIDGE #357–16–09
The Clever Little Bastard. Unfinished, unseen. UNRELEASED
The Cold Majesty of the Numb. Unfinished, unseen. UNRELEASED
Good-Looking Men in Small Clever Rooms That Utilize Every Centimeter of Available Space With Mind-Boggling Efficiency. Unfinished due to hospitalization. UNRELEASED
Low-Temperature Civics. Year of the Tucks Medicated Pad. Poor Yorick Entertainment Unlimited. Cosgrove Watt, Herbert G. Birch, Ken N. Johnson, Soma Richardson-Levy, Everard Maynell, ‘Madame Psychosis,’ Phillip T. Smothergill, Paul Anthony Heaven; 35 mm.; 80 minutes; black and white; sound. Wyler parody in which four sons (Birch, Johnson, Maynell, Smothergill) intrigue for control of a sandwich-bag conglomerate after their CEO father (Watt) has an ecstatic encounter with Death (‘Psychosis’) and becomes irreversibly catatonic. NATIONAL DISSEMINATION IN INTERLACE TELENT’S ‘CAVALCADE OF EVIL’ SERIES—JANUARY/YEAR OF TRIAL-SIZE DOVE BAR—AND INTERLACE TELENT CARTRIDGE #357–89–05
(At Least) Three Cheers for Cause and Effect. Year of the Tucks Medicated Pad. Poor Yorick Entertainment Unlimited. Cosgrove Watt, Pam Heath, ‘Hugh G. Rection’; 78 mm.; 26 minutes; black and white; sound. The headmaster of a newly constructed high-altitude sports academy (Watt) becomes neurotically obsessed with litigation over the construction’s ancillary damage to a V.A. hospital far below, as a way of diverting himself from his wife’s (Heath’s) poorly hidden affair with the academically renowned mathematical topologist who is acting as the project’s architect (‘Rection’). CELLULOID (UNRELEASED)
(The) Desire to Desire. Year of the Tucks Medicated Pad. Poor Yorick Entertainment Unlimited. Robert Lingley, ‘Madame Psychosis,’ Marla-Dean Chumm; 35 mm.; 99 minutes(?); black and white; silent. A pathology resident (Lingley) falls in love with a beautiful cadaver (‘Psychosis’) and the paralyzed sister (Chumm) she died rescuing from the attack of an oversized feral infant. Listed by some archivists as unfinished. UNRELEASED
Safe Boating Is No Accident. Year of the Tucks Medicated Pad(?). Poor Yorick Entertainment Unlimited/X-Ray and Infrared Photography by Shuco-Mist Medical Pressure Systems, Enfield MA. Ken N. Johnson, ‘Madame Psychosis,’ P. A. Heaven. Kierkegaard/Lynch (?) parody, a claustrophobic water-ski instructor (’Johnson), struggling with his romantic conscience after his fiancée’s (‘Psychosis’s) face is grotesquely mangled by an outboard propeller, becomes trapped in an overcrowded hospital elevator with a defrocked Trappist monk, two overcombed missionaries for the Church of Jesus Christ of Latter-Day Saints, an enigmatic fitness guru, the Massachusetts State Commissioner for Beach and Water Safety, and seven severely intoxicated opticians with silly hats and exploding cigars. Listed by some archivists as completed the following year, Y.T.-S.D.B. UNRELEASED
Very Low Impact. Year of the Tucks Medicated Pad. Poor Yorick Entertainment Unlimited. Marla-Dean Chumm, Pam Heath, Soma Richardson-Levy-O’Byrne; 35 mm.; 30 minutes; color; sound. A narcoleptic aerobics instructor (Chumm) struggles to hide her condition from students and employers. POSTHUMOUS RELEASE Y.W.-Q.M.D.; INTERLACE TELENT CARTRIDGE #357–97–29
The Night Wears a Sombrero. Year of the Tucks Medicated Pad (?): Ken N. Johnson, Phillip T. Smothergill, Dianne Saltoone, ‘Madame Psychosis’; 78 mm.; 105 minutes; color; silent/sound. Parody/homage to Lang’s Rancho Notorious, a nearsighted apprentice cowpoke (Smothergill), swearing vengeance for a gunslinger’s (Johnson’s) rape of what he (the cowpoke) mistakenly believes is the motherly brothel-owner (Saltoone) he (the cowpoke) is secretly in love with, loses the trail of the gunslinger after misreading a road sign and is drawn to a sinister Mexican ranch where Oedipally aggrieved gunslingers are ritually blinded by a mysterious veiled nun (‘Psychosis’). Listed by some archivists as completed the preceding year, Y.W. INTERLACE TELENT CARTRIDGE #357–56–51
Accomplice! Year of the Tucks Medicated Pad. Poor Yorick Entertainment Unlimited. Cosgrove Watt, Stokely ‘Dark Star’ McNair; 16 mm.; 26 minutes; color; sound. An aging pederast mutilates himself out of love for a strangely tattooed street hustler. INTERLACE TELENT CARTRIDGE #357-10-10 withdrawn from dissemination after Cartridge Scene reviewers called Accomplice! ‘… the stupidest, nastiest, least subtle and worst-edited product of a pretentious and wretchedly uneven career.’ NOW UNRELEASED
Untitled. Unfinished. UNRELEASED
Untitled. Unfinished. UNRELEASED
Untitled. Unfinished. UNRELEASED
Dial C for Concupiscence. Year of the Trial-Size Dove Bar. Poor Yorick Entertainment Unlimited. Soma Richardson-Levy-O’Byrne, Marla-Dean Chumm, Ibn-Said Chawaf, Yves Francoeur; 35 mm.; 122 minutes; black and white; silent w/ subtitles. Parodic noir-style tribute to Bresson’s Les Anges du Peché, a cellular phone operator (Richardson-Levy-O’Byrne), mistaken by a Québecois terrorist (Francoeur) for another cellular phone operator (Chumm) the FLQ had mistakenly tried to assassinate, mistakes his mistaken attempts to apologize as attempts to assassinate her (Richardson-Levy-O’Byrne) and flees to a bizarre Islamic religious community whose members communicate with each other by means of semaphore flags, where she falls in love with an armless Near Eastern medical attaché (Chawaf). RELEASED IN INTERLACE TELENT’S ‘HOWLS FROM THE MARGIN’ UNDERGROUND FILM SERIES—MARCH/Y.T.-S.D.B.—AND INTERLACE TELENT CARTRIDGE #357–75–43
Insubstantial Country. Year of the Trial-Size Dove Bar. Poor Yorick Entertainment Unlimited. Cosgrove Watt; 16 mm.; 30 minutes; black and white; silent/sound. An unpopular après-garde filmmaker (Watt) either suffers a temporal lobe seizure and becomes mute or else is the victim of everyone else’s delusion that his (Watt’s) temporal lobe seizure has left him mute. PRIVATE CARTRIDGE RELEASE BY POOR YORICK ENTERTAINMENT UNLIMITED
It Was a Great Marvel That He Was in the Father Without Knowing Him. Year of the Trial-Size Dove Bar. Poor Yorick Entertainment Unlimited. Cosgrove Watt, Phillip T. Smothergill; 16 mm.; 5 minutes; black and white; silent/sound. A father (Watt), suffering from the delusion that his etymologically precocious son (Smothergill) is pretending to be mute, poses as a ‘professional conversationalist’ in order to draw the boy out. RELEASED IN INTERLACE TELENT’S ‘HOWLS FROM THE MARGIN’ UNDERGROUND FILM SERIES—MARCH/ Y.T.-S.D.B.—AND INTERLACE TELENT CARTRIDGE #357–75–50
Cage IV—Web. Unfinished. UNRELEASED
Cage V—Infinite Jim. Unfinished. UNRELEASED
Death and the Single Girl. Unfinished. UNRELEASED.
The Film Adaptation of Peter Weiss’s ‘The Persecution and Assassination of Marat as Performed by the Inmates of the Asylum at Charenton Under the Direction of the Marquis de Sade.’ Year of the Trial-Size Dove Bar. Poor Yorick Entertainment Unlimited. James O. Incandenza, Disney Leith, Urquhart Ogilvie, Jr., Jane Ann Prickett, Herbert G. Birch, ‘Madame Psychosis,’ Marla-Dean Chumm, Marlon Bain, Pam Heath, Soma Richardson-Levy-O’Byrne-Chawaf, Ken N. Johnson, Dianne Saltoone; Super-8 mm.; 88 minutes; black and white; silent/sound. Fictional ‘interactive documentary’ on Boston stage production of Weiss’s 20th-century play within play, in which the documentary’s chemically impaired director (Incandenza) repeatedly interrupts the inmates’ dumbshow-capering and Marat and Sade’s dialogues to discourse incoherently on the implications of Brando’s Method Acting and Artaud’s Theatre of Cruelty for North American filmed entertainment, irritating the actor who plays Marat (Leith) to such an extent that he has a cerebral hemorrhage and collapses onstage well before Marat’s scripted death, whereupon the play’s nearsighted director (Ogilvie), mistaking the actor who plays Sade (Johnson) for Incandenza, throws Sade into Marat’s medicinal bath and throttles him to death, whereupon the extra-dramatic figure of Death (‘Psychosis’) descends deus ex machina to bear Marat (Leith) and Sade (Johnson) away, while Incandenza becomes ill all over the theater audience’s first row. 8 MM. SYNC-PROJECTION CELLULOID. UNRELEASED DUE TO LITIGATION, HOSPITALIZATION
Too Much Fun. Unfinished. UNRELEASED
The Unfortunate Case of Me. Unfinished. UNRELEASED
Sorry All Over the Place. Unfinished. UNRELEASED
Infinite Jest (V?). Year of the Trial-Size Dove Bar. Poor Yorick Entertainment Unlimited. ‘Madame Psychosis’; no other definitive data. Thorny problem for archivists. Incandenza’s last film, Incandenza’s death occurring during its post-production. Most archival authorities list as unfinished, unseen. Some list as completion of Infinite Jest (IV), for which Incandenza also used ‘Psychosis,’ thus list the film under Incandenza’s output for Y.T.M.P. Though no scholarly synopsis or report of viewing exists, two short essays in different issues of Cartridge Quarterly East refer to the film as ‘extraordinary’d and ‘far and away [James O. Incandenza’s] most entertaining and compelling work.’e West Coast archivists list the film’s gauge as ‘16… 78… n mm.,’ basing the gauge on critical allusionsf to ‘radical experiments in viewers’ optical perspective and context’ as IJ(V?)’s distinctive feature. Though Canadian archivist Tête-Bêche lists the film as completed and privately distributed by P.Y.E.U. through posthumous provisions in the filmmaker’s will, all other comprehensive filmographies have the film either unfinished or UNRELEASED, its Master cartridge either destroyed or vaulted sui testator.
25. More like July-October, actually.
58. Certified (by the Commonwealth of Massachusetts) Substance Abuse Counselor.
59. Oxycodone hydrochloride w/ acetaminophen, C-II Class, Du Pont Pharmaceuticals.
69. NA = Narcotics Anonymous; CA = Cocaine Anonymous. In some cities there are also Psychedelics Anonymous, Nicotine Anonymous (also, confusingly, called NA), Designer Drugs Anonymous, Steroids Anonymous, even (especially in and around Manhattan) something called Prozac Anonymous. In none of these Anonymous fellowships anywhere is it possible to avoid confronting the God stuff, eventually.
70. Not to mention, according to some hard-line schools of 12-Step thought, yoga, reading, politics, gum-chewing, crossword puzzles, solitaire, romantic intrigue, charity work, political activism, N.R.A. membership, music, art, cleaning, plastic surgery, cartridge-viewing even at normal distances, the loyalty of a fine dog, religious zeal, relentless helpfulness, relentless other-folks’-moral-inventory-taking, the development of hard-line schools of 12-Step thought, ad darn near infinitum, including 12-Step fellowships themselves, such that quiet tales sometimes go around the Boston AA community of certain incredibly advanced and hard-line recovering persons who have pared away potential escape after potential escape until finally, as the stories go, they end up sitting in a bare chair, nude, in an unfurnished room, not moving but also not sleeping or meditating or abstracting, too advanced to stomach the thought of the potential emotional escape of doing anything whatsoever, and just end up sitting there completely motion- and escapeless until a long time later all that’s found in the empty chair is a very fine dusting of off-white ashy stuff that you can wipe away completely with like one damp paper towel.
71. The Boston AA slogan w/r/t this phenomenon is ‘You Can’t Unring a Bell.’
72. About which Pakistani manager and his ancestry and ratty little mustache and officious management style McDade has a colorful thing or two to say, boy.
81. ‘Theory and Praxis in Peckinpah’s Use of Red,’ Classic Cartridge Studies vol. IX, nos. 2 & 3, YY2007MRCVMETIUFI/ITPSFH,O,OM(s).
102. International Brotherhood of Pier, Wharf, and Dock Workers.
103. A quote ‘episode of excessive neuronal discharge manifested by motor, sensory and/or [psychic] dysfunction, with or without unconsciousness and/or convulsive [movements],’ plus eye-rolling and tongue-swallowing.
131. Before Boston Groups’ regular speaker meetings there are often closed, half-hour Beginners’ Discussion Meetings, where newcomers can share their cluelessness, weakness, and despair in a warm supportive private atmosphere.
132. The word Group in AA Group is always capitalized because Boston AA places enormous emphasis on joining a Group and identifying yourself as a member of this larger thing, the Group. Likewise caps in like Commitment, Giving It Away, and c.
133. Gately’s little bedroom in the damp Ennet House basement is plastered all over every part of every wall that’s dry enough to take tape with cutout Scotch-taped photos of all sorts of variegated and esoteric celebrities past and present, which are varied as residents throw magazines into the E.M.P.H.H. dumpsters and are frequently selected because the celebrities are somehow grotesque; it’s a kind of compulsive habit held over from Gately’s fairly dysfunctional North Shore childhood, when he’d been a clipping and taping fiend.
134. And if you’re brand-new, as in like your first three days, and so on mandatory nonpunitive House Restriction—like veiled Joelle van Dyne, who entered the House just today, 11/8, Interdependence Day, after the E.R. physician at Brigham and Women’s Hospital who last night had pumped her full of Inderala and nitro had looked upon her unveiled face and been deeply affected, and had taken a special interest, a consequence of which after Joelle regained consciousness and speech had involved placing a call to Pat Montesian, whose paralyzing alcoholic stroke the physician had treated in this very same E.R. almost seven years before, and in whose case he’d also taken a special interest and had followed, such that he was now a personal friend of the sober Pat M.’s and sat honorarily on Ennet House’s Board of Directors, so that his call to Pat’s home on Saturday night had gotten Joelle into the House on the spot, as of Interdependence Day A.M.’s discharge from B&W, leap-frogging literally dozens of waiting-list people and putting Joelle into Ennet House’s intensive program of residential treatment literally before she even knew what was happening, which in retrospect might have been lucky—if you’re this new you’re actually not supposed ever to leave the Staffer’s sight, though in practice this rule gets suspended when you have to go to the ladies’ room and the Staffer’s male, or vice versa.
a. Propranolol hydrochloride, Wyeth-Ayerst, a beta-blocking antihypertensive.
135. A conviction common to all who Hang In with AA, after a while, and abstracted in the slogan ‘My Best Thinking Got Me Here.’
136. Trade-name Fastin, ®SmithKline Beecham Inc., a low-level ’drine not unlike Tenuate, though w/ more associated tooth-grinding.
137. None of these are Don Gately’s terms.
138. In e.g. Boston: join Group, get Active, get phone #s, get sponsor, audio-call sponsor daily, hit meetings daily, pray like fiend for release from Disease, don’t kid self that you can still buy rodneys in liquor stores or date your dealer’s niece or think for a second you can still hang out in bars playing darts and just drinking Millennial Fizzies or vanilla Yoo-Hoos, etc.
139. Volunteer Counselor Eugenio (‘Gene’) M. favors entomologic tropes and analogies, which is especially effective with brand-new residents fresh from subjective safaris through the Kingdom of Bugs.
140. Don G.’s North Shore’s vulgate signifier for trite/banal is: limp.
141. Likewise that his private term for blacks is niggers, which is unfortunately still all he knows.
208. From Ch. 16, ‘The Awakening of My Interest in Annular Systems,’ in The Chill of Inspiration: Spontaneous Reminiscences by Seventeen Pioneers of DT-Cycle Lithiumized Annular Fusion, ed. Prof. Dr. Günther Sperber, Institut für Neutronenphysik und Reaktortechnik, Kernforschungszentrum Karlsruhe, U.R.G., available in English in ferociously expensive hardcover only, © Y.T.M.P. from Springer-Verlag Wien NNY.
224. Q.v. William James on ‘… that latent process of unconscious preparation often preceding a sudden awakening to the fact that the mischief is irretrievably done,’ the line that actually snapped Lenz to what he was up to when he chanced to read it in a huge large-print edition he’d found behind a bookshelf along the north wall of the Ennet living room of something called The Principles of Psychology with The Gifford Lectures on Natural Religion, by William James (obviously), available in EZC large-font print from Microsoft/NAL–Random House–Ticknor, Fields, Little, Brown and Co., © Y.T.M.P., a volume that’s come to mean a great deal to Lenz.
225. ® The Mobil Chemical Co.’s Consumer Products Branch’s Plastics Division, Pittsford NNY.
226. ® Ibid.
227. A.k.a. Haloperidol, McNeil Pharmaceutical, 5 mg./ml. pre-filled syringes: picture several cups of Celestial Seasonings’ Cinnamon Soother tea followed by a lead-filled sap across the back of the skull.
246. A depressing new Sober Club in Somerville’s Davis Square where AAs and NAs—mostly new and young—get heartbreakingly dolled up and dance stiffly and tremble with sober sexual anxiety and they stand around with Cokes and M.F.s telling each other how great it is to be in an intensely social venue with all your self-conscious inhibitions unmedicated and screaming in your head. The smiles alone in these places are excruciating to see.
247. A Restriction means just no Overnight that week and an extra Chore; a House Restriction means you have to be back an hour after work and nightly meetings; Full House is no leaving the House except for work and meetings, and 15 minutes to get back, and no even leaving to buy smokes or a paper, or even to go out in the lawn for oxygen, and one violation means a Discharge: F.H.R. is Ennet’s version of the Hole, and it’s dreaded.
248. Ennet House takes its urines over to the methadone clinic, which has all manner of clients who have to submit weekly urines to courts and programs, and the clinic lets Ennet put its urines gratis in the weekly batch the clinic sends out to an E.M.I.T.-mill clinic all the way out in Natick, and in return every once in a while Pat gets a call from the trollish little social worker who runs #2 about some client down there who’s decided he wants off the methadone, as well, and Pat will shoot the client way up on the Interview list and give him an interview and usually let the client in—Calvin T. and Danielle S. had both originally gotten into Ennet House this way, i.e. via #2.
249. It’s maybe significant that Don Gately never once failed to clean up any vomit or incontinence his mother’d just drunkenly left there or passed out in, no matter how pissed off or disgusted he was or how sick he himself was: not once.
250. (who owns a Lincoln, Henderson does, origins unknown and suspicious)
251. This is all for Insurance Reasons, the Staff sheet on which Gately doesn’t understand all the language of, and fears.
252. It’s against House rules to smoke upstairs in the bedrooms—more Insurance Reasons—and a week’s Restriction is supposed to be mandatory, and Pat’s personally a fanatic about the rule, but Gately, much as he fears the grim boilerplate on the Insurance Sheet, always pretends he doesn’t see anything when he sees somebody smoking up here, since when he was a resident he actually used to sometimes smoke in his sleep he was so tense, and every once in a while will wake up and find that he has again, i.e. lit a gasper and apparently smoked it and put it out all in his sleep, down in bed in his Staff oubliette in the basement.
253. (the items from the House’s donated-clothes baskets that fit Gately being few and far)
254. Gately’s made it an iron point never again ever to run, once he got straight.
255. NNE street argot for any kind of handgun.
256. (Erdedy’s hands still up, w/ keys)
280. Anhedonia was apparently coined by Ribot, a Continental Frenchman, who in his 19th-century Psychologie des Sentiments says he means it to denote the psychoequivalent of analgesia, which is the neurologic suppression of pain.
281. This had been one of Hal’s deepest and most pregnant abstractions, one he’d come up with once while getting secretly high in the Pump Room. That we’re all lonely for something we don’t know we’re lonely for. How else to explain the curious feeling that he goes around feeling like he misses somebody he’s never even met? Without the universalizing abstraction, the feeling would make no sense.
282. (the big reason why people in pain are so self-absorbed and unpleasant to be around)
283. S.S.R.I.s, of which Zoloft and the ill-fated Prozac were the ancestors.
305. (she thought then)
306. Some of her and Jim’s best arguments had been over the connotations of ‘Everybody’s a critic,’ which Jim had liked to repeat with all different shades and pitches of ironic double-edge.
307. Joelle van Dyne and Orin Incandenza each remember themselves as the original approachee. It’s unclear which if either’s memory is accurate, though it’s noteworthy that this is one of only two total times Orin has perceived himself as the approachee, the other being the ‘Swiss hand-model’ on whose nude flank he’s been furiously tracing infinity signs all during the Moment Subject’s absence.
308. = point of view.
316. Like e.g. the times C.T. and the Moms would come out to Logan to pick Mario and Himself up from a filming trip, Mario lugging gear, Himself damp and pasty from the cabin pressure and not enough leg-room and his sportcoat pockets always clicking with little plastic bottles with unopenable caps, and in the car up to Enfield Mario’s uncle would keep up an Opheliac mad monologue of chatter that would get Himself’s poor teeth grinding so bad that when they pulled over to the breakdown lane and Mario came around to open the door and let Himself lean out and be ill there’d be grit in the throw-up that came out, white dental visible grit, from all the grinding.
317. © B.S. 1981, Routledge & Kegan Paul Plc, London UK, wildly expensive hdcover; not on disk.
318. Maine having been lost altogether, recall.
319. Incandenza family idiom for leftovers.
320. Main library, M.I.T., East Cambridge.
337. Latin blunder for self-defense’s se defendendo is sic, either a befogged muddling of a professional legal term, or a post-Freudian slip, or (least likely) a very oblique and subtle jab at Gately from a Ewell intimate with the graveyard scene from Hamlet—namely V.i. 9.
338. Ketorolac tromethamine, a non-narcotic analgesic, little more than Motrin with ambition—®Syntex Labs.
339. International Brotherhood of Electrical Workers.
340. Doxycycline hyclate, an I.V.-antibiotic—®Parke-Davis Pharmaceuticals.
341. Oxycodone hydrochloride + acetaminophen, a Schedule C-III narcotic oral analgesic—®Du Pont Pharmaceuticals.