Читать «Infinite jest» онлайн - страница 945
David Foster Wallace
[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 I’Importance Terrible,’ presumably.
[20] Fluorescence has been banned in Quebec, 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.
[21] Q.v. Note 211
[22] Trade name of terfenadine, Marion Merrell Dow Pharmaceuticals, the tactical nuclear weapon of nondrowsy antihistamines and mucoidal desiccators.
[23] Office of Naval Research, U.S.D.D.
[24] JAMES O. INCANDENZA: A FILMOGRAPHY3
Accordingly, though the works are here listed in what is considered by archivists to be their
a. From Comstock, Posner, and Duquette, The Laughing Pathologists: Exemplary Works of the Anticonfluential
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.
