Hal’s older brother Mario — who by Dean of Students’ fiat gets to bunk in a double with Hal in subdorm A on the third floor of Comm.-Ad. even though he’s too physically challenged even to play low-level recreational tennis, but who’s keenly interested in video- and film-cartridge production, and pulls his weight as part of the E.T.A. community recording assigned sections of matches and drills and processional stroke-filming sessions for later playback and analysis by Schtitt and his staff — is filming the congregated line and social interactions and vending operation of the urine-day lobby, using his strap-attached head-mounted camera and thoracic police-lock and foot-treadle, apparently getting footage for one of the short strange Himself-influenced conceptual cartridges the administration lets him occupy his time making and futzing around with down in the late founder’s editing and f/x facilities off the main sub-Comm.-Ad. tunnel; and Pemulis and Axford do not object to the filming, nor do they even do that hand-to-temple face-obscuring thing when he aims the head-mounted Bolex their way, since they know nobody will end up seeing the footage except Mario himself, and that at their request he’ll modulate and scramble the vendors’ and customers’ faces into undulating systems of flesh-colored squares, by means of his late father’s reconfigururing matte-panel in the editing room, since facial scrambling will heighten whatever weird conceptual effect Mario’s usually after anyway, though also because Mario’s notoriously fond of undulating flesh-colored squares and will jump at any opportunity to edit them in over people’s faces.
They do brisk business.
Michael Pemulis, wiry, pointy-featured, phenomenally talented at net but about two steps too slow to get up there effectively against high-level pace — so in compensation also a great offensive-lob man — is a scholarship student from right nearby in Allston MA — a grim section of tract housing and vacant lots, low-rise Greek and Irish housing projects, gravel and haphazard sewage and indifferent municipal upkeep, a lot of depressed petrochemical light industry all along the Spur, an outlying district zoned for sprawl; an old joke in Enfield-Brighton goes ‘ “Kiss me where it smells” she said so I took her to Allston’ — where he discovered a knack playing Boys Club tennis in cut-off shorts and no shirt and a store-strung stick on scuzzy courts with blacktop that discolored your yellow balls and nets made of spare Feeny Park fencing that sent net-cord shots spronging all the way out into traffic. An Inner City Development Program tennis prodigy at ten, recruited up the hill at eleven, with parents who wanted to know how much E.T.A.’d pay up front for rights to all future possible income. Cavalier about practice but a bundle of strangled nerves in tournaments, the rap on Pemulis is that he’s way lower-ranked than he could be with a little hard work, since he’s not only E.T.A.’s finest Eschatonic 53 marksman off the lob but Schtitt says is the one youth here now who knows truly what is it to pünch the volley. Pemulis, whose pre-E.T.A. home life was apparently hackle-raising, also sells small-time drugs of distinguished potency at reasonable retail prices to a large pie-slice of the total junior-tournament-circuit market. Mario Incandenza is one of those people who wouldn’t see the point of trying recreational chemicals even if he knew how to go about it. He just wouldn’t get it. His smile, below the Bolex camera strapped to his large but sort of withered-looking head, is constant and broad as he films the line’s serpentine movement against glass shelves full of prizes.
M. M. Pemulis, whose middle name is Mathew (sic), has the highest Stanford-Bïnet of any kid on academic probation ever at the Academy. Hal Incandenza’s most valiant efforts barely get Pemulis through Mrs. I’s triad of required Grammars 54 and Soma R.-L.-O. Chawaf’s heady Literature of Discipline, because Pemulis, who claims he sees every third word upside-down, actually just has a born tech-science wienie’s congenital impatience with the referential murkiness and inelegance of verbal systems. His early tennis promise quick-peaking and it’s turned out a bit dilettantish, Pemulis’s real enduring gift is for math and hard science, and his scholarship is the coveted James O. Incandenza Geometrical Optics Scholarship, of which there is only one, and which each term Pemulis manages to avoid losing by just one dento-dermal layer of overall G.P.A., and which gives him sanctioned access to all the late director’s lenses and equipment, some of which turn out to be useful to unrelated enterprises. Mario’s the only other person sharing the optic-and-editing labs off the main tunnel, and the two have the kind of transpersonal bond that shared interests and mutual advantage can inspire: if Mario’s not helping Pemulis fabricate the products of independent-optical-study work M.P. isn’t really much into doing — you should see the boy with a convex lens, Avril likes to say within Mario’s hearing; he’s like a fish in brine — then Pemulis is giving Mario, who’s a film-nut but no great tech-mind, serious help with cinemo-optical praxis, the physics of focal-length and reflective compounds — you should see Pemulis with an emulsion curve, yawning blasély under his bill-reversed yachting hat and scratching an armpit, juggling differentials like a boy born to wear a pocket-protector and high-water corduroys and electrician’s tape on his hornrims’ temples, asking Mario if he knows what you call three Canadians copulating on a snowmobile. Mario and his brother Hal both consider Pemulis a good friend, though friendship at E.T.A. is nonnegotiable currency.
Hal Incandenza for a long time identified himself as a lexical prodigy who — though Avril had taken pains to let all three of her children know that her nonjudgmental love and pride depended in no way on achievement or performance or potential talent — had made his mother proud, plus a really good tennis player. Hal Incandenza is now being encouraged to identify himself as a late-blooming prodigy and possible genius at tennis who is on the verge of making every authority-figure in his world and beyond very proud indeed. He’s never looked better on court or on monthly O.N.A.N.T.A. paper. He is erumpent. He has made what Schtitt termed a ‘leap of exponents’ at a post-pubescent age when radical, plateaux-hopping, near-J.-Wayne-and-Show-caliber improvement is extraordinarily rare in tennis. He gets his sterile urine gratis, though he could well afford to pay: Pemulis depends on him for verbal-academic support, and dislikes owing favors, even to friends.
Hal is, at seventeen, as of 10/Y.D.A.U., judged ex cathedrathe fourth-best tennis player under age eighteen in the United States of America, and the sixth-best on the continent, by those athletic-organizing bodies duly charged with the task of ranking. Hal’s head, closely monitored by deLint and Staff, is judged still level and focused and unswollen/-bludgeoned by the sudden éclat and rise in general expectations. When asked how he’s doing with it all, Hal says Fine and thanks you for asking.
If Hal fulfills this newly emergent level of promise and makes it all the way up to the Show, Mario will be the only one of the Incandenza children not wildly successful as a professional athlete. No one who knows Mario could imagine that this fact would ever even occur to him.
Orin, Mario, and Hal’s late father was revered as a genius in his original profession without anybody ever realizing what he really turned out to be a genius at, even he himself, at least not while he was alive, which is perhaps bona-fidely tragic but also, as far as Mario’s concerned, ultimately all right, if that’s the way things unfolded.
Certain people find people like Mario Incandenza irritating or even think they’re outright bats, dead inside in some essential way.
Michael Pemulis’s basic posture with people is that Mrs. Pemulis raised no dewy-eyed fools. He wears painter’s caps on-court and sometimes a yachting cap turned around 180°, and, since he’s not ranked high enough to get any free-corporate-clothing offers, plays in T-shirts with things like ALLSTON HS WOLF SPIDERS and CHOOSY MOTHERSand THE FIENDS IN HUMAN SHAPE Y.D.A.U. TOURor like an ancient CAN YOU BELIEVE IT THE SUPREME COURT JUST DESECRATED OUR FLAG on them. His face is the sort of spiky-featured brow-dominated Feenian face you see all over Irish Allston and Brighton, its chin and nose sharp and skin the natal brown color of the shell of a quality nut.
Michael Pemulis is nobody’s fool, and he
fears the dealer’s Brutus, the potential eater of cheese, the rat, the wiretap, the pubescent-looking Finest sent to make him look foolish. So when somebody calls his room’s phone, even on video, and wants to buy some sort of substance, they have to right off the bat utter the words ‘Please commit a crime,’ and Michael Pemulis will reply ‘Gracious me and mine, a crime you say?’ and the customer has to insist, right over the phone, and say he’ll pay Michael Pemulis money to commit a crime, or like that he’ll harm Michael Pemulis in some way if he refuses to commit a crime, and Michael Pemulis will in a clear and I.D.able voice make an appointment to see the caller in person to ‘plead for my honor and personal safety,’ so that if anybody eats cheese later or the phone’s frequency is covertly accessed, somehow, Pemulis will have been entrapped. 55
Secreting a small Visine bottle of urine in an armpit in line also brings it up to plausible temperature. At the entrance to the male stall-area, the ephebic-looking O.N.A.N.T.A. toxicologist rarely even looks up from his clipboard, but the square-faced nurse can be a problem over on the female side, because every so often she’ll want the stall door open during production. With Jim Struck handling published-source plagiarism and compressed iteration and Xerography, Pemulis also offers, at reasonable cost, a small vade mecumish pamphlet detailing several methods for dealing with this contingency.
WINTER B.S. 1960 — TUCSON AZ
Jim not that way Jim. That’s no way to treat a garage door, bending stiffly down at the waist and yanking at the handle so the door jerks up and out jerky and hard and you crack your shins and my ruined knees, son. Let’s see you bend at the healthy knees. Let’s see you hook a soft hand lightly over the handle feeling its subtle grain and pull just as exactly gently as will make it come to you. Experiment, Jim. See just how much force you need to start the door easy, let it roll up out open on its hidden greasy rollers and pulleys in the ceiling’s set of spiderwebbed beams. Think of all garage doors as the well-oiled open-out door of a broiler with hot meat in, heat roiling out, hot. Needless and dangerous ever to yank, pull, shove, thrust. Your mother is a shover and a thruster, son. She treats bodies outside herself without respect or due care. She’s never learned that treating things in the gentlest most relaxed way is also treating them and your own body in the most efficient way. It’s Marlon Brando’s fault, Jim. Your mother back in California before you were born, before she became a devoted mother and long-suffering wife and breadwinner, son, your mother had a bit part in a Marlon Brando movie. Her big moment. Had to stand there in saddle shoes and bobby sox and ponytail and put her hands over her ears as really loud motorbikes roared by. A major thespian moment, believe you me. She was in love from afar with this fellow Marlon Brando, son. Who? Who. Jim, Marlon Brando was the archetypal new-type actor who ruined it looks like two whole generations’ relations with their own bodies and the everyday objects and bodies around them. No? Well it was because of Brando you were opening that garage door like that, Jimbo. The disrespect gets learned and passed on. Passed down. You’ll know Brando when you watch him, and you’ll have learned to fear him. Brando, Jim, Jesus, B-r-a-n-d-o. Brando the new archetypal tough-guy rebel and slob type, leaning back on his chair’s rear legs, coming crooked through doorways, slouching against everything in sight, trying to dominate objects, showing no artful respect or care, yanking things toward him like a moody child and using them up and tossing them crudely aside so they miss the wastebasket and just lie there, ill-used. With the over-clumsy impetuous movements and postures of a moody infant. Your mother is of that new generation that moves against life’s grain, across its warp and baffles. She may have loved Marlon Brando, Jim, but she didn’t understand him, is what’s ruined her for everyday arts like broilers and garage doors and even low-level public-park knock-around tennis. Ever see your mother with a broiler door? It’s carnage, Jim, it’s to cringe to see it, and the poor dumb thing thinks it’s tribute to this slouching slob-type she loved as he roared by. Jim, she never intuited the gentle and cunning economy behind this man’s quote harsh sloppy unstudied approach to objects. The way he’d oh so clearly practiced a chair’s back-leg tilt over and over. The way he studied objects with a welder’s eye for those strongest centered seams which when pressured by the swinishest slouch still support. She never… never sees that Marlon Brando felt himself as body so keenly he’d no needfor manner. She never sees that in his quote careless way he actually really touched whatever he touched as if it were part of him. Of his own body. The world he only seemed to manhandle was for him sentient, feeling. And no one… and she never understood that. Sour sodding grapes indeed. You can’t envy someone who can be that way. Respect, maybe. Maybe wistfulrespect, at the very outside. She never saw that Brando was playing the equivalent of high-level quality tennis across sound stages all over both coasts, Jim, is what he was really doing. Jim, he moved like a careless fingerling, one big muscle, muscularly naïve, but always, notice, a fingerling at the center of a clear current. That kind of animal grace. The bastard wasted nomotion, is what made it art, this brutish no-care. His was a tennis player’s dictum: touch things with consideration and they will be yours; you will own them; they will move or stay still or move for you; they will lie back and part their legs and yield up their innermost seams to you. Teach you all their tricks. He knew what the Beats know and what the great tennis player knows, son: learn to do nothing, with your whole head and body, and everything will be done by what’s around you. I know you don’t understand. Yet. I know that goggle-eyed stare. I know what it means all too well, son. It’s no matter. You will. Jim, I know what I know.
I’m predicting it right here, young sir Jim. You are going to be a great tennis player. I was near-great. You will be truly great. You will be the real thing. I know I haven’t taught you to play yet, I know this is your first time, Jim, Jesus, relax, I know. It doesn’t affect my predictive sense. You will overshadow and obliterate me. Today you are starting, and within a very few years I know all too well you will be able to beat me out there, and on the day you first beat me I may well weep. It’ll be out of a sort of selfless pride, an obliterated father’s terrible joy. I feel it, Jim, even here, standing on hot gravel and looking: in your eyes I see the appreciation of angle, a prescience re spin, the way you already adjust your overlarge and apparently clumsy child’s body in the chair so it’s at the line of best force against dish, spoon, lens-grinding appliance, a big book’s stiff bend. You do it unconsciously. You have no idea. But I watch, very closely. Don’t ever think I don’t, son.
You will be poetry in motion, Jim, size and posture and all. Don’t let the posture-problem fool you about your true potential out there. Take it from me, for a change. The trick will be transcending that overlarge head, son. Learning to move just the way you already sit still. Living in your body.
This is the communal garage, son. And this is our door in the garage. I know you know. I know you’ve looked at it before, many times. Now… now see it, Jim. See it as body. The dull-colored handle, the clockwise latch, the bits of bug trapped when the paint was wet and now still protruding. The cracks from this merciless sunlight out here. Original color anyone’s guess, boyo. The concave inlaid squares, how many, bevelled at how many levels at the borders, that pass for decoration. Count the squares, maybe… let’s see you treat this door like a lady, son. Twisting the latch clockwise with one hand that’s right and. … I guess you’ll have to pull harder, Jim. Maybe even harder than that. Let me… that’s the way she wants doing, Jim. Have a look. Jim, this is where we keep this 1956 Mercury Montclair you know so well. This Montclair weighs 3,900 pounds, give or take. It has eight cylinders and a canted windshield and aerodynamic fins, Jim, and has a maximum flat-out road-speed of 95 m.p.h. per. I described the shade of the paint job of this Montclair to the dealer when I first saw it as bit-lip red. Jim, it’s a machine. It will do what it’s made for and do it perfectly, but only when stimulated by someone who’s made it his business to know its tricks and seams, as a body. The stimul
ator of this car must know the car, Jim, feel it, be inside much more than just the… the compartment. It’s an object, Jim, a body, but don’t let it fool you, sitting here, mute. It will respond. If given its due. With artful care. It’s a body and will respond with a well-oiled purr once I get some decent oil in her and all Mercuryish at up to 95 big ones per for just that driver who treats its body like his own, who feels the big steel body he’s inside, who quietly and unnoticed feels the nubbly plastic of the grip of the shift up next to the wheel when he shifts just as he feels the skin and flesh, the muscle and sinew and bone wrapped in gray spiderwebs of nerves in the blood-fed hand just as he feels the plastic and metal and flange and teeth, the pistons and rubber and rods of the amber-fueled Montclair, when he shifts. The bodily red of a well-bit lip, parping along at a silky 80-plus per. Jim, a toast to our knowledge of bodies. To high-level tennis on the road of life. Ah. Oh.