Encyclopedic Novels and the Cruft of Fiction: Infinite Jest ’s Endnotes

Abstract

In end, production of footnotes sometimes resembles less skilled work of a professional carrying out a precise function to a higher end than offhand production and disposal of waste products. --Anthony Grafton, The Footnote: A Curious History (6) Endnotes and Paradox of Novel In decade and a half since its publication, David Foster Wallace's Infinite Jest has frequently been described as (cf. Cioffi 161, Burn Reader's Guide 21, Aubry 208, Tresco). This term, probably most associated in literary studies with Edward Mendelson's 1976 essays Gravity's Encyclopedia and Encyclopedic Narrative, (1) has been used over past six decades to categorize a genre of large, complex novels, particularly those that incorporate substantial specialized information from sciences, arts, and history. If we adopt Hillary A. Clark's terms and define encyclopedic novel as a prose fiction work concerned with discovery, ordering, or retrieval of knowledge (Encyclopedic Discourse 99), (2) then Infinite Jest's 388 endnotes, which take up final 97 of novel's 1,079 pages, probably encourage that classification more than any other element. (3) Just as academic endnote has long supplied foundation of evidentiary support for scholarly contributions to knowledge--the traditional attitude being, as Anthony Grafton writes, the text persuades, notes prove (15)--the extensive supplementary information provided by Infinite Jest's notes, covering subjects as diverse as pharmaceutical chemistry, calculus, political history, and tennis (including both real-world facts on these subjects and facts specific to novel), gives contextual information to establish workings of Wallace's strange world in a manner not dissimilar to how, say, The Waste Land's do for T. S. Eliot's. Infinite Jest's notes are not always used for this straightforwardly encyclopedic purpose, though. After all, as Gerard Genette has described, literary note's functions have historically included not only this quasi-scholarly one, but span many authorial intentions and implied recipients, prominently including those notes written by fictional characters or playful narrators so as to layer voices for storytelling or parodic purposes, as may be seen in authors ranging from Swift and Pope to Borges and Joyce, most notably in Nabokov's Pale Fire (319-43). (4) This type of note also appears in Infinite Jest. For example, when nutty Dr. Dolores Rusk discusses something she calls Coatlicue Complex, a reference keys to endnote 216 (516), but instead of defining this invented term--as notes do for other inventions, like fictional Microsoft OS Pink glossed in note 95 (1003)--the note's response to this phrase is merely, No clue (1036). Obviously, Wallace knows what this term means, as he created fictional world in which it exists and thus may make of it whatever he wants, (5) so note works not to support narrator's authoritative knowledge but to separate his voice from that of any real or implied author (in this case, to comic effect). Elsewhere, endnotes are used for layering of other kinds, as when entire scenes are diverted from main text to endnotes for no apparent reason: for instance, scene depicting Michael Pemulis's expulsion (1073-76) is not only shunted to note 332, it is not even endnoted from anything, as reference in main text does not appear next to any actual word or sentence but is suspended in white space between scenes (795). On their own, obviously, neither use is narratively radical or troublesome. In conjunction, however, they quietly create a serious problem, because when used side-by-side, these two types of notes theoretically ought to negate each other's effects entirely. Since scholarly notes are designed to provide authoritative support for author's main text, layering notes' efforts toward (in most critics' eyes) subverting unity of text and destabilizing, rather than affirming, central narrative (Fishburn 287-88) should upend their neighboring scholarly notes' informative effect. …