Resisting Life as a Figurant and Infinite Jest

- 5 minutes read - 891 words

I love Infinite Jest. One of its most powerful lectures comes from a father — not unlike Polonius’ speech in Hamlet — delivering a wish that the addressed choose a better, wiser path in life: one that avoids merely acting in the scenery of life, for living it. In short, the listener and the reader are asked to avoid being figurants.

…you can’t appreciate the dramatic pathos of a figurant until you realize how completely trapped and encaged he is in his mute peripheral status… because [if he] decided he couldn’t take it any more and stood up and started shouting and gesturing around wildly in a bid for attention and nonperipheral status… the whole rest of that episode of ‘Cheers!’ would be about jokes about the name star’s life-saving heroics…

But this advice’s relevance has only become more poignant amid the anhedonic, AI-windswept existence of the modern moment.

weekday afternoon, experiencing myself as a kind of online shadow, a thing of fidgets, a half-being hollowed out by roaming spectral appetites—for destruction, for gratification, for the email that never comes—it occurs to me to ask: Now, which of the seven deadly sins is this?

Anger’s in there somewhere, sure, a kind of generalized psychic road rage, but not enough of it to qualify. Same with envy, pride, gluttony, lust—just floating shards. Avarice? Nah. Of the seven, sloth probably comes closest, that enigmatic void state known to the early Christians as “acedia.” But not even acedia, bottomless as it is, can quite comprehend this plugged-in groundlessness, this ether-sweeping emptiness, this interstellar elongation of the spirit. Sin, the theologians tell us, is whatever separates us from God. Whatever blocks the beams of divine love. And at 3:23 p.m. in Caffè Nero, I am all but unreachable by heavenly radiation; I can feel it wavering, honey-colored, at the fringes of my soul. So have we done it at last—you, me, the kids? Have we invented an eighth deadly sin?

— James Parker, “The Eighth Deadly Sin,” The Atlantic

Reading Parker’s prose, I immediately recognized the two as speaking to the same feeling. And heck, it’s the same terminal, bourgeois boredom in the face of the rule of the Last Men as described in “Five Years” from “Ziggy Stardust.”

The full corpus of the wraith passage

And the wraith on the heart monitor looks pensively down at Gately from upside-down and asks does Gately remember the myriad thespian extras on for example his beloved ‘Cheers!,’ not the center-stage Sam and Carla and Norm, but the nameless patrons always at tables, filling out the bar’s crowd, concessions to realism, always relegated to back- and foreground; and always having utterly silent conversations: their faces would animate and mouths would move realistically, but without sound; only the name-stars at the bar itself could audibilize. The wraith says these fractional actors, human scenery, could be seen (but not heard) in most pieces of filmed entertainment. And Gately remembers them, the extras in all public scenes, especially like bar and restaurant scenes, or rather remembers how he doesn’t quite remember them, how it never struck his addled mind as in fact surreal that their mouths moved but nothing emerged, and what a miserable fucking bottom-rung job that must be for an actor, to be sort of human furniture, figurants the wraith says they’re called, these surreally mute background presences whose presence really revealed that the camera, like any eye, has a perceptual corner, a triage of who’s important enough to be seen and heard v. just seen. A term from ballet, originally, figurant, the wraith explains. The wraith pushes his glasses up in the vaguely sniveling way of a kid that’s just got slapped around on the playground and says he personally spent the vast bulk of his own former animate life as pretty much a figurant, furniture at the periphery of the very eyes closest to him, it turned out, and that it’s one heck of a crummy way to try to live. Gately, whose increasing self-pity leaves little room or patience for anybody else’s self-pity, tries to lift his left hand and wiggle his pinkie to indicate the world’s smallest viola playing the theme from The Sorrow and the Pity, but even moving his left arm makes him almost faint. And either the wraith is saying or Gately is realizing that you can’t appreciate the dramatic pathos of a figurant until you realize how completely trapped and encaged he is in his mute peripheral status, because like say for example if one of ‘Cheers!‘’s bar’s figurants suddenly decided he couldn’t take it any more and stood up and started shouting and gesturing around wildly in a bid for attention and nonperipheral status on the show, Gately realizes, all that would happen is that one of the audibilizing ’name’ stars of the show would bolt over from stage-center and apply restraints or the Heineken Maneuver or CPR, figuring the silent gesturing figurant was choking on a beer-nut or something, and that then the whole rest of that episode of ‘Cheers!’ would be about jokes about the name star’s life-saving heroics, or else his fuck-up in applying the Heineken Maneuver to somebody who wasn’t choking on a nut. No way for a figurant to win. No possible voice or focus for the encaged figurant.

— David Foster Wallace, Infinite Jest