Consider the Lobster: And Other Essays

Consider the Lobster: And Other Essays by David Foster Wallace Page A

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Authors: David Foster Wallace
Tags: Non-fiction:Humor
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the tripods and go mobile and scrum McCain’s exit and the brief Press-Avail at the door to the Straight Talk Express, and then the field producers will call network HQ and summarize the highlights and HQ will decide which five- or ten-second snippet gets used for their news’s nightly bit on the GOP campaign.
    It helps to conceive a campaign week’s events in terms of boxes, boxes inside other boxes, etc. The national voting audience is the great huge outer box, then the SC-electorate audience, mediated respectively by the inner layers of national and local press, just inside which lie the insulating boxes of McCain’s staff’s High Command who plan and stage events and spin stuff for the layers of press to interpret for the layers of audience, and the Press Liaisons who shepherd the pencils and heads and mediate their access to the High Command and control which media get rotated onto the ST Express (which is itself a box in motion) and then decide (the Liaisons do) which of these chosen media then get to move all the way into the extreme rear’s salon to interface with McCain himself, who is the campaign’s narrator and narrative at once, a candidate whose biggest draw of course is that he’s an anticandidate, someone who’s open and accessible and “thinks outside the box,” but who is in fact the campaign’s Chinese boxes’ central and inscrutable core box, and whose own intracranial thoughts on all these boxes and layers and lenses and on whether this new kind of enclosure is anything like Hoa Lo’s dark box are pretty much anyone in the media’s guess, since all he’ll talk about is politics.
    Plus Bullshit 1 is also a box, of course, just the way anything you can’t exit till somebody else lets you out is, and right now there are 27 members of the national political media on board, halfway to Charleston. A certain percentage of them aren’t worth introducing you to because they’ll get rotated back off the Trail tonight and be gone tomorrow, replaced by others you’ll just be starting to recognize by the time they too rotate out. That’s what these pros call it, the Trail, the same way musicians talk about the Road. The schedule is fascist: wake-up call and backup alarm at 0600h, express check-out, Baggage Call at 0700 to throw bags and techs’ gear under the bus, haul ass to McCain’s first THM at 0800, then another, then another, maybe an hour off to F&F someplace if ODTs permit, then usually two big evening events, plus hours of dead highway DT between functions, finally getting into that night’s Marriott or Hampton Inn at like 2300 just when room service closes so that you’re begging rides from FoxNews to find a restaurant still open, then an hour at the hotel bar to try to shut your head off so you can hit the rack at 0130 and get up at 0600 and do it all again. Usually it’s four to six days for the average pencil and then you go off home on a gurney and your editor rotates in fresh meat. The network techs, who are old hands at the Trail, stay on for months at a time. The McCain2000 staff have all been doing this full-time since Labor Day, and even the young ones look like the walking dead. Only McCain seems to thrive. He’s 63 and practically Rockette-kicks onto the Express every morning. It’s either inspiring or frightening.
    Here’s a quick behind-the-scenes tour of everything that’s happening on BS1 at 1330h. A few of the press are slumped over sleeping, open-mouthed and twitching, using their topcoats for pillows. The CBS and NBC techs are in their usual place on the couches way up front, their cameras and sticks and boom mikes and boxes of tapes and big Duracells piled around them, discussing obscure stand-up comedians of the early 70s and trading press badges from New Hampshire and Iowa and Delaware, which badges are laminated and worn around the neck on nylon cords and apparently have value for collectors. Jim C., who looks like a chronically sleep-deprived Elliott Gould,

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