The Wardine section was earmarked for a different subsidized year in draft…

This is a renaming: the same material survives, but names or labels changed between draft and print.

In the manuscript. The scene "looks to have been earmarked for" the Whisper-Quiet year; "However that was crossed out in pen" and the Year of the Trial-Size Dove Bar "was written in in blue ballpoint ink - which is the year of subsidized time that now appears in the text"; separately, "another version of the same scene" is titled "Las Meninas" — "It is essentially the same thing," but a note at the bottom of its typed second page indicates it was "written while he was in grad school at the University of Arizona" Riles's firsthand archive account

In the published book. Scene 8 (pp. 37–38)

Evidence. A single source reports this. Documented by Riles's firsthand archive account (firsthand HRC sighting).

Further notes. The U.-Arizona annotation puts the Wardine material in Wallace's MFA years (he was at Arizona 1985–87) — among the oldest dated strata of the eventual novel, of a piece with den Dulk's some-may-date-to-1986 finding for the conversationalist/Erdedy drafts den Dulk's genetic-criticism study, though that finding does not itself name Wardine. "Las Meninas" (the Velázquez painting) as a working title is now second-attested and letter-dated: a December 1988 letter to Bonnie Nadell enclosed "Las Meninas," "a 2-page story that has been distilled to its fictional essence," "which would later appear in Infinite Jest as Clenette's monologue" [hering-ff Ch.3] — a firsthand 1988 date for the story as a free-standing piece. Gated on eventual HRC text access.