Gately and the wraith (pp. 831–832)
Other terms and words Gately knows he doesn’t know from a divot in the sod now come crashing through his head with the same ghastly intrusive force, e.g. ACCIACCATURA and ALEMBIC […] and SCOPOPHILIA and LAERTES […] and POOR YORICK and LUCULUS […] and CIRCUMAMBIENTFOUNDDRAMALEVIRATEMARRIAGE
Context
The Hamlet scaffolding gets seeded verbatim into the scene's strangest event — the wraith's vocabulary flooding Gately's mind in what the text calls "a sort of lexical rape," terms crashing in in caps in Gately's own brain-voice with no idea what they mean. And planted in the storm, load-bearing, are the frame's own keywords: LAERTES (the avenging brother of Ophelia), POOR YORICK (the skull, the gravedigger's memento mori, and the name of Himself's own Poor Yorick Entertainment Unlimited), and, mashed into a single unbroken compound, CIRCUMAMBIENTFOUNDDRAMALEVIRATEMARRIAGE — the levirate marriage, the taking of a dead brother's widow, the Deuteronomic name for exactly the Claudius/Gertrude arrangement the Tavis-and-Avril succession shadows. The ghost-father transmits his son's Hamlet vocabulary the only way a wraith can — as an involuntary invasion of the mind — so the play's whole apparatus enters the novel here not as allusion but as a foreign language forced through a stranger's head.