Gately, the wraith, and the figurants (p. 832)
into Gately’s personal mind, in Gately’s own brain-voice but with roaring and unwilled force, comes the term PIROUETTE, in caps, which term Gately knows for a fact he doesn’t have any idea what it means and no reason to be thinking it with roaring force, so the sensation is not only creepy but somehow violating, a sort of lexical rape. […] 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, LATRODECTUS MACTANS and NEUTRAL DENSITY POINT, CHIAROSCURO and PROPRIOCEPTION and TESTUDO and ANNULATE and BRICOLAGE and CATALEPT and GERRYMANDER and SCOPOPHILIA and LAERTES—and all of a sudden it occurs to Gately the aforethought EXTRUDING, STRIGIL and LEXICAL themselves—and LORDOSIS and IMPOST and SINISTRAL and MENISCUS and CHRONAXY and POOR YORICK and LUCULUS and CERISE MONTCLAIR and then DE SICA NEO-REAL CRANE DOLLY and CIRCUMAMBIENTFOUNDDRAMALEVIRATEMARRIAGE and then more lexical terms and words speeding up to chipmunkish and then HELIATED and then all the way up to a sound like a mosquito on speed, and Gately tries to clutch both his temples with one hand and scream, but nothing comes out.
Context
The brain-voice rule demonstrated as assault: the wraith pirouettes on the ceiling and floods Gately's head with a vocabulary that is recognizably JOI's own C.V. — his production companies (LATRODECTUS MACTANS, POOR YORICK), his optics (CHIAROSCURO, SCOPOPHILIA), his physics (ANNULATE), his genre (FOUND DRAMA, DE SICA NEO-REAL), plus Hamlet (LAERTES). "A sort of lexical rape" is the source-marker for every over-lexical moment in Gately's narration anywhere in the book. (Carlisle glosses the run-together LEVIRATE MARRIAGE — marriage to a brother's widow, i.e. the Tavis/Avril architecture pointed at without being said; his reading, recorded.)