Dreams

As a nod to Orin’s own unhappy youth, all the dreams seem to open briefly with some sort of competitive-tennis situation. Last night’s had started with a wide-angle shot of Orin on a Har-Tru court, waiting to receive serve from someone vague, some Academy person […] when the dream’s screen tightens on him and abruptly dissolves to the blank dark rose color of eyes closed against bright light, and there’s the ghastly feeling of being submerged and not knowing which way to head for the surface and air, and after some interval the dream’s Orin struggles up from this kind of visual suffocation to find his mother’s head, Mrs. Avril M. T. Incandenza’s, the Moms’s disconnected head attached face-to-face to his own fine head, strapped tight to his face somehow by a wrap-around system of VS HiPro top-shelf lamb-gut string from his Academy racquet’s own face. So that no matter how frantically Orin tries to move his head or shake it side to side or twist up his face or roll his eyes he’s still staring at, into, and somehow through his mother’s face. As if the Moms’s head was some sort of overtight helmet Orin can’t wrestle his way out of. […] The apparent amputation of the Moms’s head from the rest of the Moms appears in the dream to be clean and surgically neat: there is no evidence of a stump or any kind of nubbin of neck, even, and it is as if the base of the round pretty head had been sealed, and also sort of rounded off, so that her head is a large living ball, a globe with a face, attached to his own head’s face.

I am coming to see that the sensation of the worst nightmares, a sensation that can be felt asleep or awake, is identical to those worst dreams’ form itself: the sudden intra-dream realization that the nightmares’ very essence and center has been with you all along, even awake: it’s just been… overlooked; and then that horrific interval between realizing what you’ve overlooked and turning your head to look back at what’s been right there all along, the whole time….

the flashlight with your name in maternal cursive plays over every cm. of the walls, the rheostats, CD, InterLace poster of Tawni Kondo, phone console, desks’ TPs, the face in the floor, posters of pros, the onionskin yellow of the desklamps’ shades, the ceiling-panels’ patterns of pinholes, the grid of upper bunk’s springs, recession of closet and door, boys wrapped in blankets, slight crack like a creek’s course in the eastward ceiling discernible now, maple reglet border at seam of ceiling and walls north and south no floor has a face your flashlight showed but didn’t no never did see its eyes’ pupils set sideways and tapered like a cat’s its eyebrows’ \ / and horrid toothy smile leering right at your light all the time you’ve been scanning oh mother a face in the floor mother oh and your flashlight’s beam stabs jaggedly back for the overlooked face misses it overcorrects then centers on what you’d felt but had seen without seeing, just now, as you’d so carefully panned the light and looked, a face in the floor there all the time but unfelt by all others and unseen by you until you knew just as you felt it didn’t belong and was evil: Evil. And then its mouth opens at your light.

In this dream, which every now and then still recurs, I am standing publicly at the baseline of a gargantuan tennis court. I’m in a competitive match, clearly: there are spectators, officials. The court is about the size of a football field, though, maybe, it seems. It’s hard to tell. But mainly the court’s complex. The lines that bound and define play are on this court as complex and convolved as a sculpture of string. There are lines going every which way, and they run oblique or meet and form relationships and boxes and rivers and tributaries and systems inside systems: lines, corners, alleys, and angles deliquesce into a blur at the horizon of the distant net. I stand there tentatively. The whole thing is almost too involved to try to take in all at once. It’s simply huge. And it’s public.

Expect some rough dreams. They come with the territory. Try to accept them. Let them teach you. Keep a flashlight by your bed. It helps with the dreams.

O., it got worse and worse. I dropped weight. I couldn’t sleep. This was when the nightmares started. I kept dreaming of a face in the floor.

Gately remembers his first six months here straight: he’d felt the sharp edge of every second that went by. And the freakshow dreams. Nightmares beyond the worst D.T.s you’d ever heard about. A reason for a night-shift Staffer in the front office is so somebody’s there for the residents to talk at when—not if, when—when the freakshow dreams ratchet them out of bed at like 0300. Nightmares about relapsing and getting high, not getting high but having everybody think you’re high, getting high with your alcoholic mom and then killing her with a baseball bat. Whipping the old Unit out for a spot-Urine and starting up and flames coming shooting out. Getting high and bursting into flames. Having a waterspout shaped like an enormous Talwin suck you up inside.

it’s midnight now and all masks come off, and you all of a sudden see the Substance as it really is, for the first time you see the Disease as it really is […] this Substance you thought was your one true friend, that you gave up all for, gladly, that for so long gave you relief from the pain of the Losses your love of that relief caused, your mother and lover and god and compadre, has finally removed its smily-face mask to reveal centerless eyes and a ravening maw, and canines down to here, it’s the Face In The Floor, the grinning root-white face of your worst nightmares, and the face is your own face in the mirror, now, it’s you

In the dream Gately and row after row of totally average and non-unique U.S. citizens were kneeling on their knees on polyester cushions in a crummy low-rent church basement. The basement was your average low-rent church basement except for this dream-church’s basement walls were of like this weird thin clean clear glass. […] it was weird because nobody seemed to have any clear idea why they were all on their knees, and there was like no tier-boss or sergeant-at-arms-type figure around coercing them into kneeling, and yet there was this sense of some compelling unspoken reason why they were all kneeling. It was one of those dream things where it didn’t make sense but did. […] Gately in his dream looked slowly up overhead at the ceiling’s exposed pipes and could now all of a sudden see, rotating slow and silent through the basement a meter above the different-shaped and -colored heads of the kneeling assembly, he could see a long plain hooked stick, like the crook of a giant shepherd, like the hook that appears from stage-left and drags bad acts out of tomato-range, moving slowly above them in French-curled circles, almost demurely, as if quietly scanning; and when a mild-faced guy in a cardigan happened to stand up and was hooked by the hooked stick and pulled ass-over-teakettle out through the soundless glass membrane Gately turned his big head as far as he could without leaving the cushion and could see, now, just outside the wall’s clean pane, trolling with the big stick, an extraordinarily snappily dressed and authoritative figure manipulating the giant shepherd’s crook with one hand and coolly examining the nails of his other hand from behind a mask that was simply the plain yellow smily-face circle that accompanied invitations to have a nice day. […] It manipulated the big stick in the coolly purposeful way of the sort of angler who you know isn’t going to throw back anything he catches.

One of Ennet House’s live-in Staffers’ rotating P.M. jobs is to be awake and on-call in the front office all night for Dream Duty—people in early recovery from Substances often get hit with real horror-show dreams, or else traumatically seductive Substance-dreams, and sometimes trite but important epiphanic dreams, and the Staffer on Dream Duty is required to be up doing paperwork or sit-ups or staring out the broad bay window in the front office downstairs, ready to make coffee and listen to the residents’ dreams and offer the odd practical upbeat Boston-AA-type insight into possible implications for the dreamer’s progress in recovery—but Gately had no need to clomp downstairs for a Staffer’s feedback on this one, since it was so powerfully, tritely obvious.

And his dreams late that night, after the Braintree/Bob Death Commitment, seem to set him under a sort of sea, at terrific depths, the water all around him silent and dim and the same temperature he is.

Hal Incandenza had this horrible new recurring dream where he was losing his teeth, where his teeth had become like shale and splintered when he tried to chew, and fragmented and melted into grit in his mouth; in the dream he was going around squeezing a ball and spitting fragments and grit, getting more and more hungry and scared. Everything in there loosened by a great oral rot that the nightmare’s Teddy Schacht wouldn’t even look at, saying he was late for his next appointment, everyone Hal saw seeing Hal’s crumbling teeth and looking at their watch and making vague excuses, a general atmosphere of the splintering teeth being a symptom of something way more dire and distasteful that no one wanted to confront him about. He was pricing dentures when he woke.

As she lies on her side beside Kate Gompert’s empty bunk, her veil’s selvage tucked secure between pillow and jaw, and Charlotte Treat also asleep across the lit room, Joelle dreams that Don Gately, unhurt and mid-South-accented, is ministering to her teeth. […] and as the dentist’s warm thick fingers gently draw her lips back she looks up into his head’s mirror at long rows of all canine teeth, tapered and sharp, with then more rows of canines behind them, in reserve. The countless rows of the teeth are all sharp and strong and unblackened but tinged at the tips with an odd kind of red, as of old blood, the teeth of a creature that carelessly tears at meat. These are teeth that have been up to things she hasn’t known about, she tries to say around the fingers. The dentist hums, probing. In the dream Joelle looks up into Don Gately’s forehead’s dental mirror’s disk and is seized with a fear of her teeth, a terror, and as her spread mouth spreads farther to cry out in fear all she can see in the little round mirror are endless red-stained rows of teeth leading back and away down a pitch-black pipe, and the image of all these rows of teeth in the disk blots out the big dentist’s good face as he probes with a hook and says he assures her that these can be saved.

‘Then, without any sort of dream-segue, I’m sitting in a cold room, naked as a jaybird, in a flame-retardant chair, and I keep receiving bills in the mail for teeth. A mail carrier keeps knocking on the door and coming in without being invited and presenting me with various bills for teeth.’ […] ‘Only not for any teeth of mine, Boo. The bills are for somebody else’s teeth, not my teeth, and I can’t seem to get the mail carrier to acknowledge this, that they’re not for my teeth.’ […] ‘The bills are in little envelopes with plasticized windows that show the addressee part of the bills. I put them in my lap until the stack gets so big they start to slip off the top and fall to the floor.’

Gately kept having a terrible repetitious ethnocentric dream that he was robbing the house of an Oriental and had the guy tied to a chair and was trying to blindfold him with quality mailing twine from the drawer under the Oriental’s kitchen phone. The Oriental kept being able to see around the twine and kept looking steadily at Gately and blinking inscrutably. Plus the Oriental had no nose or mouth, just a smooth expanse of lower-facial skin, and wore a silk robe and scary sandals, and had no hair on its legs.

He seemed to sort of sleep. He fever-dreamed of dark writhing storm clouds writhing darkly and screaming on down the beach at Beverly MA, the winds increasing over his head until Herman the polyurethane vacuole burst from the force, leaving a ragged inhaling maw that tugged at Gately’s XXL Dr. Dentons. […] It was now no longer clear if he was little Bimmy or the grown man Don. […] The beach house exploded and his mother flew through the air toward the funnel’s intake, arms and legs threshing, as if swimming in wind. She vanished into the maw and was pulled spinning up into the tornado’s vortex. […] He saw his mother for the last time when lightning lit up the funnel’s cone. She was whirling around and around like something in a drain, rising, seeming to swim, bluely backlit. The burst of lightning was the white of the sunlit room when he came up for air and opened his eyes. His mother’s tiny rotating imago faded against the ceiling.

Then somewhere later in the couple of hours before midnight’s parking-switch symphony on Washington St. outside is an unpleasantly detailed dream where the ghostish figure that’s been flickering in and out of sight around the room finally stays in one spot long enough for Gately to really check him out. […] The ghostly figure shrugged its thin shoulders and said But no, it was nothing of the sort, it was just a plain old wraith, one without any sort of grudge or agenda, just a generic garden-variety wraith. Gately sarcastically in the dream thought that Oh well then if it was just a garden-variety wraith, is all, geez what a fucking relief.

Then Gately considered that who knew what was necessary or normal for a self-proclaimed generic wraith in a pain-and-fever dream. Then he considered that this was the only dream he could recall where even in the dream he knew that it was a dream, much less lay there considering the fact that he was considering the up-front dream quality of the dream he was dreaming. It quickly got so multilevelled and confusing that his eyes rolled back in his head.

But he can’t for the life of him remember doing more than trying to hear, and the sheer cerebral stress of trying to force a more noble memory should have awakened him, on top of the dextral hurt; but he doesn’t come all the way awake in the big crib until the memory’s realistic dream bleeds into a nasty fictional dream where he’s wearing Lenz’s worsted topcoat and leaning very precisely and carefully over the prone figure of the Hawaiian-dressed Nuck whose head he’s whacked repeatedly against the hood’s windshield, he’s supporting his inclined weight on his good left hand against the warm throbbing hood, bent in real close to the maimed head, his ear to the bleeding face, listening very intently. The head opens its red mouth.

Gately dreamed he was with Ennet House resident Joelle van Dyne in a Southern motel whose restaurant’s authoritarian sign said simply EAT, in the U.S. South, in high summer, brutally hot, the foliage outside the room’s broken windowscreen a parched khaki, the air glassy with heat, the ceiling fan rotating at a second-hand’s rate, the room’s bed a lavish four-poster […] and then when she moves around out of the pulsing shadow to lean in close and press her inhuman body’s face right up intimately close to his, she removes the veil, and on top of this body to die for is the unveiled historical likeness of fucking Winston Churchill, complete with cigar and jowls and bulldog scowl, and the ghastliness of the shock makes the rest of Gately’s body go rigid, the pain of which wakes him with a jolted attempt to sit up that itself causes such a blast of pain that he half passes back out again and lies there with rolling eyes and a round mouth.

Death says the woman who either knowingly or involuntarily kills you is always someone you love, and she’s always your next life’s mother. This is why Moms are so obsessively loving, why they try so hard no matter what private troubles or issues or addictions they have of their own, why they seem to value your welfare above their own, and why there’s always a slight, like, twinge of selfishness about their obssessive mother-love: they’re trying to make amends for a murder neither of you quite remember, except maybe in dreams.

As Death’s explanation of Death goes on Gately understands really important vague stuff more and more, but the more he understands the sadder he gets, and the sadder he gets the more unfocused and wobbly becomes his vision of the Death’s Joelle sitting nude on the pink plastic ring, until near the end it’s as if he’s seeing her through a kind of cloud of light, a milky filter that’s the same as the wobbly blur through which a baby sees a parental face bending over its crib, and he begins to cry in a way that hurts his chest, and asks Death to set him free and be his mother, and Joelle either shakes or nods her lovely unfocused head and says: Wait.

The Pakistani curtsies deeply and bends forward, crumpling around Gately’s hand, showing all 112 teeth as he screams higher and higher until he hits a jagged high note like a big opera lady in a Viking helmet so shattering it makes the crib-railings and windowglass shiver and woke Don Gately up with a start, his left arm through the railing and twisted with the force of his attempt to sit up so that the pain now made him hit almost the same high note as the dream’s foreign M.D. […] The one visitor-chair was back over by the wall. He looked down. Either the stenographer’s notebook and pen had got knocked off his bed or the dream had made up that part, too. […] But the railing Joelle van D. had folded down to sit on the bunk in the fucking Erdedy kid’s sweats was still folded down, and the other railing was still up. So there was some like evidence of the one part, that she’d been really there, showing him the pictures.

Little entr’actes of feverish dreams punctuate memories and being conscious, like. He dreams he’s riding due north on a bus the same color as its own exhaust, passing again and again the same gutted cottages and expanse of heaving sea, weeping. The dream goes on and on, without any kind of resolution or arrival, and he weeps and sweats as he lies there, stuck in it.

He dreams he’s with a very sad kid and they’re in a graveyard digging some dead guy’s head up and it’s really important, like Continental-Emergency important, and Gately’s the best digger but he’s wicked hungry, like irresistibly hungry, and he’s eating with both hands out of huge economy-size bags of corporate snacks so he can’t really dig, while it gets later and later and the sad kid is trying to scream at Gately that the important thing was buried in the guy’s head and to divert the Continental Emergency to start digging the guy’s head up before it’s too late, but the kid moves his mouth but nothing comes out, and Joelle van D. appears with wings and no underwear and asks if they knew him, the dead guy with the head, and Gately starts talking about knowing him even though deep down he feels panic because he’s got no idea who they’re talking about, while the sad kid holds something terrible up by the hair and makes the face of somebody shouting in panic: Too Late.

Gately nodded out into a dream where he was on a Beverly-Needham bus whose sides said PARAGON BUS LINES: THE GRAY LINE. In his stuporous recall over four years later in St. E.’s he realizes that this bus is the bus from the dream that wouldn’t end and wouldn’t go anywhere, but has the sickening realization that the connection between the two buses is itself a dream, or is in a dream, and it’s now that his fever returns to new heights and his line on the heart monitor gets a funny little hitch like a serration at the 1st and 3rd nodes, which makes an amber light flash at the nurse’s station down the hall.

‘In the dream the horror was that I wasn’t really singing “There’s No Business Like Show Business.” I was really screaming for help. I was screaming like “Help! I’m screaming for help and everybody’s acting as if I’m singing Ethel Merman covers! It’s me! It’s me, screaming for help!” ’

It’s the mornings after the spider-and-heights dreams that are the most painful, that it takes sometimes three coffees and two showers and sometimes a run to loosen the grip on his soul’s throat; and these post-dream mornings are even worse if he wakes unalone, if the previous night’s Subject is still there, wanting to twitter, or to cuddle and, like, spoon, asking what exactly is the story with the foggy inverted tumblers on the bathroom floor, commenting on his night-sweats […]

So now his own eye-mucus is secure, in the Desert Southwest; but the bad dreams have gotten worse since the trade to this blasted area Himself himself had fled, long ago, as an unhappy youngster.

In the dream, it’s understandably vital to Orin that he disengage his head from the phylacteryish bind of his mother’s disembodied head, and he cannot. Last night’s Subject’s note indicates that at some point last night Orin had clutched her head with both hands and tried to sort of stiff-arm her, though not in an ungentle or complaining way (the note, not the stiff-arm).

he’d awakened from a night of horror-show dreams—woke up with an abrupt fetal spasm, unrefreshed and benighted of soul, his eyes wobbling and his wet silhouette on the bottom sheet like a coroner’s chalk outline

It’s one of those unpleasant opioid feverish half-sleep states, more a fugue-state than a sleep-state, less a floating than like being cast adrift on rough seas, tossed mightily in and out of this half-sleep where your mind’s still working and you can ask yourself whether you’re asleep even as you dream. And any dreams you do have seem ragged at the edges, gnawed on, incomplete.

It’s literally ‘daydreaming,’ sick, the kind of incomplete fugue you awaken from with a sort of psychic clunk, struggling up to sit upright, convinced there’s someone unauthorized in the dorm room with you.

Your first nightmare away from home and folks, your first night at the Academy, it was there all along: The dream is that you awaken from a deep sleep, wake up suddenly damp and panicked and are overwhelmed with the sudden feeling that there is a distillation of total evil in this dark strange subdorm room with you, that evil’s essence and center is right here, in this room, right now. And is for you alone. None of the other little boys in the room are awake; the bunk above yours sags dead, motionless; no one moves; no one else in the room feels the presence of something radically evil; none thrash or sit damply up; no one else cries out: whatever it is is not evil for them.

And then you wake like that, quivering like a struck drum, lying there awake and quivering, summoning courage and spit, roll to the right just as in the dream for the nametagged flashlight on the floor by the bed just in case, lie there on your shank and side, shining the light all over, just as in the dream. Lie there panning, looking, all ribs and elbows and dilated eyes. […] the floor neutral, faceless, you cannot see any face in the floor, awake, lying there, faceless, blank, dilated, playing beam over floor again and again, not sure all night forever unsure you’re not missing something that’s right there: you lie there, awake and almost twelve, believing with all your might.

when Bridget Boone, in whose room a lot of the 16 and Unders used to congregate before lights-out, invited me to consider a couple of late-night bongs, as a kind of psychodysleptic Sominex, to help me sleep, perhaps, finally, all the way through a really unpleasant dream that had been recurring nightly and waking me up in medias for weeks and was beginning to grind me down and to cause some slight deterioration in performance and rank. Low-grade synthetic Bob or not, the bongs worked like a charm.

I can make out in the stands stage-left the white sun-umbrella of the Moms; her height raises the white umbrella above her neighbors; she sits in her small circle of shadow, hair white and legs crossed and a delicate fist upraised and tight in total unconditional support.

The umpire whispers Please Play. We sort of play. But it’s all hypothetical, somehow. Even the ‘we’ is theory: I never get quite to see the distant opponent, for all the apparatus of the game.

Here is how to avoid thinking about any of this by practicing and playing until everything runs on autopilot and talent’s unconscious exercise becomes a way to escape yourself, a long waking dream of pure play.

This is also how not to fear sleep or dreams. Never tell anyone where you are. Please learn the pragmatics of expressing fear: sometimes words that seem to express really invoke.

It had come clear to Gately that Boston AA had the planet’s most remorselessly hard-ass and efficient sergeant at arms. Gately lay there, overhanging all four sides of his bunk, his broad square forehead beaded with revelation: Boston AA’s Sergeant at Arms stood outside the orderly meeting halls, in that much-invoked Out There where exciting clubs full of good cheer throbbed gaily below lit signs with neon bottles endlessly pouring. AA’s patient enforcer was always and everywhere Out There […] In the home of a snot-strangled Canadian VIP and the office of an implacable Revere A.D.A. whose wife has opted for dentures at thirty-five. AA’s disciplinarian looked damn good and smelled even better and dressed to impress and his blank black-on-yellow smile never faltered as he sincerely urged you to have a nice day. Just one more last nice day. Just one.

When now he dreamt of his father, it was of the two skating, young Marathe and M. Marathe, at a St. Remi-d’Amherst outdoor rink, M. Marathe’s breath visible and his pacemaker a boxy bulge in his Brunswickian cardigan.

Lenz shares about this recurving dream where he’s seated under a tropical ceiling fan in a cane chair wearing an L.L. Bean safari hat and holding a wickerware valise in his lap, and that’s all, and that’s the recurving dream.

He says there’s another recurving nightmare about a clock with hands frozen eternally at 1830 that’s so trouser-foulingly scary he won’t even burden Green’s fragile psychology with the explicits of it.

Green, lighting both their smokes, says he either doesn’t remember his dreams or doesn’t dream.

0245h., Ennet House, the hours that are truly wee. Eugenio M., voluntarily filling in for Johnette Foltz on Dream Duty, is out in the office playing some sort of hand-held sports game that blips and tweets. […] Cartridges not allowed after 0000h., to encourage sleep. Sober cocaine- and stimulant-addicts sleep pretty well by the second month, straight alcoholics by the fourth. Abstinent pot- and tranq-addicts can pretty much forget about sleep for the first year.

Green in his sleep cries out something that sounds like ‘For God’s sake no Mr. Ho don’t light it!’ […] ‘Not the nuts Jesus God not the nutsss.’ […] ‘Oh God please,’ Green says very distinctly.

Her chair is dental and canted back, yielding her face up to him, her legs shut tight and stretching up and out before her. […] There is no assistant; the dentist is solo, leaning in above her, humming absent chords as he probes.

his head haloed with a strap and a polished metal disk attached to the strap just above his eyes, a tiny mirror of stainless steel, clean as the instruments’ tray; and the dream’s yielding and trustful quality of calm is undercut only by the view of her face in the halo’s mirror, the disk like a third eye in Gately’s broad clean forehead: because she can see her face, convexly distorted and ravaged by years of cocaine and not caring, her face all bug-eyes and sunken cheeks, lampblack-smudges beneath the pop-eyes

When the dental nightmare tore her upright awake her mouth was open to scream out, but the scream was Nell G. down in the living room, whose laugh always sounds like she’s being eviscerated. Nell preempted Joelle’s own scream. Then Joelle cleaned. Cleaning is maybe a form of meditation for addicts too new in recovery to sit still.

When they got back to the brownstone co-op on that last pre-Subsidized Thanksgiving was the first historical time Joelle intentionally did lines of cocaine to keep from sleeping. […] So Joelle was awake at 0400, cleaning back behind the refrigerator for the second time, when Orin cried out in the nightmare she’d somehow felt should have been hers.

‘Booboo, I dreamed I was losing my teeth. I dreamed that my teeth dry-rotted somehow into shale and splintered when I ate or spoke, and I was jettisoning fragments all over the place, and there was a long scene where I was pricing dentures.’

‘Boo, I think I no longer believe in monsters as faces in the floor or feral infants or vampires or whatever. I think at seventeen now I believe the only real monsters might be the type of liar where there’s simply no way to tell. The ones who give nothing away.’

Don, the other night, after the fracas and your display of reluctant se offendendo, after your injury and the whole aftermath… Don, I dreamed the whole mad repressed third-grade interval of grandiose perfidy all over again. Vividly and completely. When I awoke, I was somehow minus my goatee and my hair was center-parted in a fashion I haven’t favored for forty years. The bed was soaked, and there was a gnawed-looking cake of McDade’s special anti-acne soap in my hand.’

Almost certainly dreamed and unreal was the interval when Gately came up with a start and saw Mrs. Lopate, the objay dart from the Shed that they come and install next to the Ennet House viewer some days, sitting there in a gunmetal wheelchair, face contorted, head cocked, hair stringy, looking not at him but more like seemingly at whatever array of I.V. bottles and signifying monitors hung above and behind his big crib, so not speaking or even looking at him but still in some sense being there with him, somehow. […] And that this realization was real even though the lady’s presence in the room was not, the complexities of which made his eyes roll up in his head again as he passed back out again.

A recurring bad dream Gately’s had ever since he gave up and Came In and got straight consists simply of a tiny acne-scarred Oriental woman looking down at him. Nothing else happens; she’s just looking down at Gately. Her acne scars aren’t even all that bad. The thing is that she’s tiny. […] Involved in the dream also in a menacing way somehow is a dog standing rigidly in the distance past the Oriental woman, motionless and rigid, in profile, standing there still and straight as a toy. The Oriental woman has no particular expression and never says anything, though her face’s scars have a certain elusive pattern to them that seems like it wants to mean something.

When Gately opens his eyes again Geoffrey Day’s gone, and his hospital bed with its railings and I.V. bottles on stands has been moved way over so that it’s right up next to the bed of whoever the person in the room’s other bed is, so it’s like Gately and this unknown patient are a sexless old couple sleeping together but in separate beds, and Gately’s mouth goes oval and his eyes bug out with horror, and his effort at yelling hurts enough to wake him up, and his eyelids shoot up and rattle like old windowshades, and his hospital bed’s back where it’s always been, and a nurse is giving the anonymous guy in the other bed some sort of late-night-type shot you could tell was narcotic, and the patient, who has a very deep voice, is crying.

The city’s aggregate nighttime lights lightened the sky through the room’s window to the same dark rose shade you see when you close your eyes, adding to the dream-of-dream-type ambiguity. Gately in the dream tried the test of pretending to lose consciousness so the wraith would go away, and then somewhere during the pretense lost consciousness and really did sleep, for a bit, in the dream, because the tiny pocked Oriental woman was back and looking wordlessly down at him, plus the creepy rigid dog. And then the sedated patient in the next bed woke Gately back up, in the original dream, with some kind of narcotized gurgle or snore, and the so-called wraith-figure was still there and visible, only now it was standing on top of the railing at the side of Gately’s bed, looking down at him now from a towering railing-plus-original-tallness height, having to exaggerate his shoulders’ natural slump in order to clear the ceiling. […] There was a degree of, what, specificness about this figure in this dream that Gately found troubling. Much less having the unpleasant old-Oriental-woman dream inside this dream right here.

But now not even moos or mews would come, all he could seem to do was pant real hard, as if the air was like totally missing his vocal box, or like his vocal box was totally demapped from nerve-damage in his shoulder and now just sort of hung there all withered and dry like an old hornet nest while air rushed out Gately’s throat all around it. His throat still didn’t feel right. It was exactly the suffocated speechlessness in dreams, nightmares, Gately realized. This was both terrifying and reassuring, somehow. Evidence for the dream-element and so on and so forth.

The unfamiliar script on the Coke can is maybe the whole dream’s worst moment. […] Gately begins to consider this hopefully nonrecurring dream even more unpleasant than the tiny-pocked-Oriental-woman dream, overall. […] Gately’s unpleasant dreams definitely don’t normally include specific gum-color and intense physical discomfort and invasions of lexical terms he doesn’t know from shinola.

Gately begins to conclude it’s not impossible that the garden-variety wraith on the heart monitor, though not conventionally real, could be a sort of epiphanyish visitation from Gately’s personally confused understanding of God, a Higher Power or something, maybe sort of like the legendary Pulsing Blue Light that AA founder Bill W. historically saw during his last detox, that turned out to be God telling him how to stay sober via starting AA and Carrying The Message. […] of course there’s also the possibility that the tall slumped extremely fast wraith might represent the Sergeant at Arms, the Disease, exploiting the loose security of Gately’s fever-addled mind, getting ready to fuck with his motives and persuade him to accept Demerol just once, just one last time, for the totally legitimate medical pain. […] Does wraith mean like a ghost, as in dead? Is this a message from a Higher Power about sobriety and death?

What Gately remembers, in pain, bubbling just under the lid of sleep, is the special and precise way the M.P. would handle the flies that came into the kitchen. […] The conversation with the M.P. that Gately reexperiences in minutely dreamed detail was the M.P., at about five Heinekens, explaining that maiming a fly was way more effective than killing a fly, for flies.

Gately supine with his side on fire while newcomer Joelle v.D. raises her veil slightly to lick the sweat off his lids and temples, whispering so the veil flutters around and fans him, promising him a P.M. of near-terminal pleasures, undressing at the foot of the old tall bed, slowly, her loose light clothes moist with sweat and falling easily to the bare floor, and an incredible female body, an inhuman body, the sort of body Gately’s only ever seen with a staple in its navel, a body like something you’d win in a raffle

Which is what makes it somehow worse that his next, even more unpleasant Joelle van Dyne pain-and-fever dream takes place in what is, unmistakably and unavoidably, Mrs. Waite’s kitchen, in great detail, right down to the ceiling’s light-fixture full of dried bugs, the brimming ashtrays, the bar-graph of stacked Globes, the maddening arrhythmic drip of the kitchen sink and the bad smell—a mixture of mildew and putrid fruit. […] Mrs. Waite is played by veiled U.H.I.D. House resident Joelle van D., except without her veil, and what’s more without any clothes, as in starkers, gorgeous, with that same incredible body as in the other one except here this time with the face not of a jowly British P.M. but of a total female angel, not sexy so much as angelic, like all the world’s light had gotten together and arranged itself into the shape of a face. Or something. […] Because in this dream, Mrs. Waite, who is Joelle, is Death. As in the figure of Death, Death incarnate.

This is how it works: didn’t he know? In the dream everybody in the world seems to know this except Gately, like he’d missed that day in school when they covered it, and so Death’s having to sit here naked and angelic and explain it to him, very patiently, more or less like Remedial Reading at Beverly H.S.

I was in a zoo. There were no animals or cages, but it was still a zoo. It was close to a nightmare and it woke me before 0500h.

I’d awakened too early yesterday, too. I’d kept seeing Kevin Bain crawling my way in my sleep.

He’s been floating just under sleep’s lid again.

‘You stepped in against six armed Hawaiians, I hear. Marshall Plan. Captain Courageous. God’s personal Shane.’

The dream’s vividness had been either fever or Disease, but either way it had fucking seriously rattled his cage.

Plus this dreadful time of weak gray late-day light is the time, was the time when the sad and nerdily dressed wraith appeared yesterday. Assuming that was yesterday. Assuming it was a real wraith. But the wraith, with its chinky Coke and theories of post-mortem speed, had been able to interface with Gately without aid of speech or gesture or Bic, was why even out of his mind Gately had had to admit to himself it must have been a delusion, a fever-dream. But he has to admit he’d kind of liked it. The dialogue. The give-and-take. The way the wraith could seem to get inside him. The way he said Gately’s best thoughts were really communiqués from the patient and Abiding dead.

Gately comes sharply around when he feels the little rough tongue on his forehead—not unlike Nimitz the M.P.’s little pet kitten’s hesitant tongue […] When Gately gets his eyelids unstuck, though, the tongue is not even close to being Nimitz’s. The wraith is back, right by the bed, dressed like before and blurred at the edges in the hat-shadowed spill of hallway-light, and except now with him is another, younger, way more physically fit wraith in kind of faggy biking shorts and a U.S. tank top who’s leaning way over Gately’s railing and… fucking licking Gately’s forehead with a rough little tongue, and as Gately reflexively strikes out at the guy’s map—no man put his tongue on D. W. Gately and lived—he has just enough time to realize the wraith’s breath has no warmth to it, or smell, before both wraiths vanish and a blue forked bolt of pain from his sudden striking-out sends him back against his hot pillow with an arched spine and a tube-impeded scream, his eyes rolling back into the dove-colored light of whatever isn’t quite sleep.

His fever is way worse, and his little snatches of dreams have a dismantled cubist aspect he associates in memory with childhood flu. He dreams he looks in a mirror and sees nothing and keeps trying to clean the mirror with his sleeve. One dream consists only of the color blue, too vivid, like the blue of a pool. An unpleasant smell keeps coming up his throat. He’s both in a bag and holding a bag. Visitors flit in and out, but never Ferocious Francis or Joelle van D. He dreams there’s people in his room but he’s not one of them.

His foot really was hurt, and the remains of whatever had made him fall asleep so hard really were making him sick to his stomach, and in sum this experience was pretty clearly not one of his bad dreams, but Orin, #71, was in deep denial about its not being a dream. It was like the minute he’d come to and found himself inside a huge inverted tumbler he’d opted to figure: dream. The stilted amplified voice that came periodically through the small screen or vent above him, demanding to know Where Is The Master Buried, was surreal and bizarre and inexplicable enough to Orin to make him grateful: it was the sort of surreal disorienting nightmarish incomprehensible but vehement demand that often gets made in really bad dreams. Plus the bizarre anxiety of not being able to get the adoring Subject to acknowledge anything he said through the glass. When the speaker’s screen slid back, Orin looked away from the glass’s faces and up, figuring that they were going to do something even more surreal and vehement that would really nail down the undeniable dream-status of the whole experience.

‘It was a DMZ-dream.’ ‘Do you see how you’re going to apply this to a rate-of-increase-type little story they’ll pose?’ ‘It involved your experimental soldier, the massive dose.’ ‘Let me just close this door, here.’ ‘It was the Leavenworth convict. The one you said had left the planet. The one belting out Ethel Merman. It was horrific, Mikey. In the dream I was the soldier.’ ‘So you’re now going to assume a real you-know-what experience will be similar to the experience of a nightmare.’ ‘Aha. Why nightmare? Why do you assume it was a nightmare? Did I use the word nightmare?’ ‘You used the word horrific. I assume it wasn’t a romp through the heather.’

‘A Rusk-level dream, Inc. A standard nobody-understands-me dream. The DMZ and Mermanization were incidental.’ ‘There was a quality of loneliness to it, though. Unlike anything. To be screaming that I’m screaming for help instead of singing a show-tune and to have the wardens and doctors gathered around snapping their fingers and tapping their feet.’

the previous Subject had been a sallowly pretty Arizona State developmental psychology grad student with two kids and outrageous alimony and penchants for sharp jewelry, refrigerated chocolate, InterLace educational cartridges, and professional athletes who thrashed in their sleep.

Peter Beak is asleep with his eyes open, a queer talent E.T.A. seems to instill in the younger ones. […] Beak’s cold-weather adenoids wake him periodically, and he gurgles and his eyes roll up briefly before they level out and he settles back, seeming to stare. […] Beak’s palsied eyes and little limb-spasms signify a troubling dream.

It was like one of those final exams in nightmares where you prepare immaculately and then you get there and all the exam questions are in Hindi.

Gately, who’d pulled an all-night Dream Duty shift out in the front office till 0400, then got temp-relieved by Johnette Foltz so he could go to work janitoring down at the Shattuck Shelter till 0700

and Gately had winced to get ready for the sound of serious glass, but the glass wall didn’t shatter so much as just let the cartwheeling lady sort of melt right through, and healed back over where she’d melted through, and she was gone.

His swollen black eyes and R.E.M.’s non sequiturs, plus the capering 130-kilo infant on the viewer, plus Day and Gompert conversing while both staring into space, all backed by the blurps and wonks of Gene M.’s hand-held game in the office, give the dark living room a dreamy and almost surreal atmosphere.

‘Booboo, I just had a wicked awful dream.’ ‘You were saying “Thank you Sir may I have another” several times.’ ‘Sorry Boo.’ ‘Numerous times.’

Plus Thrust says Bruce Green hasn’t shared word one to Staff about his feelings about anything to do with Lenz or Gately’s embryoglio; that he just sits around waiting for somebody to read his mind; that his roommates have complained that he thrashes and shouts about nuts and cigars in his sleep.

It occurs to Gately he’s never had any sort of dream where somebody says anything like vast bulk, much less agora, which Gately interprets as a kind of expensive sweater.

The seated shadow of somebody in a hat is still there out there in the hall, though if the whole interlude was a dream it isn’t and has never been there, Gately realizes, squinting a little to try to make sure the shadow is the shadow of a hat and not a fire-extinguisher box on the hall wall or something.

Gately wonders if the wraith has to endure the same pain as Gately in order to hear his brain-voice and have a conversation with him. Even in a dream, that’d be a higher price than anybody’s ever paid to interface with D. W. Gately.

The intensifying rose-colors behind Gately’s closed lids are from the hospital room lightening as the light outside the window gets licoricey and pre-dawn. Gately lies below the unoccupied heart-monitor snoring so hard the railings on either side of his bed shiver and rattle.

For about a year once at age twenty in Malden he’d slept most nights in a home-built loft in the dorm of a certain graduate R.N.-nursing program in Malden, with a ragingly addicted R.N.-nursing student, in the loft, which you needed a five-rung ladder to get up into this loft and the thing was only a couple of feet under the ceiling, and every A.M. Gately’d awake out of some bad dream and sit up with a jolt and thwack his head against the ceiling, until after some time there was a permanent concavity in the ceiling and a flattish spot in the curve of the top of his forehead he can still feel, lying here blinking and holding his head with his good left hand.

Someone was crying out in a bad dream and someone else was yelling for quiet.

He spoke loudly because they both wore earplugs of expanding foam—people’s nightmare-cries gave them the fantods.

Gately’s memories of ‘Cheers!’ ’s Nom now are clearer and vivider than any memory of the wraith-dream or the whirling wraith who said death was just everything outside you getting really slow.

Gately imagines the M.D. smiling incandescently as he wields a shepherd’s crook.

so intent were they on the Blues’ somnolent hum, blotting everything out, while Pamela Hoffman-Jeep lay wrapped tight in the other room dreaming of damsels and towers

Some of the memories have to be confabulated or dreamed—the Moms would never have had a divan with burns in it.

Orin’s never once darkened the door of any sort of therapy-professional, by the way, so his takes on his dreams are always generally pretty surface-level.

Don G.’s North Shore’s vulgate signifier for trite/banal is: limp.