Week Two – Pages 63-137 (endnotes 23-48)

Week Two – Pages 63-137 (endnotes 23-48)

More than a few people I have spoken to put IJ down around 100 pages in. So we have just passed through a place where there can be a certain level of attrition.  I can understand why, comparing the first week’s reading to this week’s. We have our first giant endnote (the filmography, and maybe endnote 304) and a few really long sections that don’t seem to further the ‘story’ in a way that the rapid-fire sections we have read earlier do.

I see many core examples of how DFW weaves information through seemingly unconnected narratives. I’ll recap what we’ve read and let’s start talking about it!

The majority (all?) of this section occurs during the Year of the Depend Adult Undergarment, in April (Marathe and Steeply) and November (most of all of the rest, except the segment of Mario and the telescope which happens in October). We know James Incandenza dies in the Year of the Trial Sized Dove Bar at age 54 (if we ever find out his birth year, we can place subsidized time on our calendar).

We get a detailed list of  James’ filmography, in which is nested a significant amount of information about what has happened during subsidized time. It’s our first introduction to feral hamsters, outsized feral infants, the elimination of Troy, NY due to misplaced waste displacement vehicles, etc.

The filmography also includes familiar subjects: It Was a Great Marvel That He Was in the Father Without Knowing Him is about the ‘professional conversation’ and Widower is about a father with serious spider issues – leading me to assume more of the films will also have a ‘real life’ counterpart.

Orin is playing professional football as a punter in Arizona, has met someone and wants to talk about Canadian separatism.

We meet Kate Gompert, whose addiction to weed mirrors that of Erdedy’s in its intensity, and Hal’s in its secrecy. She also buys from Tommy Doocey. I was interested in how she described the ‘feeling.’

The  cartridge that took the attache is now responsible for upwards of 20 catatonic states.

A LOT of  Enfield  in these sections, getting a better understanding of Pemulis (drug aficionado), Schtitt, Mario, Troletsch, Struck, Millicent Kent, John Wayne, plus weird Lyle.

Our first Ennett House resident (though Ennett house is still unnamed here – Unit #6) – Little Burl Ives, Tiny Ewell.

The beginning of the Marathe/Steeply section of the book. A LOT of info is laid out here about the “entertainment” Canada/US relations, indications that Marathe’s wife is very very ill, the descriptions of Steeply’s disguise, the almost impossible (for me) to keep track of duplicity that is going on as agents, and the description of the environmental impact of annular fusion being “a drooling and piss-colored bank of teratogenic Concavity clouds”

A wonderful section by ‘yrstruly’ describing a drug run gone bad.

Now what are we supposed to do with endnote 304? There are two endnotes in this section that point to it (39b. and 45). So you flip to 304, and find out its 7 goddamn pages long. Is it meant to be read now? Then why have it as endnote 304, not 39b? Did you read it?

Also, what is your favourite James Incandenza film? (this is a link the filmography online on a very cool website of IJ related stuff..)


  1. Bonnaventure

    Just went back and read endnote 304 and was perturbed at the length at first, until I was able to get in to the flow. I think it is an important endnote, as DFW does a great job of spinning this yarn that both grounds IJ in reality and turns it on its ear a bit. We learn about these Quebec Youths and their (spoiler alert: deadly game of nerves and stupidity).

    The stupidity might be the main takeaway from this endnote. Unlike stick and poke tattoos or racing motorcycles, the jeux de culte has almost no benefit, and even the winners are losers. It’s hard to wrap my head around a game so dangerous and pointless, but I’m realizing that the endless years of Quebec’s inferiority complex compounded by these new issues surrounding ONAN has pushed the people passed the rational. Heck, not much of what happens in the book so far is very rational.

    The note is also great for its name dropping of Quebec separatist politicians. Kudos to DFW for predicting Ducceppe’s eventual leadership of the Bloc Québécois and mention of the now ousted leader of the provincial Parti Quebecois. While I’m not a quebecer, I do feel very close to these issues. I once voted against Duceppe in a federal election while living in Montreal and the idea of separatism and national identity and sovereignty are ideas I’ve spent more than my fair share thinking about.

    Loving this read so far.

    • Johanna Schwartz

      Adding my few cents into the discussion of note 304:

      I’m curious to know from our non-Canadian readers whether they were aware that the Quebec separatist movement was/is real. I could see thinking this was another part of the fictional universe. (I always assume no one knows anything about Canada…)

      I really loved Struck’s frustration with “foam flecked megalograndiosity” and wanting to slap the author – forehand, backhand, forehand.

      Le Jeu du Prochain Train, not unlike tennis, becomes a contest against ones’ self, as the best players “ignore their five competitors completely”

      This, and most ETA excerpts, illustrates the intense academic rigour of the school, no doubt heavily influenced by James and Avril Incandenza’s science and prescriptive grammar backgrounds. I love how DFW has framed these ‘jock’ kids within an stimulating intellectual environment. It’s not what I would except from a tennis academy.

      • Adrienne

        I feel real ignorant but I pretty much had no idea this Quebec separatist thing was real until reading this comment! I guess I knew there was the concept, but I didn’t realize it actually had legs (get it? the wheelchair assassins – legs!). Is it violent at all? I should google. I’m sad to say it’s not only Canada that we Americans know very little about, it’s most places.

        • Johanna Schwartz

          I’ll let @Bonnaventure weigh in, or anyone else with more info. I am an ignorant Albertan.

        • Bonnaventure

          The FLQ is the only real terrorist cell I recognize from real life. They were active and quite violent during the 1970s. Thankfully it’s cooled down since a few failed referendums on sovereignty went south for the separatists (get it?)

          • Indeed the FLQ were violent. They kidnapped two government officials looking to exchange them for what they deemed political prisoners. One of the two was eventually killed. This triggered a constitutional crisis whereby the Prime Minister of Canada at the time, Pierre Trudeau, introduced the ‘War Measures Act’ allowing the government to arrest people without warrant.

  2. Ben Sherlock

    Hello! I’m new to the group, late to the read, and still not quite caught up (the attaché is still settling down for his dinner), but I thought I’d say hi anyway.
    This is my third read of what I can only call the most impressive book I’ve ever read, at this point, but it’s the first time I’ve had a chance to discuss it with anyone. So that’s exciting.

    So far it’s much as I remember, but the thing that’s really popping out at me this time round is the near-synaesthetic use of adjectives going on. DFW’s got a knack for picking the most unlikely adjectives (that still somehow work), and pulling all sorts of new connotations out of their relationships with their nouns. And I can only look on in envy.

    Well, I’d better get busy on the next 100 pages and return when I’m back on schedule. I look forward to enthusing with you all.

    • Johanna Schwartz

      Welcome Ben! My favourite phrase in this section is Mario’s description of Schtitt’s smoke rings as “wobbly lavender hot dogs”

  3. Jill Jones

    Hi everyone; I fell a little behind this week and have only just finished the Week 2 reading. *Gah!*
    I, sort of, feel like I need a degree in philosophy in order to really get the main ideas that are very cleverly threaded throughout these stories. And, even though DFW is kind enough to clue the reader in, I just wish I had more philosophy background.
    This is what I noticed in this section:

    (1) There is an unnamed first-person narrative on pages 67-8 who talks about his first experiences with Bob Hope (courtesy of Bridget Boone); I assume this is Hal. I think it sits as a contrasting opinion to Schtitt’s ideas about tennis being an internal, private affair. “The whole thing is almost too involved to try to take in at once. It’s simply huge. And it’s public,” the speaker says (67). The crowd is silent, the tennis court is gargantuan with lines going every which way.

    (2) I think Schtitt’s ideas on pages 82-84 are very interesting and important. He talks about junior athletics as training for citizenship, where the self must learn to balance its own (“narrow”) needs with “the larger imperatives” of greater society within a set of “delimiting rules (OK, the Law)” (82-83). In an interview I watched, DFW talked about the idea of citizenship and how he felt as though it had been lost in American society; he addresses this idea using Schtitt, I think. This idea of citizenship fits in nicely with one of community, discussed below.

    (3) The paragraph Johanna was referencing (about killing the self) is at the top of pg 84 (I think??).

    (4) The pairing of Schtitt and Mario is both funny and sad; they are both social outcasts at the Academy but have found a friendship that brings both of them some satisfaction. How funny is it that Schtitt is talking about very complex philosophical ideas to a young man who is believed to be mentally impaired (although I wonder about this). Schtitt’s (physically) in-shape body contrasts with Mario’s deformed body; one is a deep thinker contrasted with one who does not think. The idea of their spending time together can be understood as a simple and caring friendship between an adult and a child; however, it is a little creepy that this adult is taking a child out for ice cream for no apparent reason. Even the narrator describes him as creepy (80).

    (5) No one has mentioned Schtitt’s love affair with a tree (83); reminds me of Shel Silverstein’s The Giving Tree except weirder. Ha!

    (6) If you love DFW’s craftsmanship, I offer a passage in the middle of page 82, where Dr. Incandenza’s paradoxical description of tennis is explained in terms of “Extra-Linear Dynamics.” The terms infinite and boundary are pitted against one another to create a tension; DFW does this in one very long sentence over twelve lines. He describes the tennis player’s infinite possibility of choices (of possible moves) being limited by his/her skill and talent: he uses the term infinity (or its derivative) three times in two lines, and he sets it against words like boundary, contained, bounded, and bent in on itself. Sorry this is nit-picky; I just love his mastery of language.

    (7) I have noticed a theme of community vs. loneliness; the scenes in the locker room exemplify this. The boys in the Academy form their own community but they are very much separate from their families and others their own age which creates a sense of loneliness. There are several communities identified already: the employees of the BSS, the members of AFR, the drug-users, those affected by the cartridge (the medical attaché and his cohort), the administration at the Academy, the big buddy groups, and I’m sure, Emmett House. I like this thread because it fits in with the notion of citizenship; I sense that it relates in some way to the idea of masks or false faces that Johanna mentioned last week (think: Steeply in drag, or Hal secretly smoking dope). “We’re each deeply alone here. It’s what we all have in common, this aloneness” says Hal (112); does he mean the boys at the Academy? Or all of us, in life? In his book about DFW, Lipsky repeatedly draws attention to the point that DFW references loneliness ALOT while they talk.

    (8) I enjoyed the discussion about the true meaning of the word, fanatic (107); perhaps it relates to ideas about (re: community). “You are what you love.”

    (9) I laughed and laughed at the idea of Steeply and Marathe referencing Ancient Greek mythological and tragic love stories; it seems to me that the average reader would not even know who half the couples were. Today, we can easily google to find out; I don’t think the average reader could have had quick access to that sort of information in 1996?

    (10) The passage on pages 127-128, written about the sweat-licking guru. Very, very curious: the sweat-licking, of course, and the unnamed narrator. I am interested (as well) in shift in narrator from third-person to first-person. It closes the gap and creates a sense of community/inclusion, like one friend talking to another. But, I find it frustrating because I don’t know whose head I’m inside.(DFW manages to make the reader feel a part of the book’s community through the first-person passages, but also maintains some distance because we don’t know who is talking.)

    (11) And, finally, the section written by yrstruly is absolutely fascinating (and upsetting (!) ). It is fascinating because of its use of language but also because of the way it’s written. There is very little punctuation, and some of the punctuation is incorrect, and there are spelling mistakes, too; it also seems that DFW foresaw texting when used terms like 2Bdenied, offwego, and sub 0 snow. So, it reads as though it was written by someone other than DFW; but, it is not recorded as a letter or transcript. To me, this reads like a formal statement for the police. It’s upsetting, of course, because of the Drano-laced drugs and the description of death and “poorold deceased C.” Oh my. The narrative creates a lack of emotion and feeling on the part of yrstruly. The loneliness of addiction is present here.

    I’ll stop now. Gee, there are just so many things, aren’t there?

    • Jill Jones

      Oh shoot, I forgot to mention:
      (a) I didn’t read footnote 304; mostly due to time. But I skimmed enough to know that it provides some background details about Marathe. I should have read it now, I think; that’s what he wanted, otherwise he wouldn’t have put it there. Maybe I’ll go back.
      (b) I looked a Incandenza’s filmography but I didn’t study it; I get the sense that it is important, otherwise it would be there. But I honestly think it will make more sense (or be more helpful) on a second read. I noted things like there were more than one Infinite Jest movie; there were many, many unreleased films, a variety of topics/interests.

    • Johanna Schwartz

      Hi Jill! The use of language, pacing and punctuation in the yrstruly section was so astounding, much like the Wardine section in week one. DFW has an uncanny ability to capture a narrative voice. I read it as an internal first-person perspective, with no intended outside audience.

      “But, I find it frustrating because I don’t know whose head I’m inside.” – YES x 100. And all a part of this book’s(intentional?)discombobulation. Which I actually really enjoy.

      Your comments on community and loneliness are well taken. Both Enfield and Ennet House are filled with people struggling against their own selves, in tennis, and in drug recovery.

      It is interesting that Hal has basically grown up at ETA, but unlike the other students, he still has his mother and brother there. He is technically much less alone than the others, but has a strong desire(?) for solitude.

    • Bonnaventure

      For me, the yrstruly section reads a bit like a passage from a ‘fearless moral inventory’ a la the twelve step program, which could eventually tie in to the treatment centre.

      • Johanna Schwartz

        I am shuddering thinking of the stories to come from Ennet house.

  4. Adrienne

    Hello All, I just found out about this group while perusing The Howling Fantods websites because I was doing my own version of Infinite Summer and am excited to not be going it alone. No one I asked was willing to slog through with me.

    I love the writing in this book so much, it’s just so damn smart and funny and heartbreaking and on and on. The sense I get so far is one of sort of unsettled exploration – as you read, things seem both recognizable as the world you know and then something jarring pops up out of left field that makes you go, oh, I guess we’re not in Kansas anymore. And it’s so subtle that blink or skim and you like miss a major point it seems like. Endnote 304 is pretty much my favorite thing ever. And Cage III in the Filmography, I mean, come on. Any ideas about what’s with all the “sub.” referrals in the endnotes though that don’t actually refer to another endnote? Is it all just meant to be a discomcobulating experience? And sounds like a few people are having a hard time with the endnotes – I’m curious about why – too long like the filmography? too all over the place like 304? too difficult to move focus away from whatever main section you’re reading?

    In response to the last comment by Arif, my very preliminary feeling is that Tennis here is a metaphor for, basically, human life experience. Though in a quite specific way. I don’t have the book with me at the moment but there’s a part somewhere about how tennis is less a game against one’s opponent and more a game against oneself and one’s limitations and actually the “Self”. There’s a line about how tennis is about trying to negate the very Self that also makes play and/or mastery of the game itself possible. Dude. I don’t know where that fits into the whole book yet but I feel like it must. But on the other hand not necessarily because DFW’s writing is so transcendent, to me, that I find gems like this all over the place and maybe half of them are just kind of throwaways. I never really understood the phrase “scary smart” until I read DFW.

    Sorry for long comment and here is my last point/question: I’m real interested in narrative voice. Like, who is narrating, are they reliable as narrators, it is clear who is narrating, etc. In the section on the guru in the weight room (another of those moments where I was like, um, there’s been a dude licking sweat off people this whole time at ETA and just now we’re hearing about it as if it’s vaguely less important than, like, the underground tunnel system?), near the end of section, there’s a sentence that’s in the first person, though the rest of section didn’t strike me as trying to represent itself as such. Seemed different to me somehow from previous narrative conventions being used. Who is the “I” here? and who are they addressing?

    Happy Reading!

    • Johanna Schwartz

      Hi Adrienne, and welcome! I don’t have my book in front of me as well, but the section you refer to about tennis as the self, that conversation between Schtitt and Mario, there is a line about how tennis could in fact be a form of suicide, if you are trying to defeat your own self. And since it comes right on the heels of Kate Gompert’s story, I definitely see a connection there.

      Speaking of reliable narrators: Also in that conversation I questioned Mario’s articulated questions for Schtitt, as he has been presented as not only physically disabled but mentally as well. So for him to have these complicated questions but to be unable to voice them is surprising, and if Mario is truly capable of heightened, philosophical thought, it will color my considerations of who he is as a character. In the scene with USS Millicent Kent (who I LOVE), he is again portrayed as child-like.

  5. Hi all,

    I’m still at it and enjoying the intriguing vignettes… DFW certainly is taking us to different places.
    A few things from my end…
    • Good to know that Johanna Schwartz and Jane Doughnut are one and the same!
    • In another IJ club it is advised to “Persevere to page 200”…. almost there. http://infinitesummer.org/archives/215
    • I did read Endnote 304… hey, why not?
    • While I can’t point out a favorite James Incandenza film, I was struck by how the list was quite the inventory of potential story lines. It seems DFW would have had no shortage of stories to tell.
    • I appreciate the insights that others are providing here. Please keep it up even if you are not receiving replies or comments. They are being read.


  6. So, my biggest question every time I think of IJ is: WHY TENNIS?!?! Reading thru this time, I think that it ultimately serves as another form of Entertainment, paralleling the Entertainment (which is likely IJ (vi). There’s a passage in here where the kids in ETA are obsessing about making it into “The Show”, so I wonder if tennis – like Incandenza’s films and the drugs that are everywhere in this section – serves as an escape for those who are watching it (not necessarily playing it, though). This book isn’t about tennis, drugs or some weird dystopian future – but what it is about I still have no idea.

    The other thing – I’ve spent very little time obsessing about what this is about or trying to piece together the parts. I really, really like DFW’s writing because he’s a really, really good writer. He nails voice – the yrstruly section in here is an example of that. As BIG of a read this is, it’s also a really good read.

  7. Sue Hall

    CBC did a piece on online book clubs and I decided to join. Being newly retired there is time. I do not have a lit. background and until the CBC piece had never heard of infinite jest. I don’t feel confident to get into any analysis yet. Maybe it will come. My experience of reading it so far is like being sucked in by a vortex. His descriptions are so dense that I feel really there no matter how bizarre. I also find myself chuckling a lot. When I envision, for example, a wheel chair assassin and a cross dresser with cockeyed tits having a conversation I can’t help laughing. I must admit however that as compelling as I experience the book to be I couldn’t face the filmography footnotes. I skipped the whole thing! From the comments I see they are important so may have to go back.

    • Hi Sue, as I’ve mentioned I’m pages behind everyone else but say hello because I half-assed the reading of the filmography and only went back to it when I saw how much it had been discussed here.

      Also yes! The wheel chair assassin and cross dresser. Who else would have written about and envisioned these two characters? Hope you’re enjoying retirement so far 🙂

  8. Lee Shedden

    Long time listener, first time caller. I’m pretty sure this is where I crapped out on my first attempt at the book many years ago, and I’m finding it a tough slog now. The filmography was hilarious, and yes, it seems to reflect on the lives of the Incandenzas. I’m also suspecting that the Entertainment must turn out to be some version of Infinite Jest, the film. The bits with Marathe and whatsisname in the desert are tough for me to focus on; I find it really plodding, unnecessarily drawn out, and unfunny. Ditto the locker-room scenes, which are enervating. I’m only up to page 109 as yet.

    A couple of odd choices structurally here. Why do we have continued announcements of THE YEAR OF THE DEPEND ADULT UNDERGARMENT when the narration switches from Marathe to Hal, but not vice versa? When a time-stamp appears, we expect the time to have shifted from one point to another, but these scenes just continue on from one another.

    Also, note 304. I read it; it’s referenced twice in the notes for this section, so it seems like it must be meant to be read at this time. What a bizarre frame to hang this info on. It tells the reader about the wheelchair assassins but through the eyes of a distracted plagiarist cribbing from a questionable source. And in the middle of it, there’s a paragraph that gives Hal’s opinions on Struck’s activities here, lending an extra layer of distance. I don’t know what to make of it, really.

    I really liked the first week’s reading, but I kind of can’t wait to break through this section.

    • Johanna Schwartz

      Hi Lee – The seemingly random way chapters either receive a date stamp header or not is one of the continuing puzzles of this book. I know someone had done up an analysis of it, and looked for it to post here, but the link is now old and broken. There seem to be reasons to have the ellipsoid moon on some and not others…but damned if I can figure it out yet.

  9. Bill Sweeney

    Well my cat and i finished up this this section just now as an alarming thunderstorm took over Manhattan. She is not as concerned as me.
    As far as IF, I knew last week what my lede would be this one (but it did not concern a pet or a weather report): I am beginning to love this book, detours and dead ends and all. Maybe that’s because Wallace lingers in settings I know sort of well to kind of intimately. They would be Long Island (port washington tennis academy, which I have only passed but genuflected each time), Quebec (but mostly Montreal), Boston and Tucson. I feel at home in his world.
    That doesn’t mean i dont get lost but there seems to be, as in Star Wars, one unifying force pulling it all (maybe not every bit) together.
    This lightning is horrific. I should not be near an outlet.
    The espionage angle surprises and thrills me. Disguised Quebec agents caging Tucson? Is that what’s happening? I’m all in and i can tell the cat is excited.
    Even the hospital examinations are involving. Meanwhile, I think the mentions of Venus Williams and Stan Smith are the first of real players, but could be wrong.
    Hamlet? I saw MacBeth last week. Does that count. i will check the filmography and perhaps report back. I am a big movie buff but not a student thereof.
    See ya!

    • Johanna Schwartz

      It’s interesting that you note how it feels to recognize the settings of IJ, because it reminds me of how excited I was to discover how large a role Canada played in it. We don’t often get mentioned in US fiction, and my first reaction went like this: Alberta! I’M in Alberta!!, Canada now owns part of the US? We must be doing really well!! Oh, wait never mind. We got fucked over. [sad trombone].

  10. Jane Doughnut

    Notes on the filmography: I skimmed this on my first two reads, and finally slowed down to pay attention on my third pass. There is a lot here we will be going back to as the novel progresses (no spoilers!).

    Some things I thought interesting when I finally paid attention:

    The three production companies:

    Meniscus – likely more a comment on meniscus lenses and Incandenza’s history of optics, rather the curve of liquid I remember from chemistry class. Most films made under this company are fairly straightforward documentaries.

    Latrodectus Mactans Productions – this is the latin name for the Black Widow spider, changed to that name with the film Widower

    Poor Yorick Productions – besides one unreleased film “Let There Be Lite” begins proper with Valuable Coupon Has Been Removed which appears autobiographical. We begins to see a shift in tone even in the filmography itself, from a fairly straight-forward academic list to containing much more pointed editorial content. (eg: “outsized feral infant alleged to have crushed, gummed, or picked up and dropped over a dozen residents of Lowell in January” in Stand Behind The Men Behind The Wire.

    And of course Poor Yorick refers to the scene in Hamlet when Hamlet and Horatio come upon two clowns who have unearthed a skull. Hamlet joins the gravediggers in a volley of jokes until he discovers that the skull belongs to Yorick, his dead father’s court jester:

    “Alas, poor Yorick! I knew him, Horatio, a fellow of infinite jest, of most excellent fancy. He hath bore me on his back a thousand times, and now how abhorr’d in my imagination it is! My gorge rises at it.”

    I also love how Infinite Jest (I) is “90(?) minutes; black and white; silent. Incadenza’a unfinished and unseen first attempt at commercial entertainment.” The idea that Incandeza wanted to make a ‘commercial’ film that was an hour and a half black and white and SILENT is funny to me.

    I think my favourite movie would be Cage III (Free Show).

    • Good notes and fine points.

      (I’m a week behind but I think I can catch up to the readings by the end of the week!)

      DFW was so ahead of his time. Every page I finish, I can’t help shake my head and remember that it was published in 1996.

      I also love how Infinite Jest (I) is “90(?) minutes; black and white; silent. Incadenza’a unfinished and unseen first attempt at commercial entertainment.” The idea that Incandeza wanted to make a ‘commercial’ film that was an hour and a half black and white and SILENT is funny to me.

      This actually brought that movie The Artist in mind, which was a kind of a commercial hit… wasn’t it? I’m sure DFW/Incandenza would have chosen a drastically different theme/story/subject matter/narrative. I love that the IJ film’s ambiguity (correct me if I’m wrong) and all of the points you added plus the mystery is why its my favourite.

      • Johanna Schwartz

        Good point Cat – I hadn’t even thought of The Artist!

  11. Denise Mamaril

    Hi. Thanks so much for organizing this.

    I just wanted to introduce myself since I was quiet last week. I started Infinite Jest back in March and made it to about 50% through the book (reading on a Kindle…sorry I can’t give you a page number) before I put it down in frustration. A friend suggested Infinite Summer to help me get through it, so here I am.

    Unlike a many other folks in this group, I’m not a lit major. My background is in international affairs and business. I am, however, a voracious reader. I picked up Infinite Jest because some suggest it is the great 20th century novel. I’ve struggled with that accolade so far, but am willing to give it to the end before making up my mind. To be fair, he would have to do some amazing things with the last half of this book to knock Midnight’s Children off my “top of the list.”

    I’ve been taking a quick look back at what I read a few months ago until we get to where I left off, so I don’t have a lot to add at this moment, but I look forward to jumping in once I’m reading along actively.

    Thanks again.

    • Jane Doughnut

      Welcome Denise! Midnight’s Children is very near the top of my list as well.

  12. Jeff Falzone

    Great work grouping together all those events!

    • Jane Doughnut

      Thanks! It wasn’t easy, because my six year old kept interrupting me to show me all the amazing features of his custom Hero Factory build. 🙂