VLVL Prairie and DL

[jbor]

She's gradually realising what had happened, that Frenesi "ran out" on her,
"probably to be with Brock Vond" (193). DL could have told her that months
ago, but didn't. 

I don't think Prairie's being depicted as a voyeur. As she admits, the film
is all she's got (194.10).

NB also Pynchon's satiric treatment of the 24fps crew, and of the way they
had "taken over what was left of the Death to the Pig Nihilist Film
Kollective" in particular (197-8).

Ditzah Pisk seems to have sold out on her revolutionary ideals just like all
the rest. Seems to me that she now keeps all the 24fps film and memorabilia
for sentimental rather than political reasons.

We also get the flashback scene to when Frenesi first met Brock, and allowed
him to seduce her.

best


on 17/12/03 1:40 AM, Terrance wrote:

> Yeah, Prairie is upset, she's riding the emotional roller coaster into
> her Mother's past. Is she a voyeur?   Painful and exciting  views of
> files, photos, now films.
> 
> She's not sure what these guys do for a living (karmic adjustment?) and
> in this world that's a rill important thing to know. The high tech stuff
> does give her some hope, she's impressed, but Takeshi is not the  Wizard
> of Oz, even if he's not Moe either. DL and Takeshi make with the jokes
> about themselves to get the kid to relax and it's their routine anyway,
> but Prairie's eyes are glazed, she's about to cry. OK, we have some
> films. It ain't exactly Mommy in the flesh, but ...
> 
> jbor wrote:
>> 
>>> (194.11-12) "... keeping her eyes down, because she knew DL was on to her
>>> and if their eyes met she'd just blow it."
>> 
>> Prairie knows DL knows she's upset, though she's acting tough.
>> 
>>> Cf "So blatantly longing that DL had to stare down at her feet, like an
>>> amateur tap dancer" - just after DL has observed that Brock Vond is
>>> "dangerous" (103).
>> 
>> DL is ashamed that she hasn't been able to tell Prairie the truth.
>>