VLVL2 (9) Looks and glances

[Paul Nightingale]

Their first meeting, in the coffee shop: "She became aware of Ralph, looming
over her food and glaring at it" (130).

Then, one "blind date" later: "They eyed each other across a spacious living
room" (137). Followed by her take on his clumsy attempt ("changes in his
packaging") to be Cary Grant (138). Further down the same page, insisting he
still wants Brock Vond: "He had his lower lip out, trying to look sinned
against". And then: "She met his look."

By the time we get to the bottom of 139, the narrator is telling us that DL,
weighing up her options, has decided that, on balance, etc. All of which
follows the question-that-isn't ("How could a girl not be impressed?") I
discussed earlier. And then, Ralph's own question-that-isn't: "[D]o I look
that stupid?" At which point the narrator records DL's perception of his
"no-eye-contact eyes" (having noted that he doesn't "look quite stupid
enough").

In context, this non-contact comes after an awful lot of eyeballing; it is,
therefore, a moment. And if we're being realistic about this, shouldn't the
reader insist that DL insist that a refusal to make eye-contact be balanced
by an open smile (rather than one that is "tightly rationed")?

In this chapter, the relationship between DL and Ralph is built on a series
of looks and glances. Ralph glaring at the rubber scampi is DL's own
perception that their performer-groupie relationship (as she supposed it)
has been transformed, to her disadvantage. In the Cary Grant passage, she
recognises that that he has made an effort of sorts, even if it is clumsy.
In the "fifties time warp" passage, she finds she can think clearly,
reflectively (going way back in time). And "lagniappe" signals a fine
existentialist moment, suggesting she is a buyer (accepting Ralph's deal is
something she can choose to do) as well as seller ("the only one who can
execute").