VLVL concluding chapter 7

[Paul Nightingale]

>From Michael Joseph:
> 
> Prairie accepts DL's invitation (the H50 theme), telling DL "I'll have to
> trust you" (103), to which DL replies "You'll have to trust yourself. If
> it feels too weird don't 's all" (103). (Prairie implies the situation
> puts her momentarily under DL's care, and DL's response suggests she
> desires and expects Prairie to be strong and independent.)
> 
One might begin by noting the way the chapter marks the transition from one
phase to the next. Here, the segment that features Prairie and DL will segue
into the final segment featuring the band magically transformed (but not,
depending how you look at it). Prairie, having made the decision to trust
herself, is the one who initiates the shift by breaking the dialogue
exchange, ie 'changing the subject'.

Earlier, the first phase of the chapter ended with Ralph Sr hoping the band
is good (94). A good example of dramatic irony, positioning the reader
expectantly, wondering what will happen when the band does arrive. And
whereas, the fog lifting, California "[looked] no different than it had when
he left]" (ie the passage of time isn't signified in any way), the band has
certainly been transformed. Prairie at this point is one of "[the] Vomitone
ladies" (95), all of which recalls Chs2, 4, not least "departing for the
future" (55). It also positions her as a somewhat shadowy figure, just one
of the crowd emerging from the fog.

Hence it is the moment of dramatic irony that prepares the reader for a
shift in the narrative, from Ralph Sr's pov to the band performing. A third
phase begins with the appearance of DL, who emerges from (or materialises
out of) the brief introspective passage that sees Prairie worrying about her
appearance (98-99).

For the first time in the novel the scene with DL allows her to assert
herself independently; no longer is anyone (father, boyfriend) nominally
responsible for looking after her, even though Isaiah, for one, is unable to
think outside the box (104).

At the outset, Prairie says: "I'm feeling like Dumbo with that feather, I
would clutch to anything right now. Why? What can your partner do for me?
Can he find my mom?" (100).

A pretty straightforward, unequivocal statement (although it might embarrass
some readers, of course).

Subsequently, she asks: "Can't we find her before he [Brock Vond] does?"
(103).

All of which confirms that her priority here has always been to find a way
to move on, getting closer to finding Frenesi. DL, far from letting her
down, is able to help her as, a few pages previously, she never thought
anyone would.

Hence, from being one of "[the] Vomitone ladies" Prairie is now able to
assert herself.

The setting is that of a wedding, a reaffirmation of the patriarchal family;
the ceremony sees the bride handed over from father to husband (another
object/possession being passed on down the line, just like the amulet in
fact, each object the means by which a particular narrative is described).

However, Prairie breaks out of that arrangement. Isaiah, "a huge hand on her
shoulder", says: "But I promised your dad--" (104). This is indeed "a
paternalistic claim", as Michael suggests; and Isaiah's gesture indicates
that he intends it to confine her. What is perhaps interesting is that it
now seems so wildly inappropriate. The setting would seem to confirm such
relations; and even DL will be asked if she's married (105); yet Prairie, in
alliance with DL, has made such an arrangement obsolete. Note that the text
draws attention to the same physique that dwarfed Zoyd in Ch2: is Prairie,
albeit for different reasons, also intimidated by Isaiah's proximity? She
has already asked him: "So you'll be heading back to Vineland now?" The
adventure would appear to be over for the band; they can see no further than
a job as house band at the Cuke (which in itself is understandable). For the
band, this gig has been no more than a commercial break.

So we catch up with the band, which has survived the occasion, unlikely as
that might have seemed at the outset: anyone for realism here? At this
moment of transition, readers might anticipate some kind of narrative
progress. In one sense that has indeed happened; the boys are no longer in
fear of their lives. However, to look at it from Prairie's pov, the band,
and her relationship with Isaiah, represents the past she has just emerged
from. To go back would be a retrograde step.

Prairie reasons that she'll be doing them a favour: "[The] longer I stay
with you guys the more I could get you in trouble". Which effectively puts
her, no longer one of the crowd, centre-stage. Not bad when you think that
DL has done nothing but let her down.