AtDDtA1: 14-20

[Paul Nightingale]

Ch2 breaks formally, and the second part begins with Darby--having, moments
before, been "up the lines" (12)--now touching down ahead of the airship.
His part in the earlier chaos can be juxtaposed to his role in anchoring the
airship, "charmed into docility by some diminutive beast-wrangler" (14).
Darby's proficiency here (also carrying out repairs, 16) is followed by
Miles' competent performance as cook; the song (15, with Miles now "an
enthusiastic ukelelist") reminds me of a scene from a Howard Hawks' film.
Briefly, camaraderie is indicated in the interactions here, including even
the exchange between Darby and Randolph (16); the earlier conflict and
disruption are nowhere in evidence.

Perhaps significant, then, that Randolph's speech emphasises the likelihood
of a danger without, "vicious and debased elements, whose sole aim is to
take advantage of the unwary"; then, once he has departed, Lindsay reminds
Darby of "the penalties for falling asleep". That is to say, he reminds
Darby--moments before exchanging banter with Randolph--of hierarchy.
Furthermore, it seems Darby is responsible for Chick, so Lindsay's aim is to
restore hierarchy and also divide "the runts of the Organisation" as Darby
will subsequently have it (19). At the end of the first phase the
photographer feared a "spirit of constructive censure" for his transgression
(13). So must Darby remain alert for fear that he will be caught sleeping.

The formal break at the top of 14 is the first in the novel; Ch1 enjoyed
continuity, even though there are two distinct phases. The transition from
airship to land is a clearly the explanation; so we might ask how exactly
the text will manage all such transitions in future.

Following the song the Chums are divided, the narrative remaining with Chick
and Darby. Another transition follows with Chick reminiscing about his
father--his personal testimony (17) is in contrast to the earlier flashback
from Lindsay's pov. One key to this final phase, then, lies in the absence
of hierarchy (Lindsay's threat designed to make Darby, in true Foucaultian
style, govern his own behaviour and suspect Chick)--hence the arrival of
Penny Black and her colleagues (18).

Hierarchy is gently mocked as Penny reminds Darby: "That's 'Captain' to
you." Sexual equality appears to be the basis of some kind of meritocracy;
and in the ensuing conversation one is reminded of Lindsay's absence by the
casual speech, eg Riley's "git on out to Oklahoma sometime, get a treat for
your ears" (19).

At the beginning of Ch1 Lindsay warned that "informality of speech" might
"lead to profanity, or worse" (4). Ch2 ends with such informalities and then
reference to the Paris Commune. The description of a "relentless degradation
of civility until citizen was turned against citizen" (19) is, of course,
reminiscent of Lindsay's parting words to Darby (16).