ATDTDA (12): An inappropriate eagerness, 343-347 #1

[Paul Nightingale]

The opening paragraph functions as the foyer to McVeety's Theatre, the
reader negotiating "the Olio of Oddities" on their way in. An impossibility,
since the "random items of inventory" (which of course are anything but
random) present a fictional world requiring the suspension of disbelief. The
display offers a what-if scenario (what if this really were "the scalp of
General Custer ." etc?). The "great museum, a composite of all possible
museums" (57) that Merle dreamed was just as unlikely, since it couldn't
have a referent outside itself; and here the floor shows "which . turned out
to be literal displays of floors ." etc (343) finds another (Duchampian) way
to challenge the distinction between cultural artefact (in the broadest
sense) and 'real world'.

Over the page, "The Phenomenal Dr Ictibus and his Safe-Deflector Hat" (344)
offers another what-if moment. The text describes a "classic urban
contingency" that might recall falling bombs. Dr Ictibus claims his hat will
deal with any falling safe, and offers to prove it; however, his
introduction of Odo moves the narrative on, avoiding the possibility of a
resolution to the what-if scenario. Previously, Dally had come to recognise
that "[c]o-workers she had taken for the meanest and ugliest of highbinders
[were] sensitive artistes in fear of their safety" (341). Now, she realises
that Odo's offstage persona doesn't match the image he presents onstage; he
is just as much an illusionist as Dr Ictibus. Hence Dally has access to
something she can call reality; the reader is given access, if at all,
through her. They find themselves "going for coffee after the last
performance of the night" (344); but this is something the reader is not
given access to. If we wish to dwell on the relationship that ensues it
becomes another what-if.

The writing thus far offers a lofty view of the kind of action that is
typical, eg Dr Ictibus' claim that he will demonstrate the hat. RW appears
"[f]rom time to time"; and we are then offered a speech that is precise but
typical, representative. He doesn't mention the party when "looking in"; but
a few lines later, according to Katie, "he says I can bring a friend along"
(345). The shopping expedition that ensues is a different kind of scene, a
break from the routine featured thus far. Again Dally is dependent on Katie,
who "[knows] a seamstress who ." etc. Dally's trajectory seems fated, from
Katie to RW, to Con (342-343); and then back to Katie, who provides both the
party invitation and the means to provide for it (345). As she is passed
from hand to hand, her affairs are no more "random" than the" items of
inventory" in McVeety's foyer.