ATDTDA (12): Whatcher missin, Red, 348-351 #2

[Paul Nightingale]

A series of male figures, then, whom she must negotiate (a la Ronde, kind
of?): on the train she maintained a watchful distance (336); here, she can
achieve no distance at all. In the writing, she is isolated in the midst of
a crowded scene: next up is the "smooth gent" with "exquisite silver
manacles" (350), who knows/recognises her as a moment ago she
knew/recognised Chinchito. He in turn provides the "tall figure in a cape
who turn[s] out to be the magician's assistant" with an opportunity to
'rescue' her. Going back to the first sighting of the ballroom, its striking
feature is the "circular couch" that features "as an anti-wallflower device"
(348). If Dally is not fully involved in the party (she appears resentful of
Katie for having abandoned her, top of 349), she is nonetheless unable to
hide herself on the outskirts, ie as a wallflower: the action revolves round
her as the dancing revolves round those on the couch.

The resolution of the scene involves her transposition, magically: again an
involuntary recollection, "sneaking in by way of [her] nose" (350), the
return of "the very same woman she had seen in Smokefoot's yesterday", and
then "Katie on the stoop" waiting for her (351). According to Katie, she
always knew "that gown would work magic", another function for the "juvenile
rag". Katie says Dally will go away: at the party the one person to
recognise her, the "smooth gent" sought to imprison her (Chinchito might
have recognised her, this is left open, but he too functions as a kind of
predator). In best melodramatic fashion, then, Dally has been rescued (her
disappearance from the party echoing that of the mysterious young man
earlier (349); but in the process she has been denied agency. At first, she
denies it when Katie says she'll leave, then claims this will happen in
spite of her: "I didn't know I did [know]" (351).