ATDTDA (18): Since the Chicago Fair, 501-503

[Paul Nightingale]

And so to "a day's truancy in London with the Snazzbury fittings for an
excuse". Referring to it as "truancy" reminds us of Yashmeen's earlier
commitment to study: "She took refuge more and more in the Zeta-function
problem ..." etc (498). Here, she seems distracted, not really 'with' Times
3: she is still trying to decipher the Frock, still "interested in the
general problem" (500). On the Wheel they are 'exposed' to the lower
classes, those "of distinctly suburban aspect" (503). Such judgements are
relative, of course; the reference is to others apparently enjoying "a day's
truancy" (as opposed to those who work in the area). Again Yashmeen's
thoughts are with Riemann's problem.

She is here, in London, on the Wheel, because she was intrigued, perhaps
seduced by, the book mysteriously sent to her: she is taken, firstly, with
the picture "of a young woman in the sort of provocative pose observed on
postcards from the seaside ..." etc (500). Subsequently, "read[ing] aloud",
she describes the Frock, her spoken commentary superimposed on the image
(one as silent as the Frock itself). In the current section, at the fitting,
it might be impossible "to judge the level of innocence in the room" (502):
the reference to "a clandestine [observer]" who must interpret the scene
recalls both the Cohen (on Renfrew) and also, further back, of course, those
spying on the nocturnal nude bathing (490).

The Wheel is a reminder of the novel's opening. Cf. the silver dollar
Lindsay gives Plug (397) and the subsequent appearance of "[a] plump and
energetic chanteuse of some ten summers" (399).