Atdtda30: Only a glimpse in all the confusion, 860-862

[Paul Nightingale]

Mythology and "politically sensitive Venetian souls" from one campanile to
another, "a close double of the one that fell": and, as "a close double", a
representation one might compare to Tintoretto's. More doubling follows: the
Arsenale standing in for the Palazzo Ducale, "ancient maps" for the "visions
of prophets". And Vlado, anticipating "the next world" (861), might be said
to stand in for "those forbidden to enter" (860).

Hence, Vlado has privileged access to Theign, the latter's "white face"
transformed into "a mask never contemplated in Venice, which everyone, and
particularly those in Vlado's position, ought nonetheless to recognise"
(861). The previous section ended with Yashmeen contemplating her own
transformation, the narrative contemplating "a fateful masked ball" (860).
Carnevale recycles self-transformation, if only on a temporary basis; while
Theign's 'magic' "had been known to frighten subjects into blurting
information they didn't actually have, confessing to acts they had never
thought of committing" (861). For Theign, indeed, the repetition of
"subject" indicates that any transformation is dehumanising, interrogation
as much a ritual as Carnevale.

The collapse of the Campanile can be 'undone', so to speak, by its
substitution by another; while Vlado's fate cannot be reversed. However, we
note that "the forbidden perimeter" marks the limit for "day-to-day lives,
dogs shit on the paving stones ..." etc (860); while interrogation refuses
to reveal itself, instead masquerading as "[c]hats like this, delaying
things ..." etc (861). Vlado recognises the performance required, the need
to avoid provocation. The reader might suppose that Theign has recognised
Yashmeen on the Lido, his subterfuge designed to manipulate Vlado but also
position the reader. In both 59.3 and 59.4 Yashmeen's name is avoided on all
but one occasion, the top of 853; for the most part there, as here, she is
identified as Vlado's female companion. This writing distances the reader
from Vlado, encouraging some kind of identification with Yashmeen's
perspective, as the film viewer on 854, following Metz, will identify with
the camera, rather than the character.