Doors, thresholds & revolving doors

Doors in the novel are locked, missing, or revolving — and the Entertainment itself opens on one. Homes here refuse the threshold: no interior doors at the Headmaster's House, no locks at Ennet House, doors described as "jaw-like." Against that, the revolving door becomes the book's signature threshold-image, because the lethal film's opening shot is "a veiled woman going through a large building's revolving doors" (p. ~549). That shot rhymes outward — Orin's exit through a revolving door is glossed "like Joelle in Infinite Jest, p. 549"; the A.F.R. decoys disperse "through revolving doors" in escape choreography that quotes the film; and a second, unresolved figure lingers in the same revolving doors. The threshold thus stops being neutral: a door can be an enclosure with no exit ("a cage or really a door") or the exact frame of the Entertainment's fatal invitation, and the film's own glass revolving door is finally shown at pp. 938-939.