Hering's reading-room inventory adds three cut items…

This is material that was cut: present in a draft, absent from the published novel.

In the manuscript. (1) Orin dreams he is "dangling upside down with his mother's permeated face strapped around his own face, eyeball to eyeball, in a decaying orbit around the planet earth" (Box 16.3) — a sequence "partially cut from the published text"; (2) "In another cut sequence that recalls the climax of 'Westward', Orin uses a picture of his mother's face as the bullseye on a dartboard (Box 16.3)"; (3) the Lyle-wraith originally appeared "in Gately's memory of his mother's kitchen" (Box 15.5), "which seems to indicate that wraiths may also be able to invade memories"

In the published book. None (cut)

Evidence. A single source reports this. But (1) is the textual substance of the gc-ep012 podcast testimony that Orin's waking-up scene ran ~6–7 pages longer in draft (same witness, earlier venue). Documented by [hering-ff Ch.1 n.18 + Ch.2 + n.29] (firsthand from the containers).

Bears on. This difference bears on the following open questions: Avril as devouring-mother archetype; her smothering + JOI's remoteness as the sons' damage; the Avril–Orin incest question; Lyle's nature.

Further notes. All three items are print-absence claims resting on one firsthand reading-room witness; the kitchen-wraith beat is the record's only draft evidence that wraiths could invade memories, which the lyle-wraith arguments should weigh as composition-level, not published, support.