Joelle's interview about the Entertainment (pp. 938–939)
And instead of going in I keep going around in the door to follow the person out, which person is also still revolving in the door to follow me in, and we whirl in the door like that for several whirls.
Context
The samizdat's first scene is a closed loop that never resolves: Joelle and a long-lost, deliberately androgynous intimate meet by chance in a glass revolving door, each so shocked and drawn that each keeps circling to follow the other — she going around to chase them out, they still revolving to chase her in — so the two whirl endlessly, never catching, never parting, never arriving. It's spectation's other perfect trap beside the apologizing mother: not the infantile lure but the eternal near-miss, recognition without reunion, the pursuit that can't complete because both parties are trapped in the same revolving mechanism. The image is the appetite's structure — going around and around after a receding intimacy, the door that promises contact and delivers only more revolving. Two scenes, two flawless traps: the womb you can't leave and the door you can't get through.