Joelle's last walk to Notkin's party (p. 219)
perched uncomfortably in striated light in one of Molly Notkin’s chairs molded in the likeness of great filmmakers from the celluloid canon, seated between empty Cukor and frightening Murnau in Méliès’s fiberglass lap, his trousers’ crease uncomfortable and his cummerbund M.I.T.-crested. The lurid chairs’ directors are larger than life: Joelle’s feet dangle well off the floor
Context
Joelle plans her suicide from the lap of Georges Méliès: the party furniture is the celluloid canon itself, directors "larger than life" holding the woman who starred in the most dangerous film ever made. The scene's whole optics — she is literally seated in film history, feet dangling like a child's.