Joelle's Too Much Fun at Molly Notkin's party (pp. 230–231)
the difference between suicide and homicide consisting perhaps only in where you think you discern the cage’s door: Would she kill somebody else to get out of the cage? Was the allegedly fatally entertaining and scopophiliac thing Jim alleges he made out of her unveiled face here at the start of Y.T.S.D.B. a cage or really a door? Had he even cut the tape into something coherent? There was nothing coherent in the mother-death-cosmology and apologies she’d repeated over and over, inclined over that auto-wobbled lens propped up in the plaid-sided pram. He never let her see it, not even the dailies. […] Did she kill him, somehow, just inclining veilless over that lens?
Context
The fullest production account of the Entertainment anywhere in the main text, from inside it: the pram, the auto-wobbled lens, the repeated mother-death-cosmology monologue, the withheld dailies — and Joelle's question of whether her unveiled face over that lens is what killed its maker. The cage-or-door figure is catalogued in the archive's Cages motif; the film-optics content is the lens it all inclines over.