Orin, B.U. punting, and Joelle (p. 299)
Madame P.G.O.A.T. gets it all, zooming in from the opposite end zone. She gets his timing; a punt’s timing is minutely precise, like a serve’s; it’s like a solo dance; she gets the ungodly WHUMP against and above the crowd’s vowel’s climax; she captures the pendular 180-arc of Orin’s leg, the gluteal follow-through that puts his cleat’s laces way over his helmet, the perfect right angle between leg and turf. […] the tiny .5-sector of digital space each punt’s programmed to require runs out and the crowd-sound moos and dies and you can hear the disk-drive stalled at the terminal byte and Orin’s chin-strapped plastic-barred face is there on the giant viewer, frozen and High-Def in his helmet, right before impact, zoomed in on with a quality lens. Of particular interest are the eyes.
Context
The scene's closing shot is literally a shot: Joelle ("Madame P.G.O.A.T." — the stage name already bleeding in) gets it all with a quality lens, and the Delaware clip stalls at its terminal byte with Orin's face frozen High-Def right before impact. The last line hands the whole apparatus its subject — "Of particular interest are the eyes" — the watched self caught by the woman whose own filmed face will later be of lethal interest to every eye that meets it.