The Man from Glad and the mattress (pp. 502–503)
For the first time since I had become taller than my parents, I took several running strides in from the doorway, past my shelves’ collection of prisms and lenses and tennis trophies and my scale-model magneto, past my bookcase, the wall’s still-posters from Powell’s Peeping Tom and the closet door and my bedside’s high-intensity standing lamp, and jumped, doing a full swan dive up onto my bed.
Context
The plan's one-liner in a single inventory: young Jim's room holds the whole later life in miniature — prisms and lenses (the optics career), tennis trophies (E.T.A.), the scale-model magneto (the annular physics), and on the wall, still-posters from Michael Powell's Peeping Tom, the 1960 film about a filmmaker whose camera kills the people it films. The raw gives only the posters; reading them as seeding the Entertainment — a film that kills its viewers, made by the boy who slept under images of a camera that kills its subjects — is this archive's inference, not something the text states outright; the shelf inventory itself is verbatim.