IJ study archive

Scene 116: lenz kills nuck dog

Scene
116
Pages
575–589
When
11 Nov YDAU (2009), night (post-AA-meeting walk; dog killed well after 2245h)
Where
Allston/Brighton, Boston — Market St./Union Square alleys, then up Brainerd Rd. to the Canadian party house at 412 W. Brainerd, near the Enfield linein: Allston-Brighton
POV
3rd person, alternating Lenz's monologue with deep access to Bruce Green's repressed interior

Connects to (editorial cuts & payoffs, 9)

Summary

Walking back from an AA meeting, coke-wired Randy Lenz monologues at Bruce Green — betraying Charlotte Treat's sworn secret, inventing a one-eyed origin for the veiled "new Joel girl," and narrating his obese mother's Greyhound-potty lawsuit, settlement, and pastry-borne death — while the narration strip-mines Green's own buried catastrophe: at five he gave his Mama a gag can of Mauna Loa nuts whose spring-snake stopped her heart, after which his novelty-designer Pop packed Blammo Cigars with tetryl explosives, decapitated 28 Ohio lodge-members, and was lethally injected. Drawn separately up Brainerd Rd. by horrifically compelling Hawaiian music (his Polynesia phobia dates to the Gauguin-colored can), Green happens on Lenz again outside a Québecois party house at 412 W. Brainerd — and watches, paralyzed behind a tree, as Lenz baits the household's huge dog with Gately's meatloaf, straddles it, cuts its throat (saying what sounds like "How dare you"), and tear-asses off toward Enfield with flannel-and-lei Nucks and a slingshot Montego in pursuit. Across the street, two wheelchaired forms sit backlit in a window, watching everything. The killing is the fuse for the Ennet House catastrophe of pp. 601-619.

What to notice

The walk runs two grief-machines side by side: Lenz narrates his mother's grotesque death aloud, at coke speed, as performed "Family-Of-Origin Issues", while Green's equivalent catastrophe has to be told over his head by the narrator, in recovery's future tense — memories that "will have to be strip-mined up" before Green can so much as have them. One man is all disclosure and no truth; the other all truth and no access. Notice that Green's backstory is the Entertainment plot in domestic miniature: a lethally amusing artifact, a mother killed by a gag while the entertainer-father rates her dying "on an Acme interdepartmental 1-8 Gag Scale", then amusement weaponized at scale in the tetryl-packed Blammo Cigars — the novel's fatal-fun thesis rehearsed in Waltham years before anyone hunts a Master copy. The plot's navigation system is trauma itself: Green's Polynesian "fascination/horror gestalt" is what walks the witness to 412 W. Brainerd — his oldest wound leading him by the ear to watch a new one being made. The kill arrives muffled through Green's finger-in-ear perception, the blood a "lightless arc", and just before it the narration plants its cruelest cut-away: the neighbor dogs of his childhood running to the fence "excited to see him. To just like set eyes on him." — pure creaturely gladness recalled at the exact moment a creature dies of Lenz's need. And watch the posture the aftermath is given: Lenz stands over the dog "like you stand over a punished child, at full height and radiating authority" — a man who has spent the whole walk on his mother now playing the parent, discipline as the shape his violence takes.

Beats — page-by-page

  • p. 575: Lenz's "leaf-mold allergies" (coke-hydrolysis symptoms Green knows from his Bonk days); the one-eyed-seahorse slander of the veiled "new Joel girl"; Charlotte Treat's betrayed secret dream (dental hygienist; her Virus) — n.239 adds the secret Green keeps in turn: Treat's adoptive father's anesthesia abuse.
  • pp. 575-577: The Mrs. Lenz saga in one sentence-cascade: the broken Parents' Day desk; the Greyhound bus, the stripped Rte. 24, the potty window, the backside "ensconced," the Seven-Figure settlement, the 24-hour pastry chef, death by peach cobbler ("which Lenz says he knows, by the way—C.P.R.").
  • p. 577: Boston nightscape set-piece (Greenie trains, dumpster smells, "a haunting plasm of Hawaiian-type music") — the music spreads a "flat mask of psychic pain" Green doesn't feel; Lenz's riff on Leisure Time Ice, blocks of ice "with flaws way inside like trapped white faces."
  • p. 578: Lenz pisses behind a dumpster; Green's daily "deep wrenching loss, of wishing getting high was still pleasurable for him"; the repressed-trauma frame announced — "whole strata and substrata of silence and mute dumb animal suffering will have to be strip-mined up."
  • pp. 578-579: Green's Pop: Buns of Steel aerobics star until one leg grew (or the other retracted), the cauldron-black orthopedic boot, the bitter career-change to a Waltham novelty concern ("Acme Novelties 'N Notions or some such") designing Jolly Jolt buzzers and Blammo Cigars.
  • pp. 579-580: The Xmas morning: the overwrapped "mugged-dachshund" can, Mauna Loa his Mama's "S-I-N" treat (n.240), the EZ-Open Lid, the snake's spronnng, the fatal cardiac while Mr. Green rates her "performance" on the Acme 1-8 Gag Scale.
  • pp. 580-581: Aftermath: Brucie mute until late grade school; the aunt who raised him with "face obscured for three Ohio months behind the black mesh veil that fluttered from the pillbox hat, clutching little Bruce's head to her underwired bosom" (p. 580; a Carlisle catch — veil-motif: Green raised briefly by a veiled woman, now orbiting another); the rotting tree and swelling steak-package; Mr. Green's tetryl-packed Blammo Cigars decapitating "a V.F.W., three Rotarians, and 24 Shriners" across Southeastern Ohio; extradition, Sanity Hearing, motorized Shriners buzzing the deathwatch ("Get Lethally Injected Baby"); Green's residue: avoids 'N products, checks palms, fears fezzes, "fascination/horror gestalt about all things even remotely Polynesian."
  • pp. 581-582: Separated from Lenz, Green is pulled "as if mesmerized" past The Unexamined Life nightclub and up Brainerd's "Depressed Residential" sine wave (n.241 dates his psychic decline by his passé hard-rock bands); his post-detox cognition: "about one fully developed thought every sixty seconds"; Calvin T.'s diagnosis — not serene, "totally shut down."
  • pp. 583-584: Green re-espies Lenz under a streetlight doing a "high-kneed tiptoed skulk"; the source house: pink-or-aqua three-decker, Quenucker flag, JBL woofers "throbbing like brown bellies hulaing," Don Ho and the Sol Hoopi Players; Lenz at the fence dribbling something on the gate, baiting a Shetland-sized dog.
  • pp. 584-585: Embedded flashback: the Harvard Beach-Theme party — pregnant Mildred Bonk hula-ing into the mainstream while Green, paralyzed by the Polynesian tunes, drinks keg-foam until his sphincter fails; the grass-skirt ride home; three days on Doocey's couch with Southern Comfort; the skirt shredded for marijuana mulch.
  • pp. 586-587: The killing, scored to "My Lovely Launa-Una Luau Lady": Lenz baby-talking ("Pooty ooty doggy woggy"), feeding out Don G.'s hard old meatloaf, straddling the hunched dog, hoisting it upright by the scruff, the knife across its throat, the lightless arterial arc splattering gate and sidewalk; "How dare you" with great emphasis.
  • pp. 587-588: Aphasic Green "between the treetrunks with a finger in one ear"; windows shriek open, logger's boots rush downstairs; Lenz vaults the fence and sprints southwest toward Enfield, "his open coat filling like a sail"; Nucks swarm — one finds the meatloaf baggie, one holds up "what looks like a white caterpillar," one staggers singing/screaming under the dead dog.
  • pp. 588-589: The slingshot Montego 180s and peels after Lenz, lei streaming petals; across the street a backlit figure "in a sort of suit and metal wheelchair" scans the scene, then a second wheelchaired form behind it; Green hugs his tree's lee side, breathing into the bark so his pluming breath won't mark him as an accomplice.

Themes in this scene

  • Addiction and Recovery: Lenz relapsed on Bing mid-sobriety, his AA "sharing" weaponized into secret-betrayal and self-mythology; Green's quiet counter-portrait — the hourly grief that getting high is no longer pleasurable — is the book's plainest statement of what early sobriety feels like.
  • Communication and Solipsism: Green's "one fully developed thought every sixty seconds," the strip-mined "substrata of silence," and his strangled dream-aphasia as he watches the killing — trauma compressed into a man Calvin T. likens to a dripping faucet.
  • Fathers and Sons: the Green family catastrophe — a father's bitter gag killing the mother through the son's loving gift, then the father's spectacular revenge-by-novelty and execution — Gately's and Hal's father-wounds refracted into Grand Guignol.
  • Surveillance and Disguise: the two wheelchaired watchers backlit across from 412 W. Brainerd — the A.F.R. observing a Québecois household in Enfield's orbit — register the killing (and possibly Green) without moving; Lenz's coat-and-loafers stealth is the criminal's parody of tradecraft.

Connections — backward & forward

Backward

  • The "new Joel girl" with the veil is Joelle van Dyne, in-House since 8 Nov (per n.134 ruling); Lenz's one-eye fabrication joins the U.H.I.D. veil-speculation series (cf. Mario's and the residents' theories).
  • Green's Mildred Bonk/Doocey trailer backstory picks up scene 009 (pp. 38-39, "the kind of fatally pretty and nubile wraithlike figure...") and Green's silent devotion continues in his Lenz-walks (scenes 109/111) and the gunfight, where he's the one who knows C.P.R.-adjacent first aid won't be enough.

Forward

  • Direct fuse to scene 120 (pp. 601-619): Lenz flees toward Ennet House with the Nucks and the Montego behind him; the revenge gunfight that follows — Gately shot defending Lenz — is this scene's harvest. The dog is the culmination of Lenz's escalating nocturnal rodent→cat→dog killings (pp. 538-547, scene 105), his "issues" resolution since his cocaine relapse.
  • The meatloaf is Gately's: scene 118 (pp. 595-596) shows Gately noticing "his special meatloaf had a secret admirer... another big rectangle cut out of the leftovers" — Lenz has been provisioning his dog-murders from the Ennet House fridge; the baggie left in the yard ties the killing to the House.
  • The wheelchaired watchers continue the A.F.R. surveillance web around Enfield/Ennet (Antitoi raid, scene 097; Marathe's eventual arrival at Ennet House, pp. 729ff) and rhyme with the Phoenix wheelchairs around Orin (scenes 115/119) — the same organization closing in on both Incandenza access-routes to the Master copy.
  • Charlotte Treat's secret (and n.239's deeper secret under it) extends her portrait from the White Flag and House scenes; the chain of sworn-secrecy betrayals is a little allegory of how the House grapevine works (cf. scene 118's gossip-decocting).
  • "War of the Welles" (Doocey's mislabeled cartridge, p. 583) — a Wallace wink threading optics/entertainment; The Unexamined Life nightclub (p. 581) recurs as Ennet-orbit geography.

Notable passages (8)

  • pp. 576-577: the Mrs. Lenz Greyhound sentence — a single multi-clause monster ("going about her private business of going potty...") performing Lenz's coke-driven logorrhea.
  • p. 577: "huge blocks of man-sized ice with flaws way inside like trapped white faces, white flames of internal cracks" — Lenz's ice riff; the book's imagery of frozen interiority.
  • p. 578: "All he feels is a moment of deep wrenching loss, of wishing getting high was still pleasurable for him so he could get high. This feeling comes and goes all day every day, still." — core addiction-recovery extraction.
  • p. 580: the snake "sprongs out as Mrs. G. screams" / Mr. Green "rating her performance on an Acme interdepartmental 1-8 Gag Scale" — lethal irony, literalized: a family killed by a gag.
  • p. 582: "about one fully developed thought every sixty seconds... like a languid liquid-crystal display" — Green's cognition; communication-solipsism anchor.
  • p. 587: "Lenz say what sounds like 'How dare you' with great emphasis as he drops the dog" — the entire Lenz pathology (grandiose injured merit) in three words.
  • pp. 588-589: "a figure in a sort of suit and metal wheelchair sitting right up next to the window in the sideways way of wheelchairs that want to get right up next to something" — the A.F.R. watching; surveillance-disguise anchor.
  • p. 589: Green "breathing into the bark of the tree so his exhaled breath won't plume out from behind the tree and be seen as an accomplice's breath, potentially." — the closing image of guilt-by-witness.

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