IJ study archive

Scene 148: lenz alley loot

Scene
148
Pages
728–729
When
14 Nov YDAU (2009), 'somewhere vague between 2224 and 2226h' — minutes after scene 142
Where
the cruciform alleys between Central and Inman Squares, Little Lisbon, Cambridge — dumpster-lined north-south alley with a hitched E.W.D. truckin: Inman Square / "Little Lisbon", Cambridge
POV
Randy Lenz (3rd person limited)

Connects to (editorial cuts & payoffs, 7)

Summary

The snatch has happened between scenes: the Chinese women "flew aside like dolls," and Lenz jogs the dark cruciform alleys of Little Lisbon with both treasure-heavy bags pulling him along, feeling himself "from scalp to sole" — predation as the only thing that makes him feel alive and whole. The alley is a gallery of bottoms he refuses to recognize: two men sharing Sterno, four boys not over twelve smoking rock through a M. Fizzy bottle on a truck hitch (one draws a slow pretend bead on him with a finger-gun), and a sexless figure masturbating against a dumpster who looks up and chants "Pretty, pretty, pretty" as he passes. A distant crash — flagged by the narrator as Poor Tony rolling the barrel that trips Ruth van Cleve — stitches the night's chases together. Lenz plans to sort valuables, fence the rest, refill his medical dictionary's receptacle, and buy "attractiver shoes"; he steps over the chanting figure's rotting legs whispering "Jesus what a lot of fucked-up ass-eating fucking losers."

What to notice

After a whole scene of stalking, the crime itself happens in a subordinate clause — "Sure enough the Chinkette women had been strengthless and lightweight, flew aside like dolls" — the violence already pluperfect by the time the scene opens, elided like something not worth narrating even to himself. His grandiosity gets written as physics: vaulting the Sterno drinkers, he "glided through the foul air above them, untouched by it" — levitation as denial, a man moving through the bottom-gallery convinced none of it adheres to him. And note what the cramped left hand is holding along with the loot: the hollowed large-print volume he won't set down even mid-getaway — stash and scripture in one object, the single possession he never considers dropping.

Beats — page-by-page

  • p. 728: confirmation in retrospect — "Sure enough the Chinkette women had been strengthless and lightweight... their bags were indeed treasure-heavy"; the bags' momentum pulls him down the alley; "His breath came easy and he could feel himself from scalp to sole"; he vaults two khaki figures sharing Sterno, "untouched" by the foul air; the alleys as "a kind of second city."
  • p. 728: time fixed "somewhere vague between 2224 and 2226h"; "The alley was dark as a pocket"; the narrator's cross-stitch: "A tiny crash off somewhere south... was actually Poor Tony Krause rolling the steel waste-barrel that tripped up Ruth van Cleve."
  • p. 728: the hitch boys — blue lighter-flame against the E.W.D. truck, M. Fizzy bottle for a pipe, "the sicksweet smell of overcarbonated rock," none over twelve; the knit-cap boy locks eyes and "made a gun of his thin hand, pretended to draw a slow bead"; Lenz strides by "extruding dignified purpose," keeping them "in peripheral view."
  • pp. 728-729: unkind laughter and a thrown bit of brick behind him; his plans — separate valuables, fence in Little Lisbon, "refill the receptacle in his medical dictionary," attractiver shoes; the alley "devroid of cats and rodents both; he did not stop to reflect why."
  • p. 729: the supine sexless figure, two different shoes, hand working in its groin, feet "turned out like a dead body's," chanting up at him "Pretty, pretty, pretty"; Lenz's whispered verdict on everyone but himself: "Jesus what a lot of fucked-up ass-eating fucking losers."

Themes in this scene

  • Addiction and Recovery: the bottom-gallery — Sterno, twelve-year-old rock smokers, terminal street figures — viewed by a relapsed man whose denial requires the word "losers" for everyone on his own road; Y.E.T. (n.312, scene 151) inverted exactly.
  • Communication and Solipsism: every encounter is mediated by performance and peripheral vision — the finger-gun "performing for the others," Lenz "extruding" dignity; the one direct address he gets ("Pretty, pretty, pretty") is unbearable and stepped over.
  • Surveillance and Disguise: the watching continues — he monitors the boys, they bead on him; nobody in the second city is unobserved, and the real watchers (A.F.R. acquisition teams, scene 147) go unmentioned and unseen.

Connections — backward & forward

Backward

  • The medical dictionary receptacle replaces/joins the razored James volume (scene 142, p. 718) — his library of hollowed-out authority continues.
  • Scene 147 (p. 728) has four A.F.R. teams rolling exactly this district for "passively undefended" Subjects at exactly this hour; Lenz and the alley's supine figures are the candidate pool — this scene leaves the net closing.
  • The boys' M. Fizzy bottle and the GIGABUCKS ticket (scene 141, n.299) belong to the same Subsidized-litter texture as the E.W.D. (Empire Waste Displacement) truck — waste, lottery, and rock as the gutter face of O.N.A.N.'s economy (cf. annular waste-launch lore, scene 086).
  • Direct sequel to scene 142; the off-stage snatch mirrors Poor Tony's on-stage one (scenes 141/144), and the barrel-crash aside is the only narration the Ruth-Tony chase's end ever gets — two 14-Nov predation plots resolved in one another's margins (with scene 147's A.F.R. net still closing over the same alleys).
  • "Devroid of cats": the alley's missing animals are Lenz's own prior work — his Issues-Resolution killings of cats, rodents, and dogs (pp. 538-560, scene 105, 109); the narrator lets the cause sit unreflected, like Lenz.

Forward

Notable passages (3)

  • p. 728: "His breath came easy and he could feel himself from scalp to sole." — violence as the cure for cocaine numbness (scene 142's frozen knees and nose); the predation high named.
  • p. 728: the narrator's cross-POV aside ("...was actually Poor Tony Krause rolling the steel waste-barrel that tripped up Ruth van Cleve") — the book's machinery briefly visible; clear evidence of the montage construction.
  • p. 729: "'Pretty, pretty, pretty.'" / "'Jesus what a lot of fucked-up ass-eating fucking losers.'" — the bottom addressing Lenz and Lenz's denial answering; the scene's whole moral transaction in two lines.

What links here Timeline events here (5) · Connected from (5) · Passages quoted here (22) · Motifs (1)

Timeline events here

Connected from

Passages quoted here

Motifs