Because it is in purple, the text of the illustrated overlay is hard to read:
LIÈVRE or LIVRE [SIC]
1930 – 1989
WIFE • MOTHER
NOW IN THE
The words obscure a painting by Georges Rouault titled Pierrot. It depicts the archetypal “sad clown” that was familiar to Rouault by way of the commedia dell’arte which permeated his body of work∞1.
Monument to Pelafina was created to provide yet another point of view, or lens, with which to see a text where men are continually represented as trying to set up their own houses. Danielewski presents this concept in the fictional footnote #329: “Melissa Schemell . . . discusses sexual modes of recognition: the house as vagina” (358). Men are architects, explorers, and heads of households. Lièvre or Livre [sic] resists the patriarchal script and is therefore institutionalized. Her vagina-house is closed, and tragically, she suffers for it.
In House of Leaves, Danielewski recreates a book as a house and a house as a book. The conceit results in a polyphony of observations, perceptions, voices, and other media-bound representations that each come at the object in a different way. Even Danielewski’s character Zampanò uses the word “see” at the beginning of almost every footnote (awkwardly, but for a purpose∞2) which he calls our attention to.
Pelafina Heather Lièvre or Livre [sic]’s perspective, among other things, tells us more about Johnny Truant, the character central in presenting Zampanò, intentionally a few times removed from Danielewski, and the book/house contains more layers of observation because of this. In the appendix exhibits on pages 639, 643, and 644 we are given some light on the circumstances of Lièvre or Livre [sic]’s death, but this reader applauds the work of the anonymous person who went further to honor her with Monument to Pelafina, a work which should have been placed at her burial plot at Wain Cemetery in May of 1989.