Heinrich stood in a corner of the room, taking up his critical-observer position. I gave Murray his coffee and was about to leave when I glanced in passing at the TV screen. I paused at the door, looked more closely this time. It was true, it was there. I hissed at the others for silence and they swivelled their heads in my direction, baffled and annoyed. Then they followed my gaze to the sturdy TV at the end of the bed.
The face on the screen was Babette’s. Out of our mouths came a silence as wary and deep as an animal growl. Confusion, fear, astonishment spilled from our faces. What did it mean? What was she doing there, in black and white, framed in formal borders? Was she dead, missing, disembodied? Was this her spirit, her secret self, some two-dimensional facsimilie released by the power of technology, set free to glide through wavebands, through energy levels, pausing to say good-bye to us from the fluorescent screen?
A strangeness gripped me, a sense of psychic disorientation. It was her all right, the face, the hair, the way she blinks in rapid twos and threes. I’d seen her just an hour ago, eating eggs, but her appearance on the screen made me think of her as some distant figure from the past, some ex-wife and absentee mother, a walker in the mists of the dead. If she was not dead, was I? A two-syllable infantile cry, ba-ba, issued from the depths of my soul.
[White Noise, DeLillo, D.]
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