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Bauby; Jean-Dominique - Health,
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Céleste, which we immediately pinned to the wall: a kind of two-headed fish with blue-lashed eyes and multicolored scales. But what is interesting in the drawing is its overall shape, which bears a disconcerting resemblance to the mathematical symbol for infinity. Sun streams in through the window. It is the hour when its rays fall straight upon my pillow. In the commotion of departure, I forgot to signal for the curtains to be drawn. A nurse will be in before the world comes to an end.
Paris
I am fading away. Slowly but surely. Like the sailor who watches the home shore gradually disappear, I watch my past recede. My old life still burns within me, but more and more of it is reduced to the ashes of memory.
Yet since taking up residence in my diving bell, I have made two brief trips to the world of Paris medicine to hear the verdict pronounced on me from the diagnostic heights. On the first occasion, my emotions got the better of me when my ambulance happened to pass the ultramodern high-rise where I once followed the reprehensible calling of editor in chief of a famous women’s magazine. First I recognized the building next door—a sixties antiquity, now scheduled to be demolished, according to the billboard out front. Then I saw our own glass facade, airily reflecting clouds and airplanes. On the sidewalk were a few of those familiar-looking faces that one passes every day for ten years without ever being able to put a name to them. When I thought I glimpsed someone I actually knew, walking behind a woman with her hair in a bun and a burly man in work clothes, I nearly unscrewed my head to see. Perhaps someone had caught sight of my ambulance from our sixth-floor offices. I shed a few tears as we passed the corner café where I used to drop in for a bite. I can weep quite discreetly. People think my eye is watering.
The second time I went to Paris, four months later, I was unmoved by it. The streets were decked out in summer finery, but for me it was still winter, and what I saw through the ambulance windows was just a movie background. Filmmakers call the process a “rear-screen projection,” with the hero’s car speeding along a road that unrolls behind him on a studio wall. Hitch-cock films owe much of their poetry to the use of this process in its early, unperfected stages. My own crossing of Paris left me indifferent. Yet nothing was missing—housewives in flowered dresses and youths on roller skates, revving buses, messengers cursing on their scooters. The Place de l’Opéra, straight out of a Dufy canvas. The treetops foaming like surf against glass building fronts, wisps of cloud in the sky. Nothing was missing, except me. I was elsewhere.
The Vegetable
“On June 8 it will be six months since my new life began. Your letters are accumulating on the dresser, your drawings on my wall, and since I cannot hope to answer each one of you, I have decided to issue these samizdat bulletins to report on my life, my progress, and my hopes. At first I refused to believe that anything serious had happened. In my semiconscious state following the coma, I thought I would shortly be back in my Paris stamping grounds, with just a couple of canes to help me along.”
Those were the first words of the first mailing of my monthly letter from Berck, which I decided in late spring to send to my friends and associates. Addressed to some sixty people, that first bulletin caused a mild stir and repaired some of the damage caused by rumor. The city, that monster with a hundred mouths and a thousand ears, a monster that knows nothing but says everything, had written me off. At the Café de Flore, one of those base camps of Parisian snobbery that send up rumors like flights of carrier pigeons, some close friends of mine overheard a conversation at the next table. The gossipers were as greedy as vultures who have just discovered a disemboweled antelope. “Did you know that Bauby is now a total vegetable?” said one. “Yes, I