The Diving Bell and the Butterfly

Yet Another Coincidence

If you asked readers which of Alexandre Dumas's literary heroes they would like to be, they would pick D'Artagnan or Edmond Dantès. No one would dream of choosing Noirtier de Villefort, a somewhat sinister character in The Count of Monte Cristo. Described by Dumas as a living mummy, a man three-quarters of the way into the grave, this profoundly handicapped creature summons up not dreams but shudders. The mute and powerless possessor of the most terrible secrets, he spends his life slumped in a wheelchair, able to communicate only by blinking his eye: one blink means yes; two means no. In fact, dear Grandpapa Noirtier, as his granddaughter affectionately calls him, is literature's first—and so far only—case of locked-in syndrome.

As soon as my mind was clear of the thick fog with which my stroke had shrouded it, I began to think a lot about Grandpapa Noirtier. I had just reread The Count of Monte Cristo, and now here I was back in the heart of the book, and in the worst of circumstances. Ironic—but that rereading had not been purely by chance. I had been toying with the idea of writing a modern, doubtless iconoclastic, version of the Dumas novel. Vengeance, of course, remained the driving force of the action, but the plot took place in our era, and Monte Cristo was a woman.

So I did not have time to commit this crime of lèse-majesté. As a punishment, I would have preferred to be transformed into M. Danglars, Franz d'Épinay, the Abbé Faria, or, at the very least, to copy out one thousand times: “I must not tamper with masterpieces.” But the gods of literature and neurology decided otherwise.

Some evenings I have the impression that Grandpapa Noirtier patrols our corridors in a century-old wheelchair sadly in need of a drop of oil. To foil the decrees of fate, I am now planning a vast saga in which the key witness is not a paralytic but a runner. You never know. Perhaps it will work.