James O. Incandenza: a filmography (pp. 989–990)
a theoretical physicist (‘Rection’), who can only achieve creative mathematical insight during coitus, conceives of Death as a lethally beautiful woman (Heath).
Context
Möbius Strips gives the clearest statement of the cosmology 159 and 164 spell out from the inside: Death imagined as "a lethally beautiful woman." And it is not one film's conceit — Pam Heath plays the figure of Death again presiding over Cage III, Death claims the catatonic CEO in Low-Temperature Civics, the veiled nun ritually blinds the Oedipally-aggrieved in The Night Wears a Sombrero, the beautiful cadaver drives Desire to Desire. Over and over the father films Death as a woman, veiled or lethal or maternal, until the equation the novel later makes explicit — that the woman who kills you is your next life's mother, that this is why mothers are so obsessively loving — turns out to have been Himself's governing image all along. The mother-thesis was in the filmography before it was ever a dream.