Molly Notkin’s interrogation (pp. 787–789)

This is the cosmology the whole family-Hamlet frame is built on, recovered secondhand from the lost Entertainment. Madame Psychosis, filmed as Death — naked, gorgeously pregnant, face blanked by the lens — delivers a childlike monologue down into the camera: Death is always female, the female always maternal, so the woman who kills you becomes your next life's mother, and that is why mothers love you so frantically and consumingly and narcissistically — they're making amends for a murder. It's the metaphysical charter under everything the anthology tracks about Avril: it converts maternal love itself into the primal crime, recasts the too-much-love as guilt-work, and makes motherhood and death the same office seen from two lives. The system's mother-thesis, dreamed up by the dead father and spoken by the woman his son loved.