Word: christe
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Ridley writes himself into a hole, however. Pitchfork’s characters and dialogue support a network of intertwined symbols that grows increasingly complex as the play progresses. Presley in particular is overburdened with thematic importance, and this production additionally sprinkles Presley-as-Christ imagery throughout. Eventually, Presley requires a 15-minute monologue to sort out everything that his character represents. Johnson makes the speech work, no question, but here, as elsewhere, Ridley’s work does not always lend itself to non-thematic nuance...
...what is encouraging conversion is not always clear. If encouraging prayer time is permissible, is encouraging the recitation of certain prayers to certain religious figures permissible as well? How would the govenment treat 12-step programs that save thousands from drug and alcohol addiction, but include "accepting Jesus Christ as your personal savior" as one of the steps...
...justify in this context the rhythm method or sex with an infertile spouse; to do so, conservatives have fallen back on ennobling heterosexuality per se, calling it a "unique two-in-one flesh communion" or invoking, as did Salient publisher Bronwen C. McShea '02, the union of Christ and His Church. Looking for good metaphors is a silly way to go about moral reasoning, and with legions of gender theorists and lit-crit folks in the wings, it seems inevitable that equally good metaphors will eventually crop up on the other side. Absent some new arguments on campus...
...northeast corner of the room, and looked out the window at night to a red blinking light on a distant water tower and imagined living in New York City and other grand things, and now at 87 he lies in the bed and imagines the risen Christ meeting him with open arms, as in the hymns that his morning nurse Ramona sings...
...present. Hildegard Wolf, a successful Paris psychiatrist, finds herself treating not one but two patients who claim to be the notorious Lucan. But she too is in hiding from a criminal past; her real name is Beate Pappenheim, a sham Bavarian stigmatic who, using her menstrual blood to simulate Christ's wounds on the cross, once extracted a small fortune from credulous Roman Catholics before vanishing into a new identity...