Thesis:HaydenAnhedoniahasinadvertentlycreatedatrilogyfortheEthelCaincharacter.The firsttwoinstallmentsofthetrilogybeing Willoughby Tucker, I’ll Always Love You (WT), and Preacher’s Daughter (PD).TheformerchroniclesEthel’sadolescenceandthechildhoodlove thatdominatedandinformedtherestofherlife,andthelatterdetailshowthisprofoundlossof loveandinnocencehasledherdownadestructiveanddeadlypath. Perverts comesinasa reflectiveepiloguetothisnarrative,detailingEthel’ssinsandtraumasafterdeath.Asan audience,wegainaglimpseintoarguablythemostobjectivedescriptionsofEthel’slife,where sheisfreefromtheneedtoprojectloveontoothers.Whiletraversingtheafterlife,shedescribes thelessonsandtraumasshehadtoendure,ifonlysothatanotherdaughtermaylearnandsave herself. Perverts isnotanarrativeinthesameway WT and PD are;rather,itisananthologyof painandobservation,andthroughtheoutlined 12 Pillars of Simulacrum,Ethelpervertswhoshe oncewas.
TracklistAnalysis:
1. Perverts:Thesongopenswithacoverof“Nearer,MyGod,toThee.”Althoughjustan excerpt,thehymndepictstheeuphoriaexperiencedinproximitytoGodusingthebiblical imageryofJacob’sladdertoheaveninGenesis28:10-19 Ethelhopestoclimbinto Heaven,believingintheEvangelicallessonsofhercommunity However,itisthen revealedthat“heavenhasforsakenthemasturbator,”andEtheliscondemnedtoan afterlifeconsumedbysuffering.The“masturbator”hereisEthel,drawingparallelsto howshehaslovedinselfishwaysandsuccumbedtosexualdegradation.Thisthemewill befurtherexploredin“Onanist.”Thelyric,“it’shappeningtoeverybody,”setsthetone fortheentireEP.ThenarratoracknowledgesthatthecyclethatdestroyedEthelisfound ineveryone.
2. Punish:DetailinghowEthelhasbeencontinuallyhurtbythoseshetrustedtoloveher. Startinginchildhood,Ethelhasmadereferencestotheabuseandtraumaenduredwithin herhome.“HardTimes”alludestothephysicaland/orsexualabuseofEthelatthehands ofherfather.Leavingherapathetic,sheis“tootiredtomove,tootiredtoleave.”Love continuestotauntEthelasshepushesheroldestfriend,Janie,away,losesWilloughby, andherprojectionofescape,toanactofGod,losesanotherlovertobrutalityand poverty,andisfinallyforcedtosubmittoaviolentmanwhoultimatelydestroysany evidenceofherexistence.Againandagain,Ethelis“punished”forseekingandaccepting lovefromothers.Sheisneverabletoknowwhathealthyloveis;thus,sheallowsher self-destructivenaturetoprevail.
3. Housofpsychoticwomn:Thisisthemostin-depthlookintothedepravitydwellingwithin theCainhousehold.Thenarrator,likelyEthel’sfatherormother,describeshowsome kindofloveorinnocencewasstolen,andfromthispoint,theyhavewaitedforitsreturn, asasortofsalvation.Furthermore,thenarratorasks,“Doyouthinkyouunderstandwhat itmeanstobeloved?”answering,“Youdon't,andyouneverwill/ButIcantellyouright now/It'sbeautiful.”SimilartohowmoreradicalEvangelicalswillrejectthenotionofan
“all-lovingGod,”insteadbelievingthatGodwillneverlovethoseinsin.Thisideaisthen expandedasthenarratorstates,“Itissuchapreciousthingtobeloved…Whenyouwere young,yousaidyouwishedthatsomeonelovedyou/Ido.”Thenarratorexplainsthat Godwillneverbestowthedivinegiftoflovetothelistener,inthiscaseEthel;however, thatlovecanbefoundinthenarrator.Additionally,becauseofherparents'alleged knowledgeofhowbeautifulitcanfeeltobelovedbyGod,Ethelmayhopetovicariously feelthislovetoo.Underneaththeverse,Anhedoniaevokesadarkatmosphereand hypnotictrancewithgroaning,desolatesoundsandtheline,“Iloveyou.”It’salmostasif Ethelperpetuallybelievestheliethattheabusedealtisforthesakeoflove.Hearing“I loveyou”overandovermakeshermoreapathetictothepainofherfamily.
4. Vacillator:Ethelisrepeatedlydoubtfulaboutherinherentabilitytobelovedbyothers. Shecontinuestoprojectthelovesheneedsontoothersandisletdownwhentheyare unabletomeetherexpectations.In“Vacillator,”Ethellooksbackonhertimeasasex worker Surroundedbylovelessandtransactionalsex,sheisapathetictoanypotentialof theseactsasan“escape.”Therepeatedphrase,“Ifyouloveme,keepittoyourself,” appearstobeastarkcontrasttoEthel’spreviousneedforconstantvalidation.Sheasked Willoughby,“Areyouangry?Doyouhateme?”In“GibsonGirl,”Ethelstates,“Andif youhateme/Pleasedon'ttellme,”andfinallyin“Strangers,”sheasks,“AmInogood?” Nowindeath,Ethelrealizesthatlovehasonlybroughtheragonyandviolence.She wouldrathershieldherselffromtheworld’sliesthancontinuetobemarredinthename oflove.
5. Onanist:“Onanist”isareflectionofhowEthelandothersuseloveasameansfor self-satisfactionratherthanthepursuitofadevelopedpartnership.Ethelhasdiscussed howshehasneverreallyknownthosesheclaimstolove.In“Waco,Texas,”shestates, “Yeah,you’ve[Willoughby]changed/ButdidIeverknowyou/OrdidIholdyou/Facing awayfromme?”Here,sheadmitstolovingWilloughbyselfishly,notunderstandingthe nuancesofhispersonhood,insteadforcinghimtobetheprojectionofEthel’s insecurities.As“Onanist”crescendos,thelyric,“Iwanttoknowlove/Iwanttoknow whatitfeelslike,”issung,followedbythespoken,“itfeelsgood.”Carryingonwiththe themesofsexwork,thespokenlinemirrors“GibsonGirl:”“ifitfeelsgood,thenitcan’t bebad.”Inadesperateattempttoachieveanysliverofthedivineloveabsentinherlife, Ethelseekstouseloveasameanstoanend.Ethelshowsnodesiretounderstandand developaconnectionwiththemensheseeksout.Shecontinuestoignoretheirindividual wantsanddesiresuntilitleadstoherdemise.
a. Willoughby:Shenevertookhisfearsofstormseriously,leavinghimtodiealone inthetempest.
b. Logan:Shecontinuedtoignorehisseeminglyinsatiableneedforviolence; ultimatelyleadingtohisbloodydeathandherseparationfromthetownshewas bornin.
c. Isaiah:DespitethenumerousreportsofviolencebetweenEthelandIsaiahfrom theirfirstinteraction,Etheldecidestoromanticizetheirtimetogethervia “Thoroughfare.”However,insteadofthelossofherlover,Ethelisnowthelamb forslaughter.
6. Pulldrone:Dividedintotwodistinct“halves,”“Pulldrone”illustratesthepullofEthel’s life(herdecisionsandlifeeventsthatleadhertoherfate)andthedrone(theunderlying painand/oremptinessthatfollowsEthelinlife,makingherruntowardsdestruction). Withinthe“pullhalf,”Anhedoniaoutlinesher“12PillarsofSimulacrum,”theprocessin whichonebecomesdetachedfromreality.These“Pillars”areinspiredbythework Simulacra and Simulation by20th-centuryFrenchphilosopherJeanBaudrillard. Baudrillard’sworkexpandsontheideathat,“simulacrumisneverthatwhichconceals thetruth—itisthetruthwhichconcealsthatthereisnone.”Thesimulacrumistrue. Baudrillardaddstothisidea,proposingthatanimageundergoesfourstepsinthe transitiontosimulacrum Thesearethe:sacramentalorder(areflectionofreality),order ofmaleficence(realityismasked),orderofsorcery(absenceofreality),andpure simulacrum(norelationtoreality).Thisthenleadstohyperreality,wheresymbolsand simulationtaketheplaceofwhatisreal.Similartohowmanywillshoponlineas opposedtoaphysicalstore,Ethelhasconstructedafalserealityaroundloveratherthan seekingtrueconnection.ItisthroughthislensthatEthel’slifecanbelaidoutobjectively andchronologically,detailingeverysteptowardsdepravity
a. 12PillarsofSimulacrum:Asdetailedthroughtheeventsof WT and PD
i. Apathy:Ethelisdisillusionedwiththeworldafterthedeathofherfather andthegenerationaltraumaofherfamily.Referencingthisin“Family Tree(Intro),Ethelstates,“Thefatesalreadyfuckedmesideways/ Swingingbymyneckfromthefamilytree/He’lllaughandsay,“You knowIraisedyoubеtterthanthis”/Thenleavеmehangingsotheyallcan laughatme,”the“he”heremostlikelybeingherfather.This disillusionmentbegetsherneedforexternalvalidation,whichalsoleadsto thedepartureofEthel’soldestfriend,Janie.Already,Ethel’spathis markedwithadownwardtrajectory.
ii. Disruption:WilloughbyTuckerisintroducedtoEthel.Thusbeganthe ultimatelovestoryofEthelCain’slife.Theline,“Theregoesagreat shudderthroughthemuscle/Ashimmeringofbellsthroughthemist,” mayreferencethe“butterflies”firstfeltbyEthel.
iii. Curiosity:ThroughWilloughby’spresence,Ethel’slifeismorethanthe dullnessofruralAlabama.Shebeginstoseetheworldoutsideofher family.BecomingjealousofneighborhoodgirlssuchasHollyReddickof “FuckMeEyes,”orfantasizingabout“AHouseinNebraska,”Ethelis becomingwisetotheworldbeyond.
iv. Assimilation:Ethelbeginstoacceptthepossibilityofahappylifewith Willoughby.Outlinedinsongssuchas“Nettles”and“DustBowl,”where Ethelimaginestheirwedding,orgushesabouttheadolescentallureofa drive-in.Sheisnowonthepathtowards“goodChristianliving,” believingshecanmaintainit.In“Pulldrone,”thenarratorfindsthe “wellspringofknowledge/offeeling,ofsensation./Beauty, overwhelming;”perhapsthisisGod’sloveitself.Uponitsdiscovery,the narratorstatesthey“willdislocate[their]jawtofititallin.”Similarto howEthelmaybedesperatetogorgeherselfondomesticbliss,oratleast thedreamofit.
v. Aggrandization:NowthatEthelhasplacedallofherfaithinWilloughby, shebeginstoinflatehiscapabilitiesinhermind.Believingthatheisthe embodimentofstrengthandloveshehasbeensearchingfor Wecansee thisintherepeatedphrase,“you’renotscaredofnoknockonthedoor.” However,bytheendofthesong,shedoubtsheridealsofWilloughby, stating,“ormaybeyouare.”
vi. Delineation:Ethelhasbeenunawareoftherealitiesofherrelationship. Heardin“Waco,Texas,”Ethelconcedesthefragilityandhardship enduredbyWilloughby Shesays,“Mybabyactscoolbut/theyallknow somethingain'tright,/Onlyactingthiscoolwhenhe'swalkingwithme,” and“Tobeknownthewayyoushould/Istoputyourselfthroughhell.” EthelknowsthatWilloughbyisjustasbrokenasshe,butshecannotsave him,asshecannotsaveherselfthroughWilloughbyalone.Shewantsto know“whatGodknows,”hopingtheycanbothbesaved.
vii. Perversion:ThedeathofWilloughbyinthetempesthaspermanently pervertedEthel’slife,severelydamaginghertrustandexasperatingher needforlove.Insodoing,cloudingthe“truth”oflove.In“Pulldrone,”the narratordescribeslyingas“thesinner'serrand,”possiblyalludingtoatask thatwillleadtothedestructionofone’ssoul.Ethelcontinuestoacceptlies fromothersaswellaslietoherselfabouttherealityoflove,leadingtoher damnation.
viii. Resentment:WiththedeathofWilloughby,Ethelbecomesmuchmore outwardlydestructive.Shestartsabusingalcoholandengagingwitha violentpartner.Sheisalsoonceagaincaughtupinherfamilialtrauma, recontextualizingtheabuseofherchildhoodin“FamilyTree”and“Hard Times.”Ethelalmostdirectlyreferencesherresentmentin“HardTimes,” saying,“I’mtiredofyou,stilltiedtome,”andthatherneedtostillbelike herfather“scares”her.
ix. Separation:AfterthefailedbankrobberyandLogan’ssubsequentdeath, EthelfleesShadyGrove,afraidofwhatconsequencesawaitherathome.
Whileonthelam,EthelmeetsIsaiahinTexas.Thisnewstrangeroffersa genuinepromiseofescapeforEthel.Now,sheseesafutureoutwest, sayingthatIsaiah’s“pickuptruckwithallof[his]dumbluckistheonly placeIthinkI'deverwannabe.”Backto“Pulldrone,”thenarratorstates, “Iwasanangel,thoughplummeting.”Ethel’selatedstateafterfreeingthe banalityofShadyGroveanddiscoveringanenticingstrangergiveshera glimpseintothedivineknowledgeoflove,butitisfleeting.
x. Degradation:EthelisnowfullyintheclutchesofIsaiah.Hepimpsher out,keepingherdruggedandplacid.NotonlyisEthelsexuallydegraded, butalsophysicallyandspiritually.Isaiahtauntsherinherdrug-fueled psychosis.Hesays,“Youlovebloodtoomuch/ButnotlikeIdo”and “Youpoorthing/Sweet,mourninglamb.”Thesearereferencestothe bloodofChristandAbraham’ssacrificialslaughter,respectively Isaiah throwstheonlycomfortEthelhas,herreligion,rightbackather Hammeringinthelessonthat“Godlovesyou,butnotenoughtosave you.”Ridiculingherbeliefsuntilsheisfullybroken
xi. Annihilation:IsaiahshootsandkillsEthel,storingherbodyinabasement freezer,whereheslowlyconsumesanytraceofher In“Pulldrone,”the narratorstates,“Thisagony/Suchistheconsequenceofaudience/ Iwill clawmywaybacktotheGreatDark/andwewillnotspeakofthisplace again.”Anhedoniadescribes“TheGreatDark”as“everydaylife…the banality,themuckandthemireofthehumanexperience.”Indeath,Ethel realizesthatlivingforothershasledtoagony;shewishesshecouldreturn tothehumdrumofShadyGrove.Sheechoesthisin“SunBleachedFlies:” “WhatIwouldn'tgivetobeinChurchthisSunday/Listeningtothechoir, soheartfelt,allsinging.”
xii. Desolation:Ethelhasreachedtheafterlife.Shefullyseesherlifeasitwas, andhowherneedforexternallovespiraledherdownadismalandempty path.Thenarratordiscussesthe“sacredgeometryofonanism/Of ouroboros/Ofpunishment.”Ethelcomestotermswithhercannibalistic nature;however,itisonlyaftersheisfullydestroyedphysicallyand spiritually.“AmberWaves’”apatheticendingreinforcesthefinal transformationofEthelCain.
7. Etienne:Despitetheambiguityofthetrack,thetitularsourceandclosingpassagegive themostinsightintoitsplaceinEthel’sreflectionofherlife.Anhedoniahasconfirmed thetitle“Etienne”isareferenceto18th-centuryFrencharchitectÉtienne-LouisBoullée. AnhedoniaaddedonNTSradio,“Thematically,Iwantedtobuildatemple.Ihadvisions ofagrandonecarvedfromstone,risingupfromthebleakrockylandscapeoftheGreat GreatDark,andIcouldonlyimaginewhatwasinside.IwasextremelycuriousandIhad toknow,butIambynomeanstheoriginalarchitect.”Known,“asamegalomaniac,
becauseofhistendencytowardgrandproposalswithoutconsiderationforreality… [Boullée’swork]shouldberegardedsimplyasvisionaryschemesratherthanaspractical projects.”Specifically,suchschemesthatdetailedacenotaph(afunerarymonument honoringafigurelaidtorestelsewhere)forIsaacNewton.Anhedoniacreatesasonic cenotaphforEthel,honoringhermemorywhileEthelisinterredviaIsaiah’sdigestion. SimilartoBoullée’stendencytowardsthemagnificent,Etheldisplaysasimilar detachmentfromrealityin“Waco,Texas,”describing,“I’vebeenpickingnamesforour children/You’ve[Willoughby]beenwonderinghowyou’regonnafeedthem.”Inthis way,Boullée’sphilosophymirrorsEthel’simpracticality.JustlikeBoullée,Ethelis grandioseinherideasofthefuture,romanticizingthesimplepleasuresofdomesticlife, whileWilloughbyisawaketotherealityoftheirpovertyandinstability.Moreover,the songcloseswithapassagefroman“oldboxofsermontapesfromthe70sand80s”that Anhedoniahadboughtthepreviousyear Withthiscontext,itcanbeimaginedthatEthel herselfmayhavebeenexposedtothissermonoratleastsimilarideas.Perhapsindeath, shereflectsuponthissermon,wonderingifshehadembracedthephysicalityofreality insteadofliving“intheclouds;”maybeshewouldhaverealizedthatshe“feltsogood that[she]didn'twanttokill[herself]anymore.”
8. Thatorchia:DescribedbyAnhedoniaas,“awordthatpoppedinto[her]head… [meaning]thebitteracceptanceoftheknowledgethatgodwillletyounearbuthewon’t letyoustay.”ThisalludestoEthel’sacceptanceofherproximitytoGod.Willoughbywas theclosestEthelhadgottentoGod.In“DustBowl,”despitetheconstantabsenceof healthyloveinherlife,shewasneverunsureofWilloughby’s.ThisiswhenGodallows Etheltobenear.ButthislovewouldeventuallyberippedfromherbyGodwhen WilloughbydiedintheTempest.Withthisrealization,Ethelfindssomepeaceand acceptanceinWilloughby’sdemise.Knowingthatevenifhehadnotdiedinthatstorm, hispresenceinherlifewouldhavealwaysbeentemporary.Withthat,it’sasifEthelcan finallymoveonfromWilloughby,ifonlytoolate.Moreover,theswellingofthissongis reminiscentof“Willoughby’sTheme,”almostasifitiscomingbacktoEthel,distorted throughtimeanddeath.
9. AmberWaves: Perverts endswithEthel’sreflectionandacknowledgementofhowher addictiontoloveandvalidationhasleftherdestroyedandalone.Openingonaskit,a doctorinformshispatientthatsheshouldtake“asmuchasyouneedtofeelgood,”again acallbackto“Onanist”and“GibsonGirl.”Anhedoniahasexplainedthatthetitular Amberis“thepersonificationoflovecastasidetogethigh.”Whilethismayalsobea referencetothedrugsliterallytakenbyEthelinlife,itismorelikelyareferenceto Ethel’saddictiontolove.Directlyreferencingthisin“WesternNights,”Ethelsaysshe willbe“clingingonto[Logan]likesomeloveblindaddict.”Throughoutherlife,she cyclesthroughanaddictiontovalidationfromthosearoundher.Nowwiththeclarityof death,shecanfullyrecognizehowdestructiveherchoiceshavebeen.Leavingthe audiencewiththeultimatelessonofEthelCain:breakthecycleandescapetheneedfor
lovefromothers.Ethelechoesthissentimentwith,“maybeit'strue/youwerenothingto me,”the“you”herebeingloveitself.Thealbumendswithahaunting,“Ican’tfeel anything,”punctuatingtheemptinessofherdesolation,thuscompletingthe12pillars. Herfinalapathymirrorsthatofherchildhooddisdainforherselfandherfamily,buthas becomeunrecognizableduetothedecisionsmadeinherlife.Moreover,thiscouldalso beareferencetoEthel’sfreedomfrompain.Nowthatshehasrecognizedthetruthsfrom herlife,shemayfinallyknowpeace.
Conclusion:
AlthoughoriginallyinspiredbyDonaldRayPollockanthologyofpervertsinKnockemstiff, Anhedoniahadplannedfortheoriginal“concept[forPerverts]wasacharacterstudyabout different‘perverts.’”Theanthologicaltoneofthealbumremainsintact,however,throughthis understandingoftheEP,itisnowEthelwhopervertshersoul.
InthecreationoftheEP,Anhedoniadiscussestheconceptofthe“Ring.”Sheexplainsitas:“a portalofelevationandenlightenment,”adding,“Ithinkthateveryonelooksforaringintheirlife inaway”asitpullsonone’ssoul.AnhedoniabuildsontheaddictiveallureoftheRing:“Ithink alotofpeoplecanexperience[thepull]throughdrugs…Idon’twanttocallitavice,butmaybe youwould.”Throughout Perverts,EthelrevisitsherattemptstobeclosetoGodthroughlove. FirstexperiencingthepullwithWilloughbywiththeirdreamofNebraska,Ethel’s“Ring”inthis casewouldbetheloveshecannotattainfromothers.Thisdrivesherthroughthe12Pillars, hopingtoreachtheDivineTheater(whereGodresidesseparatedbytheVeil/anenlightened stateofmind/euphoria,).Conversely,Anhedoniaalsoexplainsthe“Hole”asastateofmisery andextremedarkness,warning:“onecanventureintothehole,butwillenteraperpetualsinking. Ifoneneglectstoexitintime,theywillenterthemazeandbecomestuckforever.”IntheEthel narrative,onecanarguethatEthelslipsintoaHoleafterWilloughby’sdeath.Fromthereshe continuestoengagewithabusivepartnersandslidedeeperintothehandsofaddiction. “Darknessisinvitinganditwillcontinuetopullyoudown,”Anhedoniasays.The aforementioned“Maze”isaplaceof“extremeconfusion,ofunreality.Adetachmentfrom reality.”ThisparallelsthefinaleventsofEthel’slifeasdescribedinthepsychosisofPtolemeaas wellasin-universemedia.EthelhassunkthroughherHoleandisnowlostintheMaze,awaiting desolation.
InaRedditpostendorsedbyAnhedonia,userLYN0006speculatesherintentionsbehindthe12 PillarsofSimulacrumanditsrelationtotheRingandsimilarconcepts.TheyexplaineachPillar asthefollowing,afterwhichIrelateittotheEthelCainnarrativeof WT and PD:
1. Apathy:“becomingnumbanddisinterestedinthegreatdark(reality).”
a. Ethelisdisillusionedwiththeworldafterthedeathofherfatherandthe generationaltraumaofherfamily.Thisdisillusionmentbegetsherneedfor externalvalidation.
2. Disruption:“realizingthatyoucanescapethegreatdark,andbecomingawareofthering andtranscendence.”
a. WilloughbyTuckerisintroducedtoEthel.Thusbegantheultimatelovestoryof EthelCain’slifeasEthelbeginstofeelthePull.
3. Curiosity:“wantingtofeelthepulloftheringforyourselfandtoknowwhatitfeels like.”
a. ThroughWilloughby’spresence,Ethel’slifeismorethanthedullnessofrural Alabama.Strayingtothoughtsofimpressingboysorafictionalhomewithher love.Ethelwantstoknowwhatitmeanstobeloved.
4. Assimilation:“feelingenlightenmentandtheconnectiontoahigherpowerandtryingto chasethatfeelingagain.”
a. EthelbeginstoacceptthepossibilityofahappylifewithWilloughby.Ethel imaginestheirwedding,orgushesabouttheadolescentallureofadrive-in.Sheis nowonthepathtowards“goodChristianliving,”believingshecanmaintainit.
5. Aggrandization:“beginningtotrytodemandthatfeelinginsteadoftheslowpullinthe ring.”
a. NowthatEthelhasplacedallofherfaithinWilloughby,shebeginstoinflatehis capabilitiesinhermind.Believingthatheistheembodimentofstrengthandlove shehasbeensearchingfor,andthathecanprovideherthetranscendenceshe desires.
6. Delineation:“realizingtheveilbetweenthedivinetheatreandthegreatdarkbut becomingunsureofreality.”
a. Ethelhasbeenunawareoftherealitiesofherrelationship.Ethelknowsthat Willoughbyisjustasbrokenasshe,butshecannotsavehim,asshecannotsave herselfthroughWilloughbyalone.Shewantstoknow“whatGodknows,”hoping theycanbothbesaved.
7. Perversion:“transcendenceisnolongerapurethingandbecomestiedtounfavorable vices.”
a. ThedeathofWilloughbyinthetempesthaspermanentlypervertedEthel’slife, severelydamaginghertrustandexasperatingherneedforlove.Ethelcontinuesto acceptliesfromothersaswellaslietoherselfabouttherealityoflove,leadingto herdamnation.
8. Resentment:“angeraboutthelimitationsofthefleshasyouareunabletostay permanentlyinthedivinetheater.”
a. WiththedeathofWilloughby,Ethelbecomesmuchmoreoutwardlydestructive. Shestartsabusingalcoholandengagingwithaviolentpartner.
9. Separation:“beginningtofeeldetachedfromtheinescapablerealityoftherealworldas youonlyseektofeeltheproximityofgodagain.”
a. Whileonthelam,EthelmeetsIsaiahinTexas.Thisnewstrangeroffersagenuine promiseofescapeforEthel.Despiteanywarningsigns,sheisdesperatetofeel Godagain.
10.Degradation:“feelingsplitbetweenthegreatdarkandthedivinetheateryoubeginto sinkintowallowandselfpity,enteringthehole.”
a. EthelisnowfullyintheclutchesofIsaiah.Hepimpsherout,keepingher druggedandplacid.NotonlyisEthelsexuallydegraded,butalsophysicallyand spiritually.
11. Annihilation:“youbecomecompletelylostanddetachedfromrealitywithnogroundings lefttoconnectyoubacktothegreatdarkandenterthemaze.”
a. IsaiahshootsandkillsEthel,storingherbodyinabasementfreezer,wherehe slowlyconsumesanytraceofher.
12.Desolation:“realityanddivinehavebeenlost.Youareleftwithahollowsimulacrum.”
a. Ethelhasreachedtheafterlife.Shefullyseesherlifeasitwas,andhowherneed forexternallovespiraledherdownadismalandemptypath.
