By Jill Scott (auth.)
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Extra info for A Poetics of Forgiveness: Cultural Responses to Loss and Wrongdoing
The central focus of the Eumenides is the introduction of judicial pardon as a means of settling dispute rather than through retribution and revenge. 18 Forgiveness implies a kind of ref lection on the moral worth of one’s deeds and the realization that one has done wrong, coupled with the perseverance in the Christian logic of turning the other cheek (Matt. 5:39; Luke 6:29). If Achilles had turned the other cheek, he would have turned up dead. In the ancient world order, one must risk death to uphold one’s honor or lose face and become a social outcast.
Through its poeticity, its acoustic and rhythmic cadence, syntax and wordplay, this at once autobiographical and fictional letter stages a psychic, nonsemantic revolt against the litany of blame and hatred that makes up its narrative surface. Working at the microcosmic level of the text, for example, in my analysis of the use of the letter “d” (as both grapheme and phoneme), I argue that Kaf ka’s language has a redemptive function, and even stitches together a tentative poetic reconciliation between father and son.
For that I’m sorry. But you can take my word for it, your mother had it coming. ” By instructing the girl in the code of conduct, the Bride sets the wheels in motion for the next generation of slayings. The last revenge killing, that of Bill, also sows the seeds for renewed retaliation. At the end of part one, we learn that the Bride’s baby did not in fact die, but was removed from her mother’s womb and raised by Bill. Mother and daughter are reunited when the Bride makes her final visit to Bill.
A Poetics of Forgiveness: Cultural Responses to Loss and Wrongdoing by Jill Scott (auth.)