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[Criticism]

Abandon All Hope

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Hieronymus Bosch comes home

A naked man grabs me by the lapels and bares his teeth in frustration. I say naked, when I mean clad in a skintight nude suit that delineates his six-pack and decorously abstracts his genitals in the manner of a kids’ action figure. I have been assaulted by the personification of Anger. I’m probably being paranoid, but the unshakable sense of foreboding this gives me derives, as far as I can tell, from the suspicion that his little coup de théâtre is so effective because the guy playing Anger has actually taken against me, can discern in me something weak or sinful that he could exploit as grist for his performance. Earlier, a jester wearing a boat around his midriff had sniggered at the way I was holding my press folder. Maybe I’m not being paranoid, and the bad feeling I’ve had since I walked onstage at the Theater aan de Parade — which will increase over the course of my stay — is only an appropriate response.

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is the author of Pub Walks in Underhill Country (Penguin), a novel. His article “Blast from the Past” appeared in the December 2015 issue of Harper’s Magazine.

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