My belief is that, morally, God and Satan are vaguely on the same page. According to the common understanding of Satan's origins, holiness must be in his blood: but a corrupted formula. The vital difference is that God is willing to offer grace for our sins; he delights in grace. God is the one and only holy and just punisher of sin, yes, but that is partly so because punishment for the sake of punishment is not something he loves. Whereas Satan, as the accuser, and as it is written, actually seeks God's permission to punish; he, being a seasoned legalist, delights in finding wrongs and will defy his own morality just to expose immorality. This is why both the anti-religious soul and the violently religious soul are, whether consciously or unconsciously, and sadly enough, glorifying their biggest hater: Satan is not only a lawless lover of punishing lawlessness, but also the greatest theologian of us all. He loves wickedness, but only because he loves punishing wickedness.

He sank back into his black-and-white world, his immobile world of inanimate drawings that had been granted the secret of motion, his death-world with its hidden gift of life. But that life was a deeply ambiguous life, a conjurer's trick, a crafty illusion based on an accidental property of the retina, which retained an image for a fraction of a second after the image was no longer present. On this frail fact was erected the entire structure of the cinema, that colossal confidence game. The animated cartoon was a far more honest expression of the cinematic illusion than the so-called realistic film, because the cartoon reveled in its own illusory nature, exulted in the impossible--indeed it claimed the impossible as its own, exalted it as its own highest end, found in impossibility, in the negation of the actual, its profoundest reason for being. The animated cartoon was nothing but the poetry of the impossible--therein lay its exhilaration and its secret melancholy. For this willful violation of the actual, while it was an intoxicating release from the constriction of things, was at the same time nothing but a delusion, an attempt to outwit mortality. As such it was doomed to failure. And yet it was desperately important to smash through the constriction of the actual, to unhinge the universe and let the impossible stream in, because otherwise--well, otherwise the world was nothing but an editorial cartoon.

The food is ready,” Zil announced to loud cheers.“But we have something more important to do, first, before we can eat.”Groans.“We have to carry out some justice.”That earned a silent stare until Turk and Hank started raising their hands and yelling, showing the crowd how to act.“This mutant, this nonhuman scum here, this freak Hunter…” Zil pointed, arm stretched out, at his captive. “This chud deliberately murdered my best friend, Harry.”“Na troo,” Hunter said. His mouth still didn’t work right. Brain damage, Zil supposed, from the little knock on his head. Half of Hunter’s face drooped like it wasn’t quite attached right. It made it easier for the crowd of kids to sneer at him, and Hunter, yelling in his drooling retard voice, wasn’t helping his case.“He’s a killer!” Zil cried suddenly, smacking his fist into his palm.“A freak! A mutant!” he cried. “And we know what they’re like, right? They always have enough food. They run everything. They’re in charge and we’re all starving. Is that some kind of coincidence? No way.”“Na troo,” Hunter moaned again.“Take him!” Zil cried to Antoine and Hank. “Take him, the murdering mutant scum!”They seized Hunter by the arms. He could walk, but only by dragging one leg. They half carried, half marched him across the plaza. They dragged him up the church steps.“Now,” Zil said, “here is how we’re going to do this.” He waved his hand toward the rope that Lance was unspooling back through the plaza.An expectant pause. A dangerous, giddy feeling. The smell of the meat had them all crazy. Zil could feel it.“You all want some of this delicious venison?”They roared their assent.“Then you’ll all grab on to the rope.