“At any one of the many BDSM conventions or dungeons that one might find in any major American city, the paraphernalia of bondage, domination, submission, and sadomasochism intermingles with the paraphernalia of lived Christianity, past and present. A naked, blinded, long-haired man with this arms bound to two columns, tormented by the memory of a stereotypical Delilah, might be a biblical scene; it might also be a BDSM scene in a local hotel convention center. A priest in the confessional might be practicing certain unsavory methods of reconciliation with his penitent, but the setting of the confessional might be more nightclub than cathedral. A bloody crucifixion scene might take place, but do the blood and sweat that land on those who lay prostrate at the foot of that cross wash their sins away and free them from the powers of death and hell? What does it mean to reproduce these things in the dungeon, and what happens to the meaning of the original scenes that they are copying, the antitypes of these tableaux of torture and violation? And how does any of this relate to that other cross, on the hill of Calvary outside the city, to which--some of us have been told--we must send up our sufferings, with much rejoicing?” (148)