Prelude for Beautiful Victims
Read Previous Article in Series The two words in adjacent ink do not have harmonious rhythm – “Beautiful Victim.” But their sound, though chaotic, is hopeful and promising. It is like the punishing tones of an aggressive concerto. The opening measures demand attention, awaken the audience, provoke curiosity. How could this possibly become beautiful? But it does. Movement by movement the pieces are pulled out, each tone given a forum to explain its theme, its purpose, its place in the score. And then another piece speaks, given its time, and placed perfectly back into arrangement. Each movement played by masters; each movement playing the emotions of those who listen. Near the end, a crescendo, a progression of moments in which the aggressive tones return, but this time less punishing and more triumphant. The same rhythms, the same tones now better understood and welcomed. But for now the words “Beautiful Victim” beg for explanation. How, why, for what purpose are they chosen? Will