[...] the stories that captivated and unsettled me were those that remained irreducible. In these, there were no codes to be cracked, no definitive meaning to be exposed—just the faintest sense that the surface of the text was undergirded by a vast system of roots that must remain forever invisible.

I worry, once again, that my oblique approach has managed only to muddle things. I suppose I’ve been trying to suggest that subtlety is always a sign of mystery, and that our attitude toward the former is roughly commensurate with our tolerance for the latter. I have come to regard it as something of a dark art, a force of nature that can be summoned but never fully harnessed, and can backfire at the slightest misstep. Anyone can pick up a bullhorn and make her intent clear to all, but to attempt something subtle is to step blindfolded into the unknown. You are always teetering on the brink of insanity. You are always working on a wire strung across an abyss, hoping to make it from one end to the other without losing your balance, or your mind.

Perhaps this is another way of saying that subtlety is a transaction of faith. The artist must have faith that her effects will be perceived in the way she intends; the reader must trust that what he detects, beneath the surface of the text, is not merely a figment of his imagination. The disciple must come to believe that the whispers he hears in the wilderness are not the wind, or the devil, but the voice of his Creator. All religion, all forms of love, depend on this leap.