Abstract
Taking as its guide Jean Baudrillard's assertion that one's connection with (or to) Antonin Artaud is necessarily a personal one, this paper asserts that Artaud's ontological crisis can be processed through a secular application of Saint John of the Cross's “dark night of the soul.” In turn, the article posits that Artaud, together with Antoine Roquentin and William Blake, the protagonists in Jean-Paul Sartre's “Nausea,” and Jim Jarmusch's “Dead Man,” respectively, form three sides of an existential prism, refracting light into their constituent parts and providing some clarity into the dilemma faced by each.
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