Written with a poetic density reminiscent of John Milton and the inevitable sense of concinnity in Cormac McCarthy, CANT soon departs from a traditional morality tale into an inverted bildungsroman in which an escalation of alcohol and opiate intake threatens to reave the Voice's proffered rewards of significance and Shannon's attrited memory of love. As their mercenary travail is degraded into otiose bloodletting, each must maintain, lose, transcend or be transpierced by the ensiform hope on which he has balanced for perhaps too long.