The Book of Genesis, regardless of our faith, is something with which almost all of us in the Western world are familiar—a foundational work of our culture we have read and, we believe, understood. After all, its language, despite its remarkable elegance, is simple. Its powerful sentences are short. And its messages glisten with clarity.
A charismatic leader and a high-spirited student group are on holiday in Italy. The surreal adventures of these friends are a free-flowing, four-part "multi-sensual symphony," bereft of traditional story line. One national critic described the boys' anarchic revelry as a "dream-like descent from civilization into the chaos reminiscent of Lord of the Flies."