The identification of the divine with the crucified for Breton then names the crossing of multiple intersections. In its pathological attachment to the moment of a crucified messiah, divinity finds itself inflicted with the most hair-raising case of what Breton sometimes calls “mad love,” impassioned attachment that unhinges the coordinates of preestablished identity. At the same moment of this intensely erotic investment, however, there is for Breton an uncanny distancing effect that settles into the otherwise personal attachment, this dual and paradoxical movement summarized perfectly by Breton as a “shadow cast by a personal relation converted into the a priori o