would suggest that shame’s mention—juxtaposed to humankind’s nakedness—is significant not simply because of what follows but also, and perhaps mostly, because it is primal to what follows. The vulnerability of nakedness is the antithesis of shame. We are maximally creative when we are simultaneously maximally vulnerable and intimately connected, and evil knows this. To twist goodness into the seven deadliest versions of its opposite, shame is necessary and effective, and its virulence explicitly exploits our vulnerability.
