I think that with very important things we do not overcome our obstacles. We look at them fixedly for as long as is necessary until, if they are due to the powers of allusion, they disappear. – Simone Weil, from her letters
In the opening sequence of the latest X-Men movie, a young boy, Erik, is asked to move a coin across a table before the count of three or his mother will be shot. It is Poland, 1944, and Erik’s mother, emaciated and terrified and brutalized, tries to calm her son as he attempts to save her life. The ruthless Sebastian Shaw (Kevin Bacon speaking in German!) begins the countdown. Erik concentrates, his face contorted, fingers trembling, watching the gun, then the unmoving coin, glancing over his shoulder at his mother, who tries in vain to reassure him (“everything is okay,” she repeats, mother to the last, knowing that they’ll both lose this battle). Erik tries desperately to use an extraordinary and unexplainable gift that the Nazis discovered during the liquidation of the Jewish ghetto, when he bent an iron gate as his parents were being dragged away. He cannot do it; the stress is too great. He fails the test and Shaw shoots his mother in the heart.