Sarah Kane is a polarizing playwright. Some call her great, while others link her high posthumous profile more or less directly to her suicide. In any case, there is “the creeping correlation of Kane’s suffering with her talent (pace Plath). … There are kinds of plays you can’t say you find lethal without people assuming that you loathed them because they were too visceral, too truthful for you. And I suspect critics are increasingly afraid of being thought uncool if they express disgust with brutality on stage.”