In a recent piece about Les Misérables, which is in general a fine study of the dynamics of law and grace in the film, Michael W. Hannon worries that a view of the state, and the political realm more broadly, as an unnatural institution is insufficient for a vibrant and vigorous engagement of this realm, or as he puts it “our faith in law.” Hannon aptly notes that Valjean, one for whom “it seemed as though he had for a soul the book of the natural law,” is the ideal in Hugo’s work. Valjean’s remarkable conversion, for instance, results in a situation in which he recognizes a greater sense of moral obligation rather than less.