By William Faulkner
This novel received either the Pulitzer Prize and the nationwide ebook Award in 195. An allegorical tale of worldwide warfare I, set within the trenches in France and working ostensibly with a mutiny in a French regiment, it was once initially thought of a pointy departure for Faulkner. lately it has grow to be famous as considered one of his significant works and a necessary a part of the Faulkner oeuvre. Faulkner himself fought within the struggle, and his descriptions of it "rise to magnificence," in accordance with the recent York instances, and comprise, in Malcolm Cowley's phrases, "some of the main strong scenes he ever conceived."
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And nothing he wrote about politics, or intellectuals, or the death penalty, depends for its credibility upon his sexual behavior. Koestler was a great journalist who exercised great influence; no more, no less. And neither of those claims is hostage to our views about his private life, after the fact. The second anachronism in Cesarani’s book concerns Koestler’s Jewishness. On this score it is easier to sympathize with the biographer. Arthur Koestler was a Jew, born of Jewish parents into early-twentieth-century Budapest’s large and thriving Jewish community.
But for a more discriminating intellectual readership, the book portrayed Communism not just unforgivingly, but also with a curiously human face. Despite its obvious debt to nineteenth-century Russian literature, as well as to older accounts of witch trials and the Inquisition, Darkness at Noon is remarkably benign as a depiction of prison and interrogation. There are no scenes of torture. There is hardly any violence at all. The message is clear and explicitly stated: Unlike the Nazis and the Fascists, the Communists do not use physical torture to extract the curious confessions people make in court.
Whether they did or they didn’t, many women seem to have remained fond of Koestler after the experience. ” Maybe. Or maybe they just enjoyed themselves. Cesarani, like Koestler at his most polemical, sees everything in black or white. Either Ar t h u r Ko e s t l e r, t h e Exe m p l a r y In t e l l e c t u a l 33 you are making consensual, mutually initiated, monogamous, nonaggressive, amorous love, or else something very dark and unpleasant is taking place: rape—or, more commonly, “date-rape,”—a term that occurs with disarming frequency in this book.