Amazon.com Review
Distinguished author, Holocaust survivor, and Nobel Peace Prize winner Elie Wiesel continues his exploration of guilt, innocence, history, and memory, but with a new twist. Wiesel moves the battle for the human soul from the Holocaust to the rarefied setting of a Connecticut parlor. There, five strangers, stranded during a snowstorm, find themselves manipulated by a sadistic host who calls himself the Judge and declares that one of them will die before morning. Through the long night, the characters take stock of their lives and indentify what inspires them to cling to life. There is George, the archivist who has discovered a dangerously revealing document and whose "ambition it is to evoke the memory of memory"; Yoav, the Israeli commando who believes that "each man was his own executioner and his own victim"; and Razziel, who lost the memory of his childhood to torturers and was on his way to meet the man who could unlock his past. While the characterizations are uneven (Bruce, the playboy, is stock stuff and the Judge's deification of evil is not entirely convincing), Wiesel's philosophical fable is powerful and thought provoking, and increasingly relevant in an age concerned with terrorism and the questions of good and evil.
--Lesley Reed
From Publishers Weekly
There are two strains in Nobel Peace Prize-winner Wiesel's work. One is testimonial. Beginning with his classic, Night, Wiesel has made himself one of the great witnesses of our time. The other strain derives from Wiesel's fascination with parables and fables. In the 1950s, when Wiesel became known, the allegorical mode (suitably fitted out with existential meanings, as in Sartre's No Exit) enjoyed a brief vogue. His latest novel even refers to Sartre's play as it portrays a sort of metaphysical hostage taking. A plane bound from New York to Israel is forced to land in a snowstorm in Connecticut, and five passengers are taken to the house of a local man who has the delusion that he is a judge in a capital case. As the guests respond to the judges more and more personal and insinuating questions, their characters are revealed. Claudia, a pretty theater press agent, wants to get out of the situation by complying; Bruce, a self-described playboy, opts for childish defiance. George, an archivist, and Yoav, an Israeli soldier, respond in more restrained ways. The most thoughtful figure, Razziel, is the principal of a yeshiva. His impressions provide the frame of the drama. Each character, caught in the facts of his or her past and oriented toward future projects, must confront a present threat that crystallizes their existences. Wiesel is obviously closest to Razziel, whose past experiences in a Romanian prison and interest in mysticism mirror, in lightly fictionalized form, factors in Wiesels own life. There is a certain creakiness about the plot, reminiscent less of Sartre than of the Twilight Zone; the story seems more suited to the stage than the novel form. However, the authority of Wiesel's public persona always invests his writings with interest.
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