Word: dreaming
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Dates: during 1950-1959
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...that we can do business with Peking ... It is a sinister theme ... It is also a tempting theme ... It was the hope of the Foreign Office and also of Neville Chamberlain that both Nazi Germany and Communist Russia would destroy each other by their complementary antagonism . . . Kicking this dream around is like pretending that there are nice burglars and nasty ones...
...better confessions in his fiction. The Invisible Writing is nevertheless a fascinating document in which Koestler reaffirms membership in the company of those who, like Silone. Malraux, Chambers and others, have "seen the future" and are very much afraid that it may work. Koestler confesses to a recurring dream in which he shouts warning of terrible danger to a crowd, but no one will listen. With his faculty for making his nightmares come true, he is now living in England, whose natives "believe . . . that prisons and firing squads [and] slave camps just 'do not happen' to ordinary people...
...have terra-cotta griffons on the roof but no real monsters within. It is a "cosy" doghouse, Koestler admits, and in gratitude affirms that this mild race lives "closer to the text of the invisible writing than any other." No one in Koestler's new home would dream of asking a stranger what France's André Malraux once asked him : "Yes, my dear chap, Apocalypse?" Koestler seems to think that it is always with us, and toward those who ignore it, he can be scathing. Replying to some letters asking whether a description of a mass killing...
...Midsummer Night's Dream (by William Shakespeare) remains, even for the world's most famed producers of Shakespeare, something of a problem child. The Old Vic's version is neither Shakespearean in essence nor artistic as a whole. But on its own terms there is something to be said for a good deal of it-to be said, at moments, with even such words as "lovely" and "fairylike...
Coleridge spoke of A Midsummer Night's Dream as "the lyrical dramatized," but its glories persist in being a great deal more lyrical than dramatic. Hence this is A Midsummer Night's Dream treated, as in 19th century days, as a kind of operatic spectacle, and in much the same 19th century style. It is a Dream that uses, as did a Kean or a Beerbohm Tree, Mendelssohn's enchantingly equivalent score; a Dream employing the classic patterns of romantic ballets; a Dream mounted with lush, moonlit décor evoking Poe's world rather than...