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وصیتنامهی اسپانیایی
وصیتنامهٔ اسپانیائی، حکایت زندگی دردآمیز کسانی است که به عقوبت آنکه نان را به تساوی میخواهند و آزادی را تنها راه دستیابی به حیثیت و کرامت انسانی میپندارند، به جوخههای اعدام سپرده میشوند؛ سرگذشت رویایی اجتنابناپذیر آرزوهای نیکدلانهٔ انسانهای آزاده است با شقاوت بیمرز استبداد، در عریانترین چهرهٔ آن؛ انسانهایی که مرگ، در خلوت نیمهشبان، با صدای خفهٔ زنگولهٔ کشیش اقرارنیوش، به دیدار آنان میشتابد، بیآنکه اغلب آماده بوده باشند؛ کندوکاوی در نهایت هشیاری است دربارهٔ ماهیت دوگانهٔ مرگ
آرتور کوستلر، این جاودانه در تبعید، در اثری که به حق شاهکار او شمرده میشود، میکوشد از پرداخت چهرهای حماسی از مبارزان راه آزادی فاصله بگیرد، تا به ارائهٔ تصویری انسانی از آنها نائل آید
چاپ ۱۳۷۷
آرتور کوستلر، این جاودانه در تبعید، در اثری که به حق شاهکار او شمرده میشود، میکوشد از پرداخت چهرهای حماسی از مبارزان راه آزادی فاصله بگیرد، تا به ارائهٔ تصویری انسانی از آنها نائل آید
چاپ ۱۳۷۷
228 pages, Paperback
First published January 1, 1937
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About the author
Arthur Koestler
154 books947 followers
Darkness at Noon
(1940), novel of Hungarian-born British writer Arthur Koestler, portrays his disillusionment with Communism; his nonfiction works include
The Sleepwalkers
(1959) and
The Ghost in the Machine
(1967).
Arthur Koestler CBE [*Kösztler Artúr] was a prolific writer of essays, novels and autobiographies.
He was born into a Hungarian Jewish family in Budapest but, apart from his early school years, was educated in Austria. His early career was in journalism. In 1931 he joined the Communist Party of Germany but, disillusioned, he resigned from it in 1938 and in 1940 published a devastating anti-Communist novel, Darkness at Noon, which propelled him to instant international fame.
Over the next forty-three years he espoused many causes, wrote novels and biographies, and numerous essays. In 1968 he was awarded the prestigious and valuable Sonning Prize "For outstanding contribution to European culture", and in 1972 he was made a "Commander of the British Empire" (CBE).
In 1976 he was diagnosed with Parkinson's disease and three years later with leukaemia in its terminal stages. He committed suicide in 1983 in London.
Arthur Koestler CBE [*Kösztler Artúr] was a prolific writer of essays, novels and autobiographies.
He was born into a Hungarian Jewish family in Budapest but, apart from his early school years, was educated in Austria. His early career was in journalism. In 1931 he joined the Communist Party of Germany but, disillusioned, he resigned from it in 1938 and in 1940 published a devastating anti-Communist novel, Darkness at Noon, which propelled him to instant international fame.
Over the next forty-three years he espoused many causes, wrote novels and biographies, and numerous essays. In 1968 he was awarded the prestigious and valuable Sonning Prize "For outstanding contribution to European culture", and in 1972 he was made a "Commander of the British Empire" (CBE).
In 1976 he was diagnosed with Parkinson's disease and three years later with leukaemia in its terminal stages. He committed suicide in 1983 in London.
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February 6, 2017
Κάποια βιβλία σαν αυτό, σαν την Άννα Φρανκ τα αγγίζεις με τα πατουσάκια των δαχτύλων σου με πολύ μεγάλο σεβασμό.
***
ΠΡΟΣΘΗΚΗ ΜΕΤΑ ΤΗ 2Η ΑΝΑΓΝΩΣΗ:
Αν ψάχνουμε για τσιτάτα στην Ισπανική Διαθήκη έχει πολλά και ποιός δεν έχει σχηματίσει ένα κάποιο απόσταγμα ικανό να αντιπροσωπεύει μεγάλο μέρος των αποστροφών της ζωής του, μια δική του κλισεδιά;
Όμως, σ' αυτό το βιβλίο όλα είναι αληθινά, όλα διέπονται απ' το φόβο της αβέβαιης βεβαιότητας, το μέλλον είναι αόριστο αλλά σίγουρο, χωρίς δυνατότητα αποφυγής, παρά μόνο μιας κάποιας πνευματικής οχύρωσης, της υπέρβασης.
Μόνο νιώθοντας σε κάθε σελίδα το φόβο λόγω συμπόνιας και το φόβο από ταύτιση μπορούμε να διαβάζουμε μια τέτοια μαρτυρία, διαφορετικά το αφήνουμε στην άκρη, παίζουμε με τον αναπτήρα, κάνουμε τσιγάρο, τρώμε δυο μήλα, στέλνουμε μήνυμα στη γκόμενα. Μετά απ' όλα αυτά πιάνουμε τη σελίδα απ' την αρχή, συνδεδεμένοι με τον εαυτό μας, πνευματικά και συναισθηματικά. Ή το παρατάμε στην ησυχία του.
<< Απ' την Τρίτη στην Τετάρτη τουφέκισαν δεκαεπτά
Απ' την Πέμπτη στην Παρασκευή τουφέκισαν οχτώ
Απ' την Παρασκευή στο Σάββατο τουφέκισαν εννιά
Απ' το Σάββατο στην Κυριακή, τουφέκισαν δεκατρείς
Εξ ημέρας έργα και ποιήσεις πάντα τα έργα σου, τη δε ημέρα τη έβδομη Σάββατα, Κύριω τω Θεώ σου, είπε ο Κύριος.
Τη νύχτα της Κυριακής τουφέκισαν τρεις >>
Έϊ ψιτ! Αληθινοί άνθρωποι, για αληθινούς ανθρώπους μιλάει.
Τώρα ξαναδιάβασε το...
Είναι μαρτυρία, αλλά μπορείς να το δεις και φιλοσοφικά. Σαν ένα τρόπο για να υπερβαίνεις τον εαυτό σου.
Το βιβλίο αυτό διαβάζεται στην απόλυτη σιωπή που κάνει αρκετό κρότο, σχεδόν υπερτερεί του φόβου και της απόλυτης συνειδητοποίησης του χρόνου που όπως έζησε ο Καίσλερ κι ο κάθε Καίσλερ, όσο περισσότερο αντιλαμβανόμαστε το πέρασμα του, τόσο περισσότερο αργεί, ώσπου σταματάει.
Σας κρατώ λίγο ακόμα με δυο σκέψεις του Καίσλερ, μπορείτε να τις αποθηκεύσετε στο αρχείο με τα τσιτάτα. Μακάρι να μην το κάνετε. Προτιμώ να τις χρησιμοποιείτε στη ζωή σας, παρά να τις κάνετε παρηγοριές για όποιον σας ζητάει ενδιαφέρον:
Το ξέρω διαφέρει απ' το πιστεύω
Η ελπίδα σημαίνει περιμένω.
***
ΠΡΟΣΘΗΚΗ ΜΕΤΑ ΤΗ 2Η ΑΝΑΓΝΩΣΗ:
Αν ψάχνουμε για τσιτάτα στην Ισπανική Διαθήκη έχει πολλά και ποιός δεν έχει σχηματίσει ένα κάποιο απόσταγμα ικανό να αντιπροσωπεύει μεγάλο μέρος των αποστροφών της ζωής του, μια δική του κλισεδιά;
Όμως, σ' αυτό το βιβλίο όλα είναι αληθινά, όλα διέπονται απ' το φόβο της αβέβαιης βεβαιότητας, το μέλλον είναι αόριστο αλλά σίγουρο, χωρίς δυνατότητα αποφυγής, παρά μόνο μιας κάποιας πνευματικής οχύρωσης, της υπέρβασης.
Μόνο νιώθοντας σε κάθε σελίδα το φόβο λόγω συμπόνιας και το φόβο από ταύτιση μπορούμε να διαβάζουμε μια τέτοια μαρτυρία, διαφορετικά το αφήνουμε στην άκρη, παίζουμε με τον αναπτήρα, κάνουμε τσιγάρο, τρώμε δυο μήλα, στέλνουμε μήνυμα στη γκόμενα. Μετά απ' όλα αυτά πιάνουμε τη σελίδα απ' την αρχή, συνδεδεμένοι με τον εαυτό μας, πνευματικά και συναισθηματικά. Ή το παρατάμε στην ησυχία του.
<< Απ' την Τρίτη στην Τετάρτη τουφέκισαν δεκαεπτά
Απ' την Πέμπτη στην Παρασκευή τουφέκισαν οχτώ
Απ' την Παρασκευή στο Σάββατο τουφέκισαν εννιά
Απ' το Σάββατο στην Κυριακή, τουφέκισαν δεκατρείς
Εξ ημέρας έργα και ποιήσεις πάντα τα έργα σου, τη δε ημέρα τη έβδομη Σάββατα, Κύριω τω Θεώ σου, είπε ο Κύριος.
Τη νύχτα της Κυριακής τουφέκισαν τρεις >>
Έϊ ψιτ! Αληθινοί άνθρωποι, για αληθινούς ανθρώπους μιλάει.
Τώρα ξαναδιάβασε το...
Είναι μαρτυρία, αλλά μπορείς να το δεις και φιλοσοφικά. Σαν ένα τρόπο για να υπερβαίνεις τον εαυτό σου.
Το βιβλίο αυτό διαβάζεται στην απόλυτη σιωπή που κάνει αρκετό κρότο, σχεδόν υπερτερεί του φόβου και της απόλυτης συνειδητοποίησης του χρόνου που όπως έζησε ο Καίσλερ κι ο κάθε Καίσλερ, όσο περισσότερο αντιλαμβανόμαστε το πέρασμα του, τόσο περισσότερο αργεί, ώσπου σταματάει.
Σας κρατώ λίγο ακόμα με δυο σκέψεις του Καίσλερ, μπορείτε να τις αποθηκεύσετε στο αρχείο με τα τσιτάτα. Μακάρι να μην το κάνετε. Προτιμώ να τις χρησιμοποιείτε στη ζωή σας, παρά να τις κάνετε παρηγοριές για όποιον σας ζητάει ενδιαφέρον:
Το ξέρω διαφέρει απ' το πιστεύω
Η ελπίδα σημαίνει περιμένω.
February 20, 2017
This is a difficult book to get hold of. I managed to download the pdf of the first section of the book online. The second section was published separately as Dialogue with Death, which I read immediately after the pdf, thus managing to access the entire text of the original.
The first section provides some background to the Spanish Civil War and Koestler explains why he was there (as a journalist for a liberal-left newspaper rather than as a combatant) and where he went. The war is an event that takes place elsewhere, for the most part, and his experience of the taking of Malaga is recounted very much from the perspective of a privileged outsider. In the Dialogue with Death section, for instance, we learn that while Koestler has been in prison (having been arrested at the home of a friend on the outskirts of the city), 5,000 men have been shot in the town itself, 600 of them from the same prison. Thus, we do not see the taking of Malaga itself or hear of the atrocities perpetrated by the fascists. We see only Koestler's experience of life in the prison alongside "Red" prisoners, many of whom do not make it to the end of the book.
I don't want to detract from the poignancy of the book for one moment. It is written with a journalist's eye and there is barely a word out of place - I would recommend it highly - but the most poignant feature of all is the book's dedication to one of Koestler's fellow inmates, a peasant named Nicolas who is executed by the fascists because, says Koestler, he simply wanted to learn to read, wanted a life beyond that of a peasant, for having ideas above his station. I could only reflect that had Nicolas been able to read and, thus, able to write, he might have told us a story far more shocking, moving and compelling than the one told by Koestler. But of course, the fascists knew that, and that was why Nicolas had to die and Koestler did not.
The first section provides some background to the Spanish Civil War and Koestler explains why he was there (as a journalist for a liberal-left newspaper rather than as a combatant) and where he went. The war is an event that takes place elsewhere, for the most part, and his experience of the taking of Malaga is recounted very much from the perspective of a privileged outsider. In the Dialogue with Death section, for instance, we learn that while Koestler has been in prison (having been arrested at the home of a friend on the outskirts of the city), 5,000 men have been shot in the town itself, 600 of them from the same prison. Thus, we do not see the taking of Malaga itself or hear of the atrocities perpetrated by the fascists. We see only Koestler's experience of life in the prison alongside "Red" prisoners, many of whom do not make it to the end of the book.
I don't want to detract from the poignancy of the book for one moment. It is written with a journalist's eye and there is barely a word out of place - I would recommend it highly - but the most poignant feature of all is the book's dedication to one of Koestler's fellow inmates, a peasant named Nicolas who is executed by the fascists because, says Koestler, he simply wanted to learn to read, wanted a life beyond that of a peasant, for having ideas above his station. I could only reflect that had Nicolas been able to read and, thus, able to write, he might have told us a story far more shocking, moving and compelling than the one told by Koestler. But of course, the fascists knew that, and that was why Nicolas had to die and Koestler did not.
August 27, 2020
Απλά συγκλονιστικό
April 9, 2022
Σε ορισμένα βιβλία που εξιστορούν βιώματα ανθρώπων που δεν αποτελούν μέρος μυθοπλασίας, οφείλουμε σεβασμό. Η Ισπανική διαθήκη είναι ένα από αυτά.
Κάπου συμπάσχεις, κάπου τρομάζεις με τα γεγονότα και κάπου ταράζεσαι όταν συνειδητοποιείς ότι μιλάει για την πραγματικότητα εκείνης της εποχής, για πραγματικές αδικίες, για πραγματικούς θανάτους ανθρώπων. Γι’ αυτό και δεν είναι εύκολο βιβλίο.
Ο Koestler ήταν από τους τυχερούς που επέζησαν αυτής της φρίκης. Το ένστικτο της επιβίωσης τον ώθησε σε σκέψεις και πράξεις που υποθέτω δεν θα έκανε υπό άλλες συνθήκες. Εξ ου και έχουμε τη μαρτυρία του στην οποία αναφέρεται στη ψυχολογία των φυλακισμένων αλλά και στα ιστορικά γεγονότα του Ισπανικού εμφυλίου.
Κάθε χώρα έχει στο συρτάρι της μαύρες περιόδους. Για την Ισπανία, αυτή είναι η δική της.
Κάπου συμπάσχεις, κάπου τρομάζεις με τα γεγονότα και κάπου ταράζεσαι όταν συνειδητοποιείς ότι μιλάει για την πραγματικότητα εκείνης της εποχής, για πραγματικές αδικίες, για πραγματικούς θανάτους ανθρώπων. Γι’ αυτό και δεν είναι εύκολο βιβλίο.
Ο Koestler ήταν από τους τυχερούς που επέζησαν αυτής της φρίκης. Το ένστικτο της επιβίωσης τον ώθησε σε σκέψεις και πράξεις που υποθέτω δεν θα έκανε υπό άλλες συνθήκες. Εξ ου και έχουμε τη μαρτυρία του στην οποία αναφέρεται στη ψυχολογία των φυλακισμένων αλλά και στα ιστορικά γεγονότα του Ισπανικού εμφυλίου.
Κάθε χώρα έχει στο συρτάρι της μαύρες περιόδους. Για την Ισπανία, αυτή είναι η δική της.
August 22, 2014
Excellent.
First-hand account of situation in Spain as Franco's rebels begin to gain the upper hand in their attack on the Republic. Koestler was captured and imprisoned, but managed to avoid execution - while many of his fellow prisoners were tortured and murdered. Sense of authenticity and immediacy. A gruesome account of the brutality of Franco's henchmen. Also analysis of events surrounding the Civil War. Detailed account of the psychological situation as a prisoner and tactics for survival in prison - herein a little reminiscent of Koestler's equally readable Darkness at Noon.
First-hand account of situation in Spain as Franco's rebels begin to gain the upper hand in their attack on the Republic. Koestler was captured and imprisoned, but managed to avoid execution - while many of his fellow prisoners were tortured and murdered. Sense of authenticity and immediacy. A gruesome account of the brutality of Franco's henchmen. Also analysis of events surrounding the Civil War. Detailed account of the psychological situation as a prisoner and tactics for survival in prison - herein a little reminiscent of Koestler's equally readable Darkness at Noon.
January 20, 2026
The Spanish Testament was the second book by Arthur Koestler that I read, after Darkness at Noon. Once again, i feel like reading much more of him, which only increases my frustration at how difficult it is today to get hold of his works.
This book is divided into two very different parts. The first is a form of reportage from the Spanish Civil War, as Koestler moves through several cities under Republican control. He describes daily life under war conditions with vivid, concrete details: his car being requisitioned by anarchists, the privations suffered by civilians, and his visits to the front.
The second part consists of his prison journal, written after he was arrested by Franco’s troops and sentenced to death. This section is exceptional. Koestler’s reflections on fear, time, and belief strongly echo Rubashov’s thoughts in Darkness at Noon, especially the need to die with strength and to continue believing in a cause even when it seems lost. His meditation on how time passes in prison is particularly striking, showing how empty days vanish from memory while intense moments leave lasting traces.
Toward the end, Koestler makes the disturbing but powerful claim that he may never have been as free as he was in prison. With death constantly near, the fear of dying disappeared, and in that stripped-down state he experienced a form of absolute freedom.
This book is divided into two very different parts. The first is a form of reportage from the Spanish Civil War, as Koestler moves through several cities under Republican control. He describes daily life under war conditions with vivid, concrete details: his car being requisitioned by anarchists, the privations suffered by civilians, and his visits to the front.
The second part consists of his prison journal, written after he was arrested by Franco’s troops and sentenced to death. This section is exceptional. Koestler’s reflections on fear, time, and belief strongly echo Rubashov’s thoughts in Darkness at Noon, especially the need to die with strength and to continue believing in a cause even when it seems lost. His meditation on how time passes in prison is particularly striking, showing how empty days vanish from memory while intense moments leave lasting traces.
Toward the end, Koestler makes the disturbing but powerful claim that he may never have been as free as he was in prison. With death constantly near, the fear of dying disappeared, and in that stripped-down state he experienced a form of absolute freedom.
March 9, 2025
Part I 3 stars. Part II 5 stars. It's a tough read because all descriptions of death and torture are real and witnessed by the author, but he doesn't become sentimental or too morbid about details. I'd still wholeheartedly recommend.
**Part I** is hard to find. It's a first-hand account of 1937's state of affairs of Spanish Civil war from a left-leaning English journalist, including interviews with Queipo de Llano. The author later removed it from publication, alleging that it was (mere) propaganda, but imho it's quite objective though the coverage is not 50-50 for each side. Maybe after the war he became disenchanted with the Republican factions and that's why he didn't want to publish this work anymore which might idealise it in a way communism (Darkness at Noon written soon after is highly critical of Stalin-era communism). The last pages imho are very relevant context for his stay in Malaga where part 2 takes off.
**Part II** (aka Dialogue with Death). Similar base scenario as Darkness at Noon (an 1930s prisoner in an isolation cell sentenced to death for political reasons), but this time is autobiographical. They are both worthwhile reading and different enough. This feels more like a diary, but it holds philosophical nuggets and treats the psychological changes and perspectives with great depth, and how perception is affected.
It's amazing how readily people adapt to changes (first cell is awful, with a broken mattress-less bed. The second mattress, stuffed with hay, would be considered barely acceptable in other circumstances, but then felt fit for a king. Soon enough the author got used to it and complained to guards or whoever wanted to listen about linens... to which they replied "sure, they'll look into it" or "tomorrow" and totally disregarded (funny they didn't just say "no", or ignored, being in control and in a strict hierarchy)).
Also how artificial and embedded social dominance is in people. And how (loads of) people like to mistreat and feel superior at expense of others for no better reason than that (not sure it's a form of schadenfreude). The library assistant is just a prisoner who has higher privileges being there for longer time. Enjoys being begged at for any random book, and will disregard inmate's pleas... but once the author gets 100 pesetas credit... even subconsciously the librarian treats him with better demeanor than a well-trained butler, and the author feels entitled for that new gained respect. Even when he's conscious of the effect, empathical, and wants to keep reasonable, he can't still avoid feeling differently.
Finally it reflects on jail's monotonously strange freedom (from responsibilities, social norms, choice, etc.), void promises, the weight of uncertainty of death, how one may be blind to partial information, how chance may have stronger impact than carefully put effort and how stereotypes and other behaviours unconsciously shape us without being aware at the moment when there's a life-threatening situation.
**Part I** is hard to find. It's a first-hand account of 1937's state of affairs of Spanish Civil war from a left-leaning English journalist, including interviews with Queipo de Llano. The author later removed it from publication, alleging that it was (mere) propaganda, but imho it's quite objective though the coverage is not 50-50 for each side. Maybe after the war he became disenchanted with the Republican factions and that's why he didn't want to publish this work anymore which might idealise it in a way communism (Darkness at Noon written soon after is highly critical of Stalin-era communism). The last pages imho are very relevant context for his stay in Malaga where part 2 takes off.
**Part II** (aka Dialogue with Death). Similar base scenario as Darkness at Noon (an 1930s prisoner in an isolation cell sentenced to death for political reasons), but this time is autobiographical. They are both worthwhile reading and different enough. This feels more like a diary, but it holds philosophical nuggets and treats the psychological changes and perspectives with great depth, and how perception is affected.
It's amazing how readily people adapt to changes (first cell is awful, with a broken mattress-less bed. The second mattress, stuffed with hay, would be considered barely acceptable in other circumstances, but then felt fit for a king. Soon enough the author got used to it and complained to guards or whoever wanted to listen about linens... to which they replied "sure, they'll look into it" or "tomorrow" and totally disregarded (funny they didn't just say "no", or ignored, being in control and in a strict hierarchy)).
Also how artificial and embedded social dominance is in people. And how (loads of) people like to mistreat and feel superior at expense of others for no better reason than that (not sure it's a form of schadenfreude). The library assistant is just a prisoner who has higher privileges being there for longer time. Enjoys being begged at for any random book, and will disregard inmate's pleas... but once the author gets 100 pesetas credit... even subconsciously the librarian treats him with better demeanor than a well-trained butler, and the author feels entitled for that new gained respect. Even when he's conscious of the effect, empathical, and wants to keep reasonable, he can't still avoid feeling differently.
Finally it reflects on jail's monotonously strange freedom (from responsibilities, social norms, choice, etc.), void promises, the weight of uncertainty of death, how one may be blind to partial information, how chance may have stronger impact than carefully put effort and how stereotypes and other behaviours unconsciously shape us without being aware at the moment when there's a life-threatening situation.
October 2, 2025
Drei Monate hat Arthur Koestler in einer spanischen Todeszelle gesessen und um sein Leben gebangt. Koestler ist freigekommen; die meisten seiner Leidensgenossen wurden von den Frankisten erschossen. Wie bei Autor und Thema zu erwarten kein leicht verdauliches Buch, darum aber umso lesenswerter.
"Einem Mann, dem der Fuß amputiert wird, vorzuhalten, dass es andere gibt, denen man beide amputiert hat, ist kein Trost mehr, sondern Hohn. Es gibt an einen Grad des Elends, bei dem die Relativität aufhört."
"Einem Mann, dem der Fuß amputiert wird, vorzuhalten, dass es andere gibt, denen man beide amputiert hat, ist kein Trost mehr, sondern Hohn. Es gibt an einen Grad des Elends, bei dem die Relativität aufhört."
September 7, 2021
یادمه وقتی ظلمت در نیمروز رو میخوندم همش به این فکر میکردم که کوستلر چه جوری تونسته درونیات یه زندانی که تو انفرادیه و منتظره اعدام بشه رو اینقدر دقیق و زیبا توصیف کنه؟
وقتی وصیتنامه اسپانیایی رو خوندم به جواب سوال قبلیم رسیدم.
وقتی وصیتنامه اسپانیایی رو خوندم به جواب سوال قبلیم رسیدم.
December 23, 2022
Πέρα από το περιεχόμενο, η γραφή του συγγραφέα είναι πολύ όμορφη και με σεβασμό στα όσα περιγράφει χωρίς επιτηδεύσεις κι εντυπωσιασμούς. Έχει το ταλέντο να σε κάνει μέτοχο των ηρώων και των γεγονότων.
February 29, 2020
First hand account of the brutality of the civil war in Spain from a leftist viewpoint.
November 29, 2024
Δεν με ενθουσίασε αλλά δεν ήταν και κακό. Ημερολόγιο κράτησης ενός Άγγλου δημοσιογράφου από το καθεστώς του Φράνκο
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August 20, 2017"Τούτο το βιβλίο σου αφιερώνεται. Τί σε νοιάζει; Δεν θα μπορούσες να το διαβάσεις ακόμα κι αν ζούσες. Και γι'αυτό σε τουφέκισαν: γιατί είχες τον αναιδή πόθο να μάθεις ανάγνωση. Εσύ και εκατομμύρια άλλοι σαν κι εσένα που αρπάξατε τα παλιά σας όπλα για να υπερασπίσετε μια καινούρια τάξη που θα σας μάθαινε αργότερα, ίσως, να διαβάζετε."
April 8, 2021
Αριστουργηματική η γραφή του Koestler! Οι εμπειρίες του στις δύσκολες συνθήκες του εμφυλίου περιγράφονται τόσο αληθινά ! Ενιωσα πως βρισκόμουν στο κελί μαζί του και τον παρατηρούσα να γράφει !
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