a Doubt and Sophocles when reading AnMoving Target, a volume of WilliamnGolding’s articles and talks from then1960’s and 1970’s. His most famousnnovel, Lord of the Flies, was read bynprobably every college student in then1950’s and remains a powerful book,none that struck with violence and insightnat the heart of liberalism’s pet notions:nthe natural goodness of children,nthe inevitability of democracy, the securitynof individual rights. Golding examinednone of our time’s most popularnprayers: “If only children could be separatednfrom the society that teaches themnwrongful things …” He showed that ifnsuch a petition were granted, the resultnwould be worse than what we havennow, that civilization and its discontentsnare all that restrain not the beast, butnthat twisted skein of instinct and intellectnthat is man. Golding continued innthis iconoclastic mode. In other booksnhe took on other modem myths, thenmyth of progress in The Inheritors forninstance, and made us see them throughnother eyes. He hit a dry spell in then1960’s, but he has started to publishnnovels again and the reviewers havengiven their benediction.nWhat madness or near madness, whatnhorror lies behind Golding’s pitilessngaze into the heart of human darkness? Itnis difScult to answer frotri the evidencenin this collection. In it, the portrait ofnGolding is the one that follows. He is anhappily married provincial Englishmannwho prefers his local cathedral to thenfancier one in the next diocese. Thenboat trips he takes aren’t to desert islandsnbut pleasant passages through thendomestic canals of Holland with his family.nGolding calmly tells gatherings ofnFrench Anglicistes banal but wellphrasedntruths about inspiration, hardnwork, and belief in God. He becomesnrisque when he defends literal translationsnof Homer against artsy modernnones. Golding displays a happy satisfactionnand calm wonder at the joys of thenlocal and the rooted. The collection ofnessays is not unlike a modem version ofnGeorge Gissing’s novel The PrivatenPapers of Henry Ryecroft. Perhaps itngives us a glimpse of the father innShadow of a Doubt, who lives a lifenrooted in the local and the normal, innwhich imagination drains the horrornand the madness from an abscess thatnnever quite heals. Or is it the reverse?nisn’t exactly a sentiment bom of nobility.nPam is a portrait of psychotic selfishness.nShe twice tries to kill her husbandnand once her lover. She twice attemptsnsuicide, once while pregnant. She movesnrandomly back and forth from adulterynto homosexuality. Most of this is pre-n•’|//(V Villon’ i*i| niorv itiliTi-Miii_s; :iiul :if1i.vliii}4 lli:in imxtliiiiti i-isc |.’fe KevieivnDo the normal and rooted give us thenknowledge of their alternative, thensavagery that will come if we do notnmaintain our hard-won normal lives?nIn the 1950’s Alan Sillitoe’s firstnnovels and stories emerged: SaturdaynNight and Sunday Morning and ThenLoneliness of the Long Distance Runner.nHer Victory is his 12fh novel. Therenare superficial differences. The youngnrunner in Loneliness found in his runningna time and a place to be alone fromnschool and society. At the end, whennvictory is in his grasp, he stops and refusesnto win, lest he share his victorynwith school and master. True victory is anprivate possession. Pam, the title figurenin Her Victory tells us at the end of thatnnovel, “There is no such thing as victory,nif you have no one to share it with.” Thisnnnsented from her point of view, verynsympathetically. Intelligent and sensitivencharacters, male and female, fall innlove with her; she destroys or betraysnevery relationship, deserting husband,nchild, and lovers. Had I been a membernof the jury that tried Meursault, Camus’snStranger, I would have voted for his execution.nBut if I were miming a fictionalndating service, I would immediatelynmatch up Pam with Meursault, not withnthe lonely sailor and the desperate bisexualnmother of two whom she endsnup attracting and tormenting in HernVictory.nPart of my problem can be seen in thenpicture of Pam’s husband, “a bmte of anman,” we are told on the dust jacket. Tonme he seems a hardworking businessmannwho raised himself from a family ofnshiftless Andy Capps to owning his ownnsmall business, paying his workers—whonrespect him—better-than-averagenwages, even possessing a fair, if rough,nsense of humor. Pam, his wife of 20nyears, is always ranting about killing herselfnHe comes downstairs the morningnafter a fight and finds her standing in thenfreezer, which she has emptied to clean.n”Remember how long we shoppednaround for such a good quality freezer?”nhe says. “I’ll never be able to use it againnif you do yourself in in it.” Pam respondsnby trying to stab him to death and thennmnning away. By the middle of thennovel, her humiliation of him has drivennhim back to comradeship with his loutishnbrothers and basically back to thefrnlevel. It is the effect she has on everyone.nThe main love affair of the book isncomic. Her lover is a sailor who grew upni^^35nJane 1983n