George Bernard Shaw’s positive criterion by which to measure and ridicule folly and vice was fatally ambiguous, eclectic, and inconstant.
Chesterton was a friend of Shaw but also an ideological opponent, who often debated with him on public stages.
The novel is a narrative, fictional version of a philosophical anatomy of the satanic dimension and implication of much modern history from 1914 onwards.
From climate change to the coronavirus, one tendency among writers and commentators is to an urgent, insatiable, almost sexual desire to cast unwarranted terror over other people.
Restoring man’s image is functionally equivalent to restoring the tradition of great thought and great writing.