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My experience is that most music written after 1920 sounds best in its own company and not as the "effect" end of historical cause and effect.
The fictional narrative channels to the subconscious a sense of historical cause and effect that is often too subtle for reason to grasp.
Hersey writes to give a fictional version of historical cause and effect as it impacts a particular group of people living in the Warsaw ghetto.
And all the while, courtiers scurry around speaking like ye olde Dawson's Creek characters, offering historical cause and effect as if to remind us where this is all heading.
But though he seems to be hunting for a specific historical cause for events like Columbine, Mr. Moore, when it serves his purposes, is happy to generalize in the absence of empirical evidence and to make much of connections that seem spurious on close examination.
BuThis wisl both critheal stareasondealing with the two "wars" oforur time.
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Even those who admitted many and various historical causes never admitted enough.
There is no discussion of historical causes or effects, no narratives and no interpretation.
But though Mr. Moore seems to be digging for specific historical causes, he indulges in glib generalizations and oversimplifications.
Unequal land distribution is one of the historical causes of the wider inequality that scars Latin American societies.
But the handicaps of Arab civil society also have historical causes that transcend the policies of modern rulers.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com