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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.
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There's a grain of truth to this: the historical cause-and-effect relationships that have led to nuclear proliferation can't be ignored, and have to be respected.
It knits them together so that cause-and-effect relationships between historical developments across the world become clear.
Furthermore, in the world of Abu Marzook, there is no historical context, no cause and effect, no responsibility.
He parted with some historians by advocating the use of numbers to come up with testable hypotheses, and with some sociologists by insisting — with Marx and Weber, he said — that the historical context of cause and effect greatly matters.
The law of cause-and-effect.
There are various reasons for this, including historical causes and increased lobbying by the leasing companies.
The historical evidence for such cause and effect is debatable.
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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