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133). But when confronted with specific endings, Gindin keeps appearing to deny his thesis, as in writing of Lord of the Flies, "Certainly the whole issue, the whole statement about man, is not contradicted by the end­ ing" (p. 134). More important, he strikes me as mistaken in one way or another about the ending of each novel he mentions. In the case of Lord of the Flies, he understands the appearance of the naval officer to mean that "adult sanity really exists" (p. 134), whereas the world of the naval officer in fact mirrors the murderous activities of the children.

He has earlier observed the new men draw up their dugouts from the river, the "picture" referred to in the first sentence, and now watches them as they work with the dugouts again: All at once he had a picture of the hollow logs nosing up the bank and coming to rest in the clearing. . There were no more logs in the river, so no more would come out of it. He had another picture of the logs moving back into the river and this picture was so clearly connected in some way with the first one and the sounds from the clearing that he understood why one came out of the other.

Piggy, to mention only the most determined rationalist, seems on the whole to be hoping, with increasing desperation, that his words will be heeded rather than to be priding himself on his wisdom. But I would of course agree with Baker that the novel shows rationality to be an insufficient support for man. 9. Many critics have felt Simon implausible as a person, a figure arbitrarily determined by Golding's fable, partly because of Simon's mystic insight and partly because of the omniscient commentaries in which Golding himself articulates some of his character's intuitions (see, for instance, John Peter, op.

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