It's nearly impossible to review "Confusion" without giving away the "hideous secret" on which the plot turns, so I'll limit myself to saying that, by today's standards (outside conservative America, at least), the scenario Zweig offers here verges on implausible. Today, the Professor's "vice" would be well known, of little consequence, and hardly likely to generate much confusion - least of all in Roland, an intelligent and highly-sexed nineteen year-old. Zweig's popularity declined soon after his death in 1942 and his sentimental humanism, based on the values of late nineteenth-century Viennese liberalism, has made him an easy target for some. Yet his vivid, psychoanalytically-oriented biographies, novellas and stories are still incredibly engaging. Something like the fictional equivalent of Freud's collected works, they usually deal with the psychological representation of repressed personalities suffering major crises under the weight of nineteenth-century values, and in that sense they are wonderfully evocative of the time. For twenty-first century readers, I suppose, it's that shift in values that is now part of the point of reading Zweig, and a large part of the pleasure. But not only that: his focus is always the emotions - agonizing frustrations, secret fears, explosive joys - with insightful analysis of all of them; and his characters are closely observed - entire plots can turn on one look, one word, one obsessively worried-over instant. It's a rich and rewarding oeuvre, not least because of Zweig's finely cadenced voice (translated here with considerable skill by Anthea Bell). "Confusion" is also worth reading for the Professor's unusual theory of Elizabethan drama, its historical motivations, and its arguable place at the pinnacle of English theatre. It's also interesting because it confirms something we all know from experience: that the events which determine the course of our lives are not always the ones others might think.