Sir William Gerard Golding (1911–1993), the writer of Lord of the Flies (LOTF), occupies a pivotal position within the post–World War II canon of writers. Though Golding does not seem to belong to any particular “school” or movement of fiction writers who wrote at the height of Cold War and its aftermath per se, he is a staple in high school, college, and university curricula all over the globe. His magnum opus, Lord of the Flies (1954), transformed him into a writer who commands worldwide attention. In the book he attacked the belief in any stable notions of civilization, society, and culture, and was keen to show the innate depravity of the human spirit. His trilogy To the Ends of the Earth, which comprises Rites of Passage (1980), Close Quarters (1987) and Fire Down Below (1989), further explores his themes of the civilizing process and class consciousness, while the travelogue An Egyptian Journal (1985) shows his fascination for the ancient land and his journey there after he won the Nobel Prize in 1983. His famous quote about humanity, “Man produces evil as a bee produces honey,” speaks of his disbelief in the progress and the health of modern civilization and any stable notions of human progress. His Nobel Prize citation stated it was given “for his novels which, with the perspicuity of realistic narrative art and the diversity and universality of myth, illuminate the human condition in a world of today,” thus summarizing his lifelong mission as a writer. Golding’s themes are class consciousness, human society (particularly what happens to it in isolation), modern and postmodern trauma with respect to human dreams and aspirations, and, lastly, the entire notion of “civilization” itself. His fiction has been analyzed with recourse to anthropology, psychoanalysis, postmodernism, narratology, trauma studies, and queer scholarship. Critical commentary on Golding continues to grow, especially around LOTF, due to its continued relevance owing to themes of violence, totalitarianism, queer studies, and its apocalyptic vision. It should be stressed, however, that compared to LOTF, his only play, The Brass Butterfly (1958), his Poems (1934) and his other nonfiction, such as A Moving Target (1982) and The Hot Gates (1965), the three short narratives in The Scorpion God (1971), and even his posthumous The Double Tongue (1995), have received scant attention. Though the themes of the essential drama of human conflict played against the backdrop of morality, human choice, and postmodern trauma that remain foundational to human existence might be applied to any 20thcentury writer, they are particularly germane to Golding’s works.