There Shall Be No Night

by Robert E. Sherwood

There Shall Be No Night is a novel written by Robert E. Sherwood. The story is set in Finland during the Winter War of 1939-1940, and follows the life of a Finnish family who are caught in the midst of the conflict. The main character, Kaarlo Valkonen, is a farmer who is forced to leave his home and family to fight for his country. As the war rages on, Kaarlo's wife, Mirja, and their children are left to fend for themselves in the harsh winter conditions. The novel explores the themes of love, sacrifice, and the human cost of war. It also delves into the political and social issues of the time, such as the struggle for Finnish independence and the Soviet Union's aggression towards its neighboring countries. Sherwood's writing is vivid and emotional, painting a picture of the brutal realities of war and the strength of the human spirit in the face of adversity. The story is both heartbreaking and inspiring, and offers a unique perspective on a lesser-known conflict of World War II. Overall, There Shall Be No Night is a powerful and thought-provoking novel that explores the impact of war on individuals and society. It is a must-read for anyone interested in historical fiction or the human experience of conflict.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

Genres: Plays, Drama, Theatre, Fiction

212 pages, Paperback

First published January 1, 1940

About the author

Robert Emmet Sherwood was an American playwright, editor, and screenwriter.

Reviews

[Simon · Rating 5 out of 5]

I am a theatre director, and have just finished two biographies of the Lunts. I had read this years ago, but wanted to take a look at it after reading about the Lunts' experiences with the play and the emotional impact it had on audiences in 1940-44. They toured the United States with it, and then took the play to wartime Britain with some modifications (the Soviet Union was an ally after Hitler's invasion in 1941, and so the setting of the play had to be changed). Interestingly, the setting was changed again when Katherine Cornell performed it on American television in 1956; this time it was Hungary, and the Soviet Union was back as the aggressor.

This is the original version, set in Finland before and during the Soviet invasion in 1939-1940. Sherwood was writing as the events unfolded. Finland staved the Soviets off for several months, surprising the world by the strength of its soldiers against the massive numbers deployed by the Red Army.

This is the story of a Finnish family (the mother, Lynne Fontanne's role) is an American. The father is a Nobel-winning scientist whose is attempting to discover the way to avoid man's propensity for destructive behavior. As the play moves relentlessly on, these good, decent people are engulfed by the war. Characters die, and at the end the only survivors sit onstage, prepared to blow up the home as the Germans approach and fire back at them from the garden until they are killed.

It is terrific, and I would truly like to stage it. There are moments where the writing is a bit over-wrought for today's taste, but I think it would be a fascinating challenge for the actors (needless to say, Alfred Lunt and his wife aced it, along with a very young Montgomery Clift as their son). But the theme of human decency in the face of evil is, sadly, as necessary as ever to demonstrate in this age of ISIS, terrorism directed at innocent lives, racism, etc.

Highly recommend There Shall Be No Night to any theatre people.

[Lauren · Rating 4 out of 5]

Thought provoking and terrifyingly relevant in Trump-Era America, There Shall Be No Night examines how a family of intellectuals responds to the Soviet attack on Finland in 1939. It’s a heavy subject that Sherwood manages to infuse with a sense of optimism – not blind, rah-rah patriotism but an undercurrent of hope, that small sacrifices, even if not remembered, will not be in vain. Highly recommended.

[Anna Muthalaly · Rating 3 out of 5]

Boys and girls, sound the alarm— this is the 24th play I read in my quest to conquer the Pulitzer for drama and this is the first play, since 1917, that I am legitimately glad I read

The Pulitzer has made many mistakes so far (ignoring the children’s hour, awarding o’neills most boring plays, ignoring almost all black theatre) but something they’ve done I appreciate is awarding all three of sherwood’s fascism plays

Since I’ve now read all three, I’ve gotten to see the transition between fervently anti war to specifically anti fascist at any cost, including death and war

I can’t lie, it is legitimately disarming to read this play in February 2025 in America. Sherwood is, to the point of life and death, clear eyed and furious about the importance of keeping fascist politics and N**zism at bay. He is insistent that the American dream, of guaranteed insured freedom, cannot last forever. And he’s right

This play is, sad and scary but, I found it bracing. The speeches are a bit grandiose, but they made me square my shoulders. Hats off to you, American theatre wing, you’ve allowed Sherwood to drag you firmly into the modern era. The wolf is at the door

If nothing else, read to learn about the Finnish Soviet winter war, which occurred immediately prior to ww2 and which I knew nothing about

[Bobby Sullivan · Rating 3 out of 5]

Some interesting ideas in this play, especially about how philosophy runs up against reality in times of war. But overall, the play struck me as kind of bloodless and intellectual. Characters die, and it doesn't really have much emotional impact, on either the reader or for the other characters.

[Justin · Rating 4 out of 5]

What an audience must have felt experiencing this play when it debuted... A strongly political piece, a call to action, one that at times turns dialogue into a vehicle for authorial speechifying and propaganda. There is a pressing urgency that cannot be replicated by a post-WWII retelling. This was written before America's involvement was a sure thing, when Lindbergh's America First was sparring with the interventionists. Sherwood saw the world teetering on the edge of doom, which gives the moral and geopolitical conflicts an earnest poignancy even 80 years later. Although a very different writing style than Tony Kushner's Angels in America, both works have a similar immediacy.

Suffolk University professor Thomas F. Connolly provides a fascinating dramaturgical context for TSBNN. The London performances occurred as Germany encroached upon England, and as the blitzkrieg worsened, the performances shifted from cathartic to unbearable for both actors and audience. It's a fascinating analysis you can read here: https://jadtjournal.org/2016/03/23/re...

[Glenn Hopp · Rating 3 out of 5]

I read Patricia Bosworth’s biography of Montgomery Clift and learned that one of Clift’s first Broadway roles was that of the teenage son in this interesting 1940 play by Robert E. Sherwood, a work very hard to track down. The play concerns a scientist whose native Finland faces invasion by the Russians in 1939. Sherwood intended the play as propaganda to motivate America to join the war effort. Today (2021), in post-insurrection America, its relevance is certainly not lost with the ongoing struggle of fascism vs. democracy. Most theater people see it as an example of how excellent acting (Alfred Lunt and Lynn Fontanne played the leads) can elevate a good script.

[Trent · Rating 5 out of 5]

A genius. Sad he seems mostly forgotten now.

[Steven · Rating 4 out of 5]

The play is set in Finland between 1938 and 1940 and concerns a Finnish scientist and his American-born, both of whom are reluctant to believe that the Russians will invade their beloved Finland.