<p><b>"Not since Albert Camus has there been such an eloquent spokesman for man." <i>--The New York Times Book Review</i></b><br /><br />The publication of <i>Day </i>restores Elie Wiesel&apos;s original title to the novel initially published in English as <i>The Accident</i> and clearly establishes it as the powerful conclusion to the author&apos;s classic trilogy of Holocaust literature, which includes his memoir <i>Night</i> and novel <i>Dawn</i>. "In <i>Night </i>it is the ‘I&apos; who speaks," writes Wiesel. "In the other two, it is the ‘I&apos; who listens and questions."<br /><br />In its opening paragraphs, a successful journalist and Holocaust survivor steps off a New York City curb and into the path of an oncoming taxi. Consequently, most of Wiesel&apos;s masterful portrayal of one man&apos;s exploration of the historical tragedy that befell him, his family, and his people transpires in the thoughts, daydreams, and memories of the novel&apos;s narrator. Torn between choosing life or death, <i>Day</i> again and again returns to the guiding questions that inform Wiesel&apos;s trilogy: the meaning and worth of surviving the annihilation of a race, the effects of the Holocaust upon the modern character of the Jewish people, and the loss of one&apos;s religious faith in the face of mass murder and human extermination.</p>