a boy lost in a strange world of emotions." There have been regular editions from Penguin Books and other sources since 1958. By 1954, translations were being prepared in Swedish, Danish, Norwegian, Finnish, Japanese, French and Italian. Others followed later in Spanish, Portuguese, Russian, Romanian and German. The novel has also been set as an exam text with a study guide dedicated to it and there have been interdisciplinary studies on psychological and philosophical themes there. Interpretations Later literary interpretations looked beyond the book's immediately noticeable themes. For Colm Tóibín in his introduction to a 2002 reprint, the book is not really "a drama about class or about England, or a lost world mourned by Hartley; instead it is a drama about Leo's deeply sensuous nature moving blindly, in a world of rich detail and beautiful sentences, toward a destruction that is impelled by his own intensity of feeling and, despite everything, his own innocence." Kevin Gardner cites the narrative technique among other complex treatments of time: "Hartley's haunting tale of lost innocence underscores the modern experience of broken time, a paradox in which humanity is alienated from the past, yet not free from it, a past that continues to exist in and to control the subconscious … This doubling of consciousness and of narrative voice—the innocent twelve-year-old's emerging from beneath the self-protective sixty-five-year-old's—is one of Hartley's most effective techniques." Another preoccupation in Tóibín's introduction was how far the story of "The Go-Between" is based on fact, in the wake of Adrian Wright's biographical study, Foreign Country: The Life of L. P. Hartley. Although Leo is twelve at the time of the novel – the long, hot summer of 1900 – the five-year-old Hartley remembered that time afterwards as "a Golden Age". When he was about Leo's age in 1909, Hartley spent a summer with a school friend called Moxley at Bradenham Hall in Norfolk and took part in a cricket match. The names are sufficiently close to Maudsley and Brandham to give rise to such speculation. But Tóibín counsels a cautious approach to the question, quoting Hartley's own study of fiction-writing, The Novelist's Responsibility. The novelist's world, he wrote, "must, in some degree, be an extension of his own life." And, while it is "unsafe to assume that a novelist's work is autobiographical in any direct sense," this does not prevent it from reflecting his experience. Among other writers