[The Guilt Merchants] takes a theme which might have appalled Dostoievsky: the guilt of the Nazis who administered the concentration camps, and the guilt of Jews who still pursue justice or vengeance. He begins with an admirably imagined South America … where an ex-Nazi is rumoured to be hiding and where an Israeli agent arrives incognito to hunt him down. But when it comes to working it out Mr Harwood seems to take fright at his theme and ignobly settles for a well-made commercial novel. By the dénouement he is letting his characters utter the melodramatics ('And when I admitted it to myself I died quietly inside') of one of those 'problem plays' which comfortingly raise no problem at all. (pp. 717-18)

Brigid Brophy, "Antoniona," in New Statesman, Vol. LXV, No. 1678, May 10, 1963, pp. 717-18.∗