Andre Malraux's novel, Man's Fate reflects the human realities and costs of war that have been depicted throughout Chinese literature. In his depiction of characters like Ch'en, Ferral, Old Gisor, Kyo and Katov, Malraux gives life to the terrible realities of war that have been seen in humanity as a whole, and are represented in almost any time of war. Ch'en's struggles with the dehumanizing effects of war reflect the struggles of many men throughout history, as Kyo's unfailing patriotism reflects the Moral Law of warfare written over 2,000 years ago in Sun-Tzu's The Art of War. Similarly, Chinese Poet Tu Fu's "Ballad of the Army Carts" describes the agony of losing loved ones that is seen again within Man's Fate. In Man's Fate, Malraux expertly exposes human emotions and conflicts that are universal to any time of war. A powerful novel that depicts human loss, difficult decisions, and the conflict of ideologies, Man's Fate won the 1933 Prix Goncourt of literature (Wikipedia) Although Malraux's novel takes place during the emergence of the Chinese Revolution, the human emotions and conflicts it portrays could have occurred within the context of almost any time of historical conflict.

The characters in Man's Fate each have their flaws and secrets, and these mirror those seen in humanity as a whole. As Ch'en murders for the first time, he fears for his own soul and sanity, and these fears allow him to complete the suicide bombing with such apparent exuberance. Ferral, in contrast, possesses a primal need for control that he acts out upon everything around him. Old Gisor's...

Katov sacrifices himself in order to relive the suffering of his comrades before his own.
The personal characteristics of Ch'en, Ferral, Old Gisor, Kyo, and Katov can be seen in humanity throughout time, and are often seen especially clearly in times of war. Ch'en's conflicted emotions, Old Gisor's love of his son, Ferral's need for control, and other characteristics depicted by other personalities are seen in war throughout time. These personal characteristics have been prevalent throughout history, and Malraux's depiction of them during the onset of the Chinese Revolution could be exchanged almost as effectively for another backdrop.

In Man's Fate, the dehumanization and disconnection from reality that come with war throughout the ages are clearly depicted. As Ch'en prepares to murder the sleeping form, he grapples with the horror of his impending action, and finds himself caught between his need to murder the man, and the madness of his task. Malraux writes, "That foot lived like a sleeping animal. Was it attached to a body? "Am I going mad?" He had to see that body -- see it, see that head" (Malraux, 4). Later, as Ch'en murders the man, his actions are set against a backdrop of the ridiculous and absurd, as Malraux writes, "the rattle became regular: the man was not dying, he was snoring. He again became living, vulnerable; and at the same time, Ch'en felt himself ridiculed. The body…