Editor’s Note provides insight into the American edition of Howard W. Campbell, Jr.’s confessions, diving deep into the complexities of Campbell’s dual identity as a writer and an individual accused of severe crimes. Campbell, a playwright with modest success, is depicted as a person adept at manipulating truth to serve his artistic purposes. This dynamic presents a profound dichotomy: while Campbell’s fabrications may deceive, they can also embody a unique form of truth that deeply resonates with readers. The editor emphasizes that, although Campbell’s confessions are framed by his creativity and artistic vision, they also expose the complexities of a life shaped by choices that were influenced by much darker forces. This duality becomes a key theme in the text, prompting the reader to consider the blurred lines between fiction and reality, morality and immorality.

The editor clarifies that their role is not that of a judge or critic, but rather as a facilitator who has worked to ensure the confessions are presented in the clearest and most polished form. The changes made to the original manuscript were minimal, focusing primarily on grammatical corrections and italicization for emphasis. However, some content had to be altered for ethical reasons and legal concerns. For example, several names, such as those of Bernard B. O’Hare, Harold J. Sparrow, and Dr. Abraham Epstein, were changed to protect individuals who may have been inadvertently implicated. One significant alteration involved a claim made in the manuscript about “I-Am-An-American Day,” which lacked verifiable evidence and could have led to legal repercussions. Despite these revisions, the editor worked diligently to maintain the integrity of Campbell’s voice, ensuring that the final text remained as close to the original intent as possible while navigating the ethical complexities involved in presenting such a controversial narrative.

Additionally, the editor took special care to restore Campbell’s poems, which had been distorted by his dissatisfaction with his earlier work. These German-language poems were carefully restored by Mrs. Theodore Rowley, a linguist with a deep understanding of both the language and the nuances of Campbell’s writing. While the editor aimed to be faithful to Campbell’s voice and vision, significant cuts were made in two chapters. One of these cuts was due to legal concerns over defamatory content, and the other related to explicit material that Campbell himself had requested be omitted. These modifications illustrate the editor’s delicate task of preserving the integrity of the manuscript while balancing the legal and ethical implications of publishing such sensitive material. Through these editorial decisions, the underlying themes of the text, including identity, guilt, and the tension between truth and fiction, remain intact. The final changes reflect the editor’s goal of presenting Campbell’s story as a piece of literature, fully aware of the complexities surrounding its subject matter.

The chapter concludes by discussing the book’s title, which draws on a speech by Mephistopheles from Goethe’s Faust, symbolizing the internal battle between light and darkness. The title introduces the themes of duality and moral struggle that are central to Campbell’s character, reflecting his complex self-awareness and the multifaceted nature of his experiences. Originally, Campbell intended to dedicate the book to “Mata Hari,” but ultimately chose a broader dedication, commenting on individuals who conceal their misdeeds behind a mask of righteousness. This decision is symbolic of Campbell’s internal conflict, highlighting his struggle to reconcile his actions with his sense of self. Through his choice of dedication and the deeper thematic layers embedded in the text, the editor underscores the complexity of Campbell’s character, setting the stage for the rest of the narrative. The chapter serves as a reflection on the difficulties of dealing with one’s past actions and the challenges of confronting the consequences of those actions in a world full of contradictions.