The original article is not provided, so I can't rewrite and expand it specifically. However, I can give you a general example to show you how to do it.

**Original Article**: The dog is cute. It has a fluffy tail.

**Expanded Article**:

The dog is extremely cute. It has a charm that is hard to resist. Its appearance is truly endearing. It has a fluffy tail that sways gently as it moves. The tail seems to be a part of its unique charm, adding to its overall cuteness. When it wags its tail, it gives the impression of being happy and friendly. The dog's cuteness is not just in its appearance but also in its behavior. It is always full of energy and enthusiasm, bringing joy to those around it.

You can provide the original article, and I will rewrite and expand it according to your requirements.

Set this House on Fire is William Styron's second novel, and it truly consists of two distinct halves.

The first half presents the violent story of rape and murder through the eyes of Virginian Peter Leverett, now a city lawyer. During a visit to his friend Mason Flagg in Sambuco, North Italy, in the heat of the moment, Peter witnesses these heinous acts. The second half, which is more existentially profound, focuses on the struggles of Cass Kinsolving, a former marine and sometime painter, who plays a crucial role in opposing the immoral Flagg in these crimes. The overall picture painted by the novel is a bleak one, depicting the destruction and death that befell a Lost American Generation.

Styron seems to have a penchant for an 'overwritten' style of storytelling, which has both its advantages and disadvantages in this novel. The narrative account of Peter Leverett is filled with wit and charm, making it relatable. Peter, a man with a very human self-consciousness, reacts in a way that we can understand. He is the one who has 'made it through', like most men presumably do, and is free to comment on the broken world as he sees it through his lens.

Cass, on the other hand, the supposed hero of the story, has a chaotic mind. He is a drunkard, constantly thrown into mental turmoil. His narrative in the second half of the novel is burdened with countless footnotes and ambiguities. He is the opposite of Leverett's sensibly told life history, insisting that every event has some romantic and profound quality, whether it's his first sexual experience, his bouts of alcoholism, or his ultimate act of murderous revenge.

It is in this second part, with its insistence on pages of interior monologue, that Styron almost stumbles and risks losing the narrative coherence. While some introspection is admirable, it must have a purpose and at least some revelation. This is not an easy read, and it's not always the reader's fault. Styron has set up a beautiful premise in this book, but it is in jeopardy as he tries to use it as a vehicle for a unique combination of neo-romanticism and a deeply modernist view of life and its numerous injuries.

The word 'injuries' is significant here. Styron leaves his most tortured characters alive, even if they are ruined. He seems to suggest time and again that death is not a useful escape but a kind of cheap nothingness. Suicide is a travesty, and while others may deliberately seek it, it is a superficial idea that exists only for a moment, a desperate and defective final reflex. Instead, Set this House on Fire involves a long series of recalled events, episodic in nature, that deal with life gone wrong. These examples of wrongness shed light on the crazed mentality of his characters. Injury, madness, possession - these are the main themes of Styron's prose.

I can recommend this book, which starts off so well and shows great promise. However, it requires endurance as it is a very long novel, perhaps even too long. The insights come in flashes and then disappear. There is an infinite regress in Set this House on Fire. In the end, we might even be tempted to cherish the living moments of the brutal and immoral Mason Flagg the most. While his amorality is condemnable, it is at least understandable to a certain extent, until it becomes completely confused when his fate tragically intersects with those of other broken men, shaken and'set on fire' under the large Mediterranean sun.

I have a deep affection for William Styron's fiction and memoirs. His works have always managed to captivate me with their profound themes and masterful storytelling. However, this particular piece that I recently delved into had its share of challenges. At times, it felt grueling and tedious, as if I was slogging through a thick mud. The pacing was slow, and the narrative seemed to drag on without much purpose. It was not the kind of reading experience that I had come to expect from Styron. While I appreciate his talent and the effort that went into creating this work, it simply wasn't my cup of tea. I found myself losing interest and having to force myself to keep going. Nevertheless, I still respect Styron as a writer and look forward to exploring more of his works in the future.

I must confess that this wasn't the book I had in mind when I ventured into the stacks at the main branch of the Brooklyn Public Library, with my focus firmly on William Styron's Sophie’s Choice. (I had always been extremely fond of the movie and finally wanted to give the author his proper due.) Sadly, my expectations were not to be met: Sophie’s Choice was not available; and so, I settled for Styron's Set This House on Fire, a book I had never even heard of and thus knew nothing about.

Despite the glowing reviews and blurbs on both the front and back covers of the book, I really shouldn't have bothered.

There are indeed moments and entire passages that allow a reader to understand why Styron has the reputation he does. However, these are far too few and far between.

My honest opinion? Styron could have told this story much more effectively as a short story—or at least as a novella. It simply didn't require (or deserve) a novel of over 500 pages in small print. And the fact that his three main characters, all American, insist on inserting random Italian words into their dialogue is completely beyond my comprehension. (Furthermore, I suspect—although, lacking reference books at this moment, I can't confirm—that Styron's Italian leaves a great deal to be desired. Most of it reads like direct transcriptions from the English.)

Will I still search for Sophie’s Choice? Without a doubt. But I will now do so with a more skeptical eye—and in the hope that Styron will have enlisted the assistance of a better editor than he had for Set This House on Fire.

RRB
3/31/13
Brooklyn, NY

Calamities have an enormous power over our minds. Once we get over the initial shock, we can easily identify all the events that led to the disaster. The tone, nature, and character of everything that happened before are recorded in our memories with a terrible sense of predestination.

Trying to communicate with that individual is like putting messages in bottles and throwing them into the endless sea.

“A man cannot live without a focus, without any kind of faith, if you want to call it that.”

“I try to pray, but all I can think about is that I want to fornicate.”

“No Italian wants to kill himself except in his own unique way.”

“I take a photo of a friend with one of those Polaroid cameras […] when I bend down to examine the photo, I don't find my friend, but the image of a terrible and mysterious monster…”

“A slow-burning blonde named Carole.”

“Sex is the last frontier.”

“A rich person has no true friends except himself…”

“Women are a different race, Peter! They are like cannibals; as soon as we turn our backs, they prepare to eat us alive!”

“The worst thing about women is that damned plumbing system: a huge sewer running through the Garden of Eden.”

“If in the kingdom of drunkards there are nymphomaniacs of the bottle, I was one of them.”

“What you did is a perfect lesson in capitalism: a stupid move, and you end up broke!”

“No Italian is spiritual in politics, whatever his ideology may be; he lives too much for the moment that passes and this does not allow him idealisms about the entity that will govern him – an entity that, excluding one or two gaps, has always been the masked tyranny in different forms. He has become so accustomed to it that he no longer cares or is strange. As for me, I am an opportunist, although a well-intentioned opportunist.”

“We live with what we do, we live with our bad actions even if we expel them – or assume that we expel them – from our thoughts. And perhaps in this there is a certain penitence, a certain justice…”

“The gossipy woman only wanted to cover up the other lover; women don't know how to do anything else! The perdition of her soul!”

“I cried to understand, to have finally understood that this existence is a prison.”

“I think that true justice must always live in the heart, regardless of politics, governments, and even laws.”

This is a truly heavy read that demands intense concentration. The writing holds a power that is almost intimidating.

Right from the start, the story seems to be somewhat familiar, yet the majority of the book is dedicated to painstakingly explaining it and uncovering those aspects that were wrongly assumed.

It delves deep into the recesses of the narrative, exploring the dark and hidden corners, revealing secrets and truths that might have otherwise remained buried.

The story unfolds layer by layer, captivating the reader's attention and challenging their preconceived notions.

It is a journey of discovery, filled with unexpected twists and turns that keep the reader on the edge of their seat.

Overall, this is a book that leaves a lasting impression, with its profound themes and thought-provoking revelations.

Styron takes on a decidedly purple hue in this gargantua.

It seems that the author has chosen to use rather flamboyant and perhaps overly decorative language, which gives the work a certain air of extravagance.

Adding to this, there are an additional 100 pages of philosophizing by a cop named Luigi. This excessive amount of philosophical musings doesn't really seem to enhance the story.

However, when Styron does manage to make an impact, he hits hard.

The page count may be impressive, suggesting a certain machismo in the literary world. But in the end, it remains a minor novel, perhaps lacking the depth and substance to truly stand out among the great works of literature.

Overall, while there are some moments of power and interest, the work as a whole is somewhat marred by its overwrought language and perhaps unnecessary digressions.

It leaves the reader with a sense of disappointment, despite the initial promise and the heft of the volume.

Styron has shown flashes of brilliance, but this particular work fails to fully realize its potential.

Perhaps with a more focused and refined approach, he could have created a truly remarkable piece of literature.

As it stands, it is a minor addition to his body of work.

I must say this book was truly very reminiscent of William Faulkner's "The Sound and the Fury".

Both books are extremely detailed-oriented, demanding that the reader invest some time to get into the rhythm of the writing.

However, once that initial hurdle is overcome, the story begins to flow seamlessly.

This is a novel that delves deep into the themes of good and evil, redemption and grace.

Interestingly, although the reader is aware of the violent rape and murder that occurs at the end right from the very beginning, there is an inherent need to read on.

It is this curiosity that compels the reader to understand the how and the why behind these events.

Overall, I would rate this book 3.8 stars.

It is a thought-provoking and engaging read that, despite its initial challenges, rewards the patient reader with a rich and fulfilling literary experience.

What can I say?

I read this a while ago. William Styron is truly the bee's knees. His writing has this magical quality that makes me feel as if I'm drunk.

It's not just the words on the page; it's the way he weaves together stories and characters that draw you in and won't let go.

Every sentence is carefully crafted, every description vivid and detailed.

When I read Styron, I'm transported to another world, a world full of emotions and experiences that I might never have known otherwise.

His work is like a fine wine, to be savored and enjoyed slowly.

I can't wait to read more of his books and continue to be amazed by his talent.

This will only be the 2nd from Styron for me. The first was "Sophie's Choice", and I wish I could tell you if I saw the movie before I read the story, or not. I think I saw the movie first and I still can picture Meryl Streep saying "cocksucker" when she means "seersucker".

This one begins with a description of the drive from Salerno to Sambuco. Nagel's "Italy" has this to say: "The road is hewn nearly the whole way in the cliffs of the coast. An ever-varied panorama unfolds before our eyes, with continual views of an azure sea, imposing cliffs, and deep gorges."

It sounds like a flyover vacation time. Onward and upward.

The story is not an easy read. There are pages and pages of black columns from one side to the other. The narration is interesting. The story begins with Peter Leverette narrating, telling the reader that if there is a hero, it is Cass Kinsolving.

About the 50%-mark, there is a revelation. The reader learns that Mason Flagg is dead of an apparent suicide, and a girl is also dead. The story is complicated by Cass's drunkenness and his forgetting what has happened when drunk.

There are three main characters: Peter Leverette, Mason Flagg, and Cass Kinsolving. Peter and Mason have known each other for years. At the 50%-mark, the narration turns a corner and the story is told to Peter through Cass.

There is an Italian policeman, Luigi, who is a central figure. There are also a host of other characters, including a mass of movie people. Their role in the story is not yet clear.

From the beginning, the reader learns what happened with Mason Flagg. There are some profound thoughts in the story, such as Luigi telling Cass that he sins in his guilt. There is also a question about art raised in a conversation between Mason and others.

The story makes nice use of dreams and nightmares. There is one description about a Polaroid camera that makes me wonder if Stephen King read this and it germinated into "Four Past Midnight: The Sun Dog".

There are some nice quotes in the story. Cass is the hero, running from a past as convoluted as Quentin Compson's in Faulkner's "The Sound and the Fury".

I read this on the Kindle and wonder if reading it between the covers of a book would improve the flavor. There have been some uncanny coincidences between this story and others I've read lately.

There is a brief biographical sketch at the end, and in those few titles to his name, there sounds like a wealth of humanity worth reading.

Reading this was truly an ordeal, in both positive and negative aspects. It demanded a significant amount of time from me to complete.

The long drunken night described in the book haunts my mind like an unending nightmare. I could sense the horror and madness while reading - nearly all the people were horrible, engaging in atrocious deeds.

However, beyond that, the writing is exquisitely delicate and beautiful. The description of a little girl with "legs like flower stems" is a prime example. The structure is also masterfully crafted.

Despite the despicability of the characters, including Cass who is to some extent Styron himself, and my eagerness to be rid of them all, by the end, it had me literally gasping for air. One just has to endure that long night.

And finally, it feels as if you are traveling down the road from Sambuca towards the shining sea.

So the TV is on, tuned to an early-morning movie that I'm not really watching.

I'm sitting here, trying to figure out what to read next. There are six books laid out on the coffee table before me. I consider each one carefully.

I eliminate William Styron's "Set This House on Fire" for now, thinking that I'll wait to re-read that excellent novel next year. I pick it up and put it back on the bookshelf.

But then, something on the TV catches my eye. It's "Naked in New York," a movie I'd never seen or even heard of before. In the movie, Eric Stoltz points out to Mary-Louise Parker that the man across the room at the party is William Styron.

And then, in one of the movie's quirks, Styron's accomplishments, including a list of his books, flashes on the screen. And there it is, "Set This House on Fire," the very novel I'd just put on the bookshelf, right there on the TV screen. And there is the man himself.

Holy crap. Must be a sign, I think. So, despite my initial plan, I decide to go with Styron.

Nudge from the gods aside, I didn't need much encouraging to dive back into "Set This House on Fire." I first read this book around 2000 or so, and it was my introduction to Styron's work.

It's the last of Styron's four full-length novels that people usually think of. It's not the jaw-dropping debut with the 51-page paragraph ("Lie Down in Darkness"), not the controversial Pulitzer Prize winner ("The Confessions of Nat Turner"), nor the masterpiece that spawned the OK movie ("Sophie's Choice").

But Styron's writing makes me weak in the knees. His detailed, evocative, gorgeous prose is on full display in this tale of three men and a tragic rendezvous with destiny in Sambuco, Italy. There's a lot of Faulkner influence in Styron's writing. The sentences are long and complex, making you think and making you want to read them over and over again.

The book opens with Virginian Peter Leverett hitting a pedestrian with his car on the way to visit a charismatic boyhood friend in Sambuco. From there, it takes a dark, drunken detour into death, madness, and, just maybe, redemption.

Leverett narrates the story, but, as in "Moby Dick," the apparent protagonist virtually disappears for long stretches. Through time shifts and conversations with Cass Kinsolving, the man who lives below Mason Flagg, Leverett takes us on a heady reconstruction of a tragedy.

One feels gluttonous reading Styron's words, particularly in the first half of the novel. The self-examination and scenes of drunken debasement may not be everyone's cup of tea, but if you're a words-first person, you'll love it.

I feel a bit guilty giving "Set This House on Fire" only four stars. I think it's a great book, but Styron did better with at least one (probably two) of his other novels. And the second half of this book isn't quite as great as the first.

Ultimately, this book is not for everyone. But for those who love great writing and complex characters, it's a must-read. And I, for one, do love the crap out of Styron.