Lawrence Durrell’s second novel The Dark Labyrinth was originally published as Cefalu in 1947. It’s not clear why he uses the name of the Sicilian village for his fictional locale in Crete. An appended author’s note quotes at length the passage from Henry Fanshawe Tozer’s Islands of the Aegean (1875) that he says inspired the book. My Dutton paperback copy touts itself as an “early novel by the author of Justine” rather than an independent interest.
The main concern of the novel is with a sightseeing party from an English cruise, who are lost after an accident in a subterranean labyrinth in Crete. They enjoy a surprisingly wide diversity of fates. There is a flavor of allegory about the book, and the carefully constructed characters include a poet, a shorthand typist, a painter, an evangelist, a spiritualist-occultist, and a married couple. There is also a side story concerning a gentleman veteran rehabilitating his mental health and doing a bit of espionage.
Once I got the rhythm of the book, it was a speedy read. Durrell does not at all belabor the mythological allusions; there is perhaps just one mention of Ariadne, although the Minotaur is an active presence in the form of an indeterminate menace in the labyrinth itself–one which resolves differently for different characters. The Dark Labyrinth is not a genre novel, yet the later chapters swing rather dramatically among such strange attractors as horror and mystical philosophy, without being subordinated to them.