Sure:
Arthur Koestler author of “The Thirteenth Tribe”
http://www.answers.com/topic/arthur-koestler
“Koestler spent most of 1966 and the early months of 1967 working on The Ghost in the Machine. In his article Return Trip to Nirvana, published in 1967 in the Sunday Telegraph, Koestler wrote about the drug culture and his own experiences with hallucinogens. The article also challenged the defence of drugs in Aldous Huxley’s The Doors of Perception.”
Be sure to scroll all the way down, it tells about his personal life, drug use, doing acid with Timothy Leary, suicide...
Morality & Arthur Koestler
http://www.nybooks.com/articles/archives/2000/apr/27/morality-arthur-koestler/
However, I patiently await its advent since I am curious to see how Scammell deals with the dark side of Koestler’s personality. In various utterances he has displayed a tendency to exculpate Koestler and disparage his accusers. He said of Jill Craigie, whom Koestler raped, that “I don’t think she was making it up, I just think the details may have been a little less lurid than described.” Perhaps in his long-anticipated book he will explain the difference between a “lurid” rape and a “less lurid” rape.
http://www.mclemee.com/id88.html
Koestler became one of the most influential of intellectual Cold Warriors. Yet by the mid-1950s, he was losing interest in politics altogether. He studied the history of science. He published speculations on the psychology of human creativity and destructiveness. Now very dubious about political ideology, Koestler tried to patch together his own theory of the cosmos. His last few books concerned ESP, the mysteries of coincidence and other odd topics. This development earned Koestler a new reputation, as kook.
Ian Hamilton, his first biographer, examined Koestler’s activist years with respectful attention. But he announced that Koestler’s post-political work simply did not interest him; so he summed up these later developments in a few quick, awkward pages. The result was a strangely lopsided book. But it was a portrait of Koestler as an admirer would prefer to remember him: a writer who defined for the public mind one of the decisive questions of the 20th Century, namely totalitarianism. Given that, one should be discreet, and not pay undue attention to his later interest in the possibility of bodily levitation through mind-power.
http://www.city-journal.org/html/17_2_oh_to_be.html
As it happens, Koestler’s relations with women now have more to do with his reputation than does anything that he ever wrote. Since the 1998 publication of David Cesarani’s biographical study, Koestler’s name has been synonymous with rape, possibly serial in nature, and the abuse of women. I tested this association on several friends with literary interests: though none had read Cesarani’s book, in each case, the first thought on hearing Koestler’s name was of rape. It is doubtful whether any biography has ever affected the reputation of an author more profoundly than did Cesarani’s; and its effect is proof, if we needed any, that books have an influence far beyond their actual readership.
Cesarani is a serious scholar, not a man to manufacture sensational claims for non-scholarly purposes; and, in fact, his widely publicized revelations, which came as a considerable shock, receive a kind of confirmation from a scene in Koestler’s novel Arrival and Departure, published in 1943.
The book is at least partly autobiographical. Its protagonist (hero would be too positive a word) is Peter Slavek, a young refugee and former Communist militant from an unnamed Balkan country now under Nazi occupation. Slavek arrives in the capital of a neutral country—clearly Lisbon, Portugal—from which he hopes to reach England and enlist in the British forces, the only ones still fighting the Nazis at that time. Koestler himself reached England from Portugal with the same idea in mind, and his description of Lisbon’s wartime atmosphere clearly draws on firsthand experience.
While in Lisbon, Slavek falls in love with, or forms an infatuation for, Odette, a young French refugee awaiting a visa for America. Odette has taken no notice of Slavek, but one day she visits a friend’s apartment, where the Balkan refugee is temporarily staying. The friend is absent, so Slavek and Odette are alone. There follows a scene that suggests that Koestler was as personally acquainted with rape as he was with the fervid atmosphere of wartime Lisbon.
http://www.timesonline.co.uk/tol/news/uk/scotland/article1148594.ece
A NEW biography of Jill Craigie, the late Scottish film-maker who was married to Michael Foot, provides further evidence that she was raped by Arthur Koestler, the political novelist.
In the book, to be published in October, Ronald Neame, an American film director who employed Craigie as a screenwriter on two films, The Million Pound Note and Windom’s Way, says she told him in 1952 that she had been raped by Koestler.
Hope that helps!
At any rate, most Khazars never converted to Judaism as the soruce material available to Koestler showed. The Arab accounts were quite clear. Genetics has now shown this correct. Koestlers ode to 1930's Hungarian Jewish assimilation and communist anti-Zionism is fiction. I do, however, suggest "Darkness at Noon".