The Last Days of Night

1. The plot centers on the late nineteenth century war over the electric light. Thomas Edison has sued George Westinghouse for patent infringement on the incandescent bulb, seeking more than a billion dollars in damages. Westinghouse hires a young, untested lawyer, Paul Cravath, to defend him. The novel reconstructs the legal, technological, and personal battles that follow. 2. Paul Cravath is the protagonist and the prism. Cravath, who will later invent the modern law firm with the Cravath System, narrates a coming-of-age set inside the largest patent litigation of its era. His learning curve, how to manage cases, clients, witnesses, and his own ambition, structures the book's arc. 3. Nikola Tesla is the unstable genius at the heart of the story. Moore portrays Tesla as a brilliant, eccentric immigrant whose alternating-current motor is the technology that could decide the war, and whose laboratory fire, mental fragility, and indifference to money make him a hazardous ally for either Edison or Westinghouse. 4. Edison is the ruthless brand. Edison is rendered not as a lone inventor but as a media operator, lobbyist, and litigator who weaponizes the press, stages public electrocutions of animals to discredit AC current, and lobbies for the electric chair to associate Westinghouse's technology with death. The book is candid about how invention competes through narrative as much as engineering. 5. The war of the currents is the technical core. Direct current, Edison's system, is safer at low voltages but cannot be transmitted economically over long distances. Alternating current, championed by Westinghouse and engineered by Tesla, can. The novel traces the technical case alongside the legal one, showing how physics, finance, and law intertwine. 6. The novel compresses and rearranges historical events for narrative force. Moore is explicit in an afterword that he conflates timelines, invents conversations, and merges minor figures. The book is historical fiction, not history, and is constructed to dramatize how scientific revolutions actually feel from inside, slow, messy, and contested. 7. Intellectual property is the real subject. The driving question is not who invented the bulb but who owns the right to sell it. The book examines how patents, financing, and corporate structure determine which inventor's name survives, and how those instruments shape the pace of technological progress. 8. The deal, not the discovery, ends the war. The legal and commercial resolution comes through cross-licensing, settlement, and corporate consolidation rather than a courtroom verdict. Moore's underlying argument is that the heroic invention myth obscures the negotiated, lawyered, financed reality of how technologies become products.