The Dictator's Dictation : The Politics of Novels and Novelists

Robert Boyers explores, critiques, and praises works by writers who have wrestled with the political and social issues of their day. Authors discussed include prominent twentieth-century writers from the United States and Western Europe as well as from Eastern Europe, Latin America, and Africa. Throughout the collection, Boyers combines frank, lucid assessments of the novelists' work with broader discussions of the political imagination in fiction. In these elegant essays, many of them originally written for __The New Republic__ and __Harper's__, Robert Boyers examines the role of the political imagination in shaping the works of such important contemporary writers as W. G. Sebald and Philip Roth, Nadine Gordimer and Mario Vargas Llosa, Natalia Ginzburg and Pat Barker, J. M. Coetzee and John Updike, V. S. Naipaul and Anita Desai. Occasionally he finds that politics actually figures very little in works that only pretend to be interested in politics. Elsewhere he discovers that certain writers are not equal to the political issues they take on or that their work is fatally compromised by complacency or wishful thinking. In the main, though, Boyers writes as a lover of great literature who wishes to understand how the best writers do justice to their own political obsessions without suggesting that everything is reducible to politics. Resisting the notion that novels can be effectively translated into ideas or positions, he resists as well the notion that art and politics must be held apart, lest works of fiction somehow be contaminated by their association with "real life" or public issues. The essays offer a combination of close reading, argument, and assessment. What, Boyers asks, is the relationship between form and substance in a work whose formal properties are particularly striking? Is it reasonable to think of a particular writer as "reactionary" merely because he presents an unflattering portrait of revolutionary activists or because he is less than optimistic about the future of newly independent societies? What is the status of private life in works set in politically tumultuous times? Can the novelist be "responsible" if he consistently refuses to engage the conditions that affect even the intimate lives of his characters? Such questions inform these essays, which strive to be true to the essential spirit of the works they discuss and to interrogate, as sympathetically as possible, the imagination of writers who negotiate the unstable relationships between society and the individual, art and ideas.

Robert Boyers explores, critiques, and praises works by writers who have wrestled with the political and social issues of their day. Authors discussed include prominent twentieth-century writers from the United States and Western Europe as well as from Eastern Europe, Latin America, and Africa. Throughout the collection, Boyers combines frank, lucid assessments of the novelists' work with broader discussions of the political imagination in fiction.

Publishers Weekly

It's refreshing to see a book of literary criticism devoted to writers, past and present, from countries and cultures as divergent as Hungary, Switzerland and Peru. Unfortunately, in these reviews, taken primarily from the New Republic, Boyers comes not to praise international literature but to bury it. His appraisals are resolutely negative; even commendation is parceled out negatively-in reviewing the late Natalia Ginzburg, he opens with a lengthy look at her apparent pleasure in criticizing the works of friends. Boyers also has a tendency to begin an essay with a more general idea and then focus on the writer at hand. This technique works well only once, in a thought-provoking treatment of evil in the works of Kafka, Naipaul and Coetzee. More often, the yoking of subjects is forced and artificial, as when he uses the work of Nadine Gordimer to launch an attack on postmodern criticism, which relegates the work of the great South African to the position of a mere prop. This is a shame, since Americans know so little of international writing. But in the pursuit of academic considerations, Boyers does little to make a reader want to pick up any of the writers he spends so much time critiquing. (Nov.) Copyright 2005 Reed Business Information.

Cover......Page 1 half title......Page 2 title......Page 4 copyright......Page 5 Contents......Page 8 I N T R O D U C T I O NT H I N K I N G A B O U T P O L I T I C S A N DT H E N O V E L......Page 12 T H E I N D I G E N O U S B E R S E R K......Page 20 I D E N T I T Y A N D D I F F I D E N C E......Page 32 A G E N E R O U S M I N D......Page 40 C L E A R L I G H T A N D S H A D O W......Page 52 B U L L E T S O F M I L K......Page 70 P O L I T I C S A N D P O S T M O D E R N I S M......Page 80 I N E X I L E F R O M E X I L E......Page 90 T H E N O R M A L I T Y B L U E S......Page 102 D I S C I P L I N E A N D P U N I S H......Page 118 P R I M A C I E S A N D P O L I T I C S......Page 128 T H I N K I N G A B O U T E V I L......Page 142 P A T H O S A N D R E S I G N A T I O N......Page 162 S T I F L I N G S......Page 180 T H E D I C T A T O R ’ S D I C T A T I O N......Page 190 R U B B L E A N D I C E......Page 210 S E L E C T E D B I B L I O G R A P H Y......Page 228