Dictatorship in Fact and in Fiction focuses on independence movements led by “dictadores” in Latin America and the Caribbean. It presents theses and antitheses concerning the intellectual determinants and social conditions that give rise to and sustain what many call dictatorships. It also considers the false attribution of “dictatorship”, relying sometimes on the stigma produced by the word and its cognates to refer to such figures as José Martí, Simón Bolívar, Fidel Castro and Hugo Chávez. Paraguayans named their “dictador,” José Gaspar Rodríguez de Francia, “El supremo Dictador Perpetuo”. Unlike his fellow “dictadores”, such as Simón Bolívar, who achieved Independence by daunting deeds of physical and intellectual leadership, Francia ensured Paraguay’s independence by enhancing its unity and productivity. And yet Sarmiento, despite his ethnic cleansing, is more widely admired. This example points to our moral duty to define “dictatorship” and, by extension, to the indispensability of the present volume.
Explains the theory of political survival, particularly in cases of dictators and despotic governments, arguing that political leaders seek to stay in power using any means necessary, most commonly by attending to the interests of certain coalitions.
Introduction by Amal Clooney From the recipient of the 2021 Nobel Peace Prize, an impassioned and inspiring memoir of a career spent holding power to account. Maria Ressa is one of the most renowned international journalists of our time. For decades, she challenged corruption and malfeasance in her native country, the Philippines, on its rocky path from an authoritarian state to a democracy. As a reporter from CNN, she transformed news coverage in her region, which led her in 2012 to create a new and innovative online news organization, Rappler. Harnessing the emerging power of social media, Rappler crowdsourced breaking news, found pivotal sources and tips, harnessed collective action for climate change, and helped increase voter knowledge and participation in elections. But by their fifth year of existence, Rappler had gone from being lauded for its ideas to being targeted by the new Philippine government, and made Ressa an enemy of her country’s most powerful man: President Duterte. Still, she did not let up, tracking government seeded disinformation networks which spread lies to its own citizens laced with anger and hate. Hounded by the state and its allies using the legal system to silence her, accused of numerous crimes, and charged with cyberlibel for which she was found guilty, Ressa faces years in prison and thousands in fines. There is another adversary Ressa is battling. How to Stand Up to a Dictator is also the story of how the creep towards authoritarianism, in the Philippines and around the world, has been aided and abetted by the social media companies. Ressa exposes how they have allowed their platforms to spread a virus of lies that infect each of us, pitting us against one another, igniting, even creating, our fears, anger, and hate, and how this has accelerated the rise of authoritarians and dictators around the world. She maps a network of disinformation—a heinous web of cause and effect—that has netted the globe: from Duterte’s drug wars to America's Capitol Hill; Britain’s Brexit to Russian and Chinese cyber-warfare; Facebook and Silicon Valley to our own clicks and votes. Democracy is fragile. How to Stand Up to a Dictator is an urgent cry for Western readers to recognize and understand the dangers to our freedoms before it is too late. It is a book for anyone who might take democracy for granted, written by someone who never would. And in telling her dramatic and turbulent and courageous story, Ressa forces readers to ask themselves the same question she and her colleagues ask every day: What are you willing to sacrifice for the truth?
This study is the only book in English to analyse Chilean memory culture using an interdisciplinary angle (memory studies, gender studies, literature in post-dictatorship Chile) It includes comprehensive material, from award-winning authors (Diamela Eltit, Carlos Franz, Arturo Fontaine), rising stars of the Chilean literary scene (Nona Fernández) to first-time published novelists (Pía González, Fátima Sime) It is the only book in English that focuses on women, memory and dictatorship in contemporary Chile from a cultural and literary perspective. It offers a new way of comprehending Chilean memory culture, considering gender and literature as two key elements in this cultural approach to the recent past.
Where there are dictators, there are novels about dictators. But “dictator novels” do not simply respond to the reality of dictatorship. As this genre has developed and cohered, it has acquired a self-generating force distinct from its historical referents. The dictator novel has become a space in which writers consider the difficulties of national consolidation, explore the role of external and global forces in sustaining dictatorship, and even interrogate the political functions of writing itself. Literary representations of the dictator, therefore, provide ground for a self-conscious and self-critical theorization of the relationship between writing and politics itself. The Dictator Novel positions novels about dictators as a vital genre in the literatures of the Global South. Primarily identified with Latin America, the dictator novel also has underacknowledged importance in the postcolonial literatures of francophone and anglophone Africa. Although scholars have noted similarities, this book is the first extensive comparative analysis of these traditions; it includes discussions of authors including Gabriel García Márquez, Ngũgĩ wa Thiong’o, Alejo Carpentier, Augusto Roa Bastos, Domingo Faustino Sarmiento, José Mármol, Esteban Echeverría, Ousmane Sembène , Chinua Achebe, Aminata Sow Fall, Henri Lopès, Sony Labou Tansi, and Ahmadou Kourouma. This juxtaposition illuminates the internal dynamics of the dictator novel as a literary genre. In so doing, Armillas-Tiseyra puts forward a comparative model relevant to scholars working across the Global South.
The study of dictatorship in the West has acquired an almost exotic dimension. But authoritarian regimes remain a painful reality for billions of people worldwide who still live under them, their freedoms violated and their rights abused. They are subject to arbitrary arrest, torture, corruption, ignorance, and injustice. What is the nature of dictatorship? How does it take hold? In what conditions and circumstances is it permitted to thrive? And how do dictators retain power, even when reviled and mocked by those they govern? In this deeply considered and at times provocative short work, Alaa Al Aswany tells us that, as with any disease, to understand the syndrome of dictatorship we must first consider the circumstances of its emergence, along with the symptoms and complications it causes in both the people and the dictator.
'Brilliant' NEW STATESMAN, BOOKS OF THE YEAR 'Enlightening and a good read' SPECTATOR 'Moving and perceptive' NEW STATESMAN Mussolini, Hitler, Stalin, Mao Zedong, Kim Il-sung, Ceausescu, Mengistu of Ethiopia and Duvalier of Haiti. No dictator can rule through fear and violence alone. Naked power can be grabbed and held temporarily, but it never suffices in the long term. A tyrant who can compel his own people to acclaim him will last longer. The paradox of the modern dictator is that he must create the illusion of popular support. Throughout the twentieth century, hundreds of millions of people were condemned to enthusiasm, obliged to hail their leaders even as they were herded down the road to serfdom. In How to Be a Dictator, Frank Dikötter returns to eight of the most chillingly effective personality cults of the twentieth century. From carefully choreographed parades to the deliberate cultivation of a shroud of mystery through iron censorship, these dictators ceaselessly worked on their own image and encouraged the population at large to glorify them. At a time when democracy is in retreat, are we seeing a revival of the same techniques among some of today's world leaders? This timely study, told with great narrative verve, examines how a cult takes hold, grows, and sustains itself. It places the cult of personality where it belongs, at the very heart of tyranny.
'Confirms Harris's undisputed place as our leading master of both the historical and contemporary thriller' Daily Mail There was a time when Cicero held Caesar's life in the palm of his hand. But now Caesar is the dominant figure and Cicero's life is in ruins. Cicero's comeback requires wit, skill and courage. And for a brief and glorious period, the legendary orator is once more the supreme senator in Rome. But politics is never static. And no statesman, however cunning, can safeguard against the ambition and corruption of others. 'The finest fictional treatment of Ancient Rome in the English language' Scotsman
"A mesmerizing study of books by despots great and small, from the familiar to the largely unknown." —The Washington Post A darkly humorous tour of "dictator literature" in the twentieth century, featuring the soul-killing prose and poetry of Hitler, Mao, and many more, which shows how books have sometimes shaped the world for the worse Since the days of the Roman Empire dictators have written books. But in the twentieth-century despots enjoyed unprecedented print runs to (literally) captive audiences. The titans of the genre—Stalin, Mussolini, and Khomeini among them—produced theoretical works, spiritual manifestos, poetry, memoirs, and even the occasional romance novel and established a literary tradition of boundless tedium that continues to this day. How did the production of literature become central to the running of regimes? What do these books reveal about the dictatorial soul? And how can books and literacy, most often viewed as inherently positive, cause immense and lasting harm? Putting daunting research to revelatory use, Daniel Kalder asks and brilliantly answers these questions. Marshalled upon the beleaguered shelves of The Infernal Library are the books and commissioned works of the century’s most notorious figures. Their words led to the deaths of millions. Their conviction in the significance of their own thoughts brooked no argument. It is perhaps no wonder then, as Kalder argues, that many dictators began their careers as writers.
The Savage Detectives elicits mixed feelings. An instant classic in the Spanish-speaking world upon its 1998 publication, a critical and commercial smash on its 2007 translation into English, Roberto Bolaño’s novel has also been called an exercise in 1970s nostalgia, an escapist fantasy of a romanticized Latin America, and a publicity event propped up by the myth of the bad-boy artist. David Kurnick argues that the controversies surrounding Bolaño’s life and work have obscured his achievements—and that The Savage Detectives is still underappreciated for the subtlety and vitality of its portrait of collective life. Kurnick explores The Savage Detectives as an epic of social structure and its decomposition, a novel that restlessly moves between the big configurations—of states, continents, and generations—and the everyday stuff—parties, jobs, moods, sex, conversation—of which they’re made. For Kurnick, Bolaño’s book is a necromantic invocation of life in history, one that demands surrender as much as analysis. Kurnick alternates literary-critical arguments with explorations of the novel’s microclimates and neighborhoods—the little atmospheric zones where some of Bolaño’s most interesting rethinking of sexuality, politics, and literature takes place. He also claims that The Savage Detectives holds particular interest for U.S. readers: not because it panders to them but because it heralds the exhilarating prospect of a world in which American culture has lost its presumptive centrality.
