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Thedictator novel (Spanish:novela del dictador) is agenre ofLatin American literature that challenges the role of thedictator in Latin American society. The theme ofcaudillismo—the régime of a charismaticcaudillo, a political strongman—is addressed by examining the relationships betweenpower, dictatorship, and writing. Moreover, a dictator novel often is an allegory for the role of the writer in a Latin American society. Although mostly associated with theLatin American Boom of the 1960s and 1970s, the dictator-novel genre has its roots in the nineteenth-century non-fiction workFacundo (1845) byDomingo Faustino Sarmiento.
As an indirect critique ofJuan Manuel de Rosas' dictatorial régime in Argentina,Facundo is the forerunner of the dictator novel genre; all subsequent dictator novels harken back to it. As established by Sarmiento, the goal of the genre is not to analyze the rule of particular dictators, or to focus on historical accuracy, but to examine the abstract nature ofauthority figures and of authority in general.[1]
To be considered a dictator novel, a story should have strong political themes drawn from history, a critical examination of the power held by the dictator, thecaudillo, and some general reflection on the nature ofauthoritarianism. Although some dictator novels centre on one historical dictator (albeit in fictional guise), they do not analyze the economics, politics, and rule of the régime as might a history book. The dictator novel genre includesI, the Supreme (1974), byAugusto Roa Bastos, aboutDr. Francia of Paraguay, andThe Feast of the Goat (2000), byMario Vargas Llosa, aboutRafael Leónidas Trujillo of the Dominican Republic. Alternatively, the novelist might create a fictional dictator to achieve the same narrative end, as inReasons of State (1974), byAlejo Carpentier, in which the dictator is a composite man assembled from historical dictators.
The genre of the dictator novel has been very influential in the development of a Latin American literary tradition, because many of the novelists rejected traditional, linear story-telling techniques, and developed narrative styles that blurred the distinctions between reader, narrator, plot, characters, and story. In examining the authority of leadership, the novelists also assessed their own social roles aspaternalistic dispensers of wisdom, like that of thecaudillo whose régime they challenged in their dictator novels.
Literary criticRoberto González Echevarría argues that the dictator novel is "the most clearly indigenous thematic tradition in Latin American literature", and traces the development of this theme from "as far back as Bernal Díaz del Castillo's and Francisco López de Gómara's accounts of Cortés's conquest of Mexico."[2] The nineteenth century saw significant literary reflections on political power, though on the whole the dictator novel is associated with theLatin American Boom, a literary movement of the 1960s and 1970s.[3] For criticGerald Martin, the dictator novel marks the end of the Boom and even (as he says of Roa Bastos'sI, the Supreme) "the end of an entire era in Latin American history, the era which had stretched from Sarmiento'sFacundo in 1845."[4] In the 1970s, many dictator novels focused on the figure "of the aging dictator, prey to the boredom of a limitless power he is on the verge of losing."[2]
Miguel Ángel Asturias'sEl Señor Presidente (written in 1933, but not published until 1946) is, in the opinion of critic Gerald Martin, "the first real dictator novel".[5] Other literary treatments of the dictator figure followed, such as Jorge Zalamea'sEl Gran Burundún Burundá ha muerto, but the genre did not gain impetus until it was reinvented in the political climate of theCold War, through theLatin American Boom.[6]
The dictator novel came back into fashion in the 1970s, towards the end of the Boom. As Sharon Keefe Ugalde remarks, "the 1970s mark a new stage in the evolution of the Latin American dictator novel, characterized by at least two developments: a change in the perspective from which the dictator is viewed and a new focus on the nature of language."[7] By this she means that the dictator novels of the 1970s, such asThe Autumn of the Patriarch orI, the Supreme, offer the reader a more intimate view of their subject: "the dictator becomes protagonist"[7] and the world is often seen from his point of view. With the new focus on language, Keefe Ugalde points to the realisation on the part of many authors that "the tyrant's power is derived from and defeated by language."[7] For example, in Jorge Zalamea'sEl Gran Burundún Burundá ha muerto the dictator bans all forms of language.[8]
According to Raymond L. Williams, it was not until the 1970s, when enough Latin American writers had published novels dealing with military regimes, that "dictator novel" became common nomenclature.[9] The most celebrated novels of this era were Alejo Carpentier'sReasons of State (1974), Augusto Roa Bastos'sI, the Supreme (1974), and Gabriel García Marquez'sThe Autumn of the Patriarch (1975). He defines the dictator novel as a novel which draws upon the historical record to create fictionalized versions of dictators. In this way, the author is able to use the specific to explain the general, as many dictator novels are centred around the rule of a one particular dictator.[10] Within this group he includes those novelists who took to task authoritarian figures such as Vargas Llosa'sConversation in the Cathedral (1969) and Denzil Romero'sLa tragedia del Generalísimo (1984). He even includes Sergio Ramírez's¿Te dio miedo la sangre? (1977), a novel about Nicaraguan society under the Somoza dictatorship, which has been described as a "dictator novel without the dictator".[11]
The novelists of the dictator novel genre combined narrative strategies of both modern and postmodern writing.[12] Postmodern techniques, constructed largely in the late 1960s and 1970s, included use of interior monologues, radically stream-of-consciousness narrative, fragmentation, varying narrative points of view, neologisms, innovative narrative strategies, and frequent lack of causality.[12] Alejo Carpentier, a Boom writer and contributor to the dictator novel genre pioneered what came to be known asmagical realism,[13] although the use of this technique is not necessarily a prerequisite of the dictator novel, as there are many that do not utilize magical realism.
A predominant theme of the dictator novel is power,[14] which according literary critic Michael Valdez Moses, in his 2002 review ofFeast of the Goat, is linked to the theme of dictatorship: "The enduring power of the Latin American dictator novel had everything to do with the enduring power of Latin American dictators".[15] As novels such asEl Señor Presidente became more well-known, they were read as ambitious political statements, denouncing the authority of dictators in Latin America.[16] As political statements, dictator novel authors challenged dictatorial power, creating a link between power and writing through the force wielded by their pen. For example, in Roa Bastos'sI, the Supreme, the novel revolves around a central theme of language and the power inherent in all of its forms, a power that is often only present in the deconstruction of communication. González Echevarría argues that:
Dr. Francia's fear of the pasquinade, his abuse of Policarpo Patiño ..., [and] his constant worry about writing all stem from the fact that he has found and used the power implicit in language itself. The Supremo defines power as being able to do through others what we are unable to do ourselves: language, being separate from what it designates, is the very embodiment of power, for things act and mean through it without ceasing to be themselves. Dr. Francia has also realized that he cannot control language, particularly written language, that it has a life of its own that threatens him.[17]
Another constant theme which runs throughout the Latin American dictator novel, which gained in importance and frequency during the Latin American Boom, is the interdependence of the Latin American tyrant andUnited States imperialism.[15] In Mario Vargas Llosa'sThe Feast of the Goat, for example, Trujillo faces serious opposition shortly after losing his material backing from theCIA, previously held for over 32 years in light of his anti-communist leanings.[15]
Gender is an additional overarching theme within dictator novels. National portraits in Latin America often insist on the importance of women (and men) that are healthy, happy, productive, and patriotic, yet many national literary treasures often reflect government rhetoric in the way they code active citizenship as male.[18] Masculinity is an enduring motif in the dictator novel. There is a connection between the pen and the penis in Latin American fiction, but this pattern cannot be explained by machismo alone—it is far more complex. According to Rebecca E. Biron, "where we find violent, misogynistic fantasies of masculinity, we also [find] violent social relations between actual men and women."[19] Many Latin American works "include characters who act out violent fictions of masculinity, and yet their narrative structure provides readers with alternative responses to misogynistic fantasies of masculine identity formation".[19]
Since independence, Latin American countries have been subject to both right and left-wingauthoritarian regimes, stemming from a history ofcolonialism in which one group dominated another.[20] Given this long history, it is unsurprising that there have been so many novels "about individual dictators, or about the problems of dictatorshipcaudillismo,caciquismo, militarism and the like."[10] The legacy of colonialism is one of racial conflict sometimes pushing an absolute authority to rise up to contain it—thus the tyrant is born. Seeking unlimited power, dictators often amend constitutions, dismantling laws which prevent their reelection.Licenciado Manuel Estrada Cabrera, for example, altered the Guatemalan Constitution in 1899 to permit his return to power.[21] The dictators who have become the focus of the dictator novel (Augusto Roa Bastos'sI, the Supreme, for instance, is based on Paraguay's dictator of the early nineteenth century, the so-called Dr Francia) do not differ much from each other in terms of how they govern. As author González Echevarría states: "they are male, militaristic, and wield almost absolute personal power."[22]
Their strong-arm tactics include exiling or imprisoning their opposition, attacking the freedom of the press, creating a centralized government backed by a powerful military force, and assuming complete control over free thought.[23][24] Despite intense criticisms leveled at these figures, dictators involved innationalist movements developed three simple truths, "that everybody belonged, that the benefits of Progress should be shared, and that industrial development should be the priority".[25]Epitácio Pessoa, who was elected President of Brazil in 1919, wanted to make the country progress regardless of whether or not Congress passed the laws he proposed.[26] In particular, during theGreat Depression, Latin American activist governments of the 1930s saw the end ofneocolonialism and the infusion of nationalist movements throughout Latin America, increasing the success ofimport substitution industrialization or ISI.[27] The positive side-effect of the collapse of international trade meant local Latin American manufacturers could fill the market niches left vacant by vanishing exports.[27]
In the twentieth century, prominent Latin American dictators have included theSomoza dynasty in Nicaragua,Alfredo Stroessner in Paraguay, andAugusto Pinochet in Chile, among others. As an outside influence, United States interference in Latin American politics is controversial and has often been severely criticized. As García Calderon noted as far back as 1925: "Does it want peace or is it controlled by certain interests?"[28] As a theme in the dictator novel, the link between U.S. imperialism and the power of the tyrant is very important. Dictators in Latin America have accepted military and financial support from the United States when it suited them, but have also turned against the United States, using anti-American campaigning to gain favour with the people. In the case of Trujillo, "Nothing promises to reinvigorate his flagging popularity more than to face up to the Yankee aggressor in the name of la patria."[15]
In the first decade of the 21st century, the pendulum swung in the other direction, introducing a series of 'left wing' governments to the region that curtailed civil liberties and set up their own messy version of popular dictatorships through a process that has been called "competitive authoritarianism".[29] The most well-known of these was President Hugo Chávez of Venezuela, and came to include other countries in his Bolivarian Alliance of the Americas (Cuba, Nicaragua, Bolivia, Ecuador, Honduras—and in some ways Argentina, though it was not an official member) in what was called thePink tide.[30]
In 1967 during a meeting withAlejo Carpentier,Julio Cortázar, andMiguel Otero Silva, the Mexican authorCarlos Fuentes launched a project consisting of a series ofbiographies depicting Latin American dictators, which was to be calledLos Padres de la Patria (The Fathers of the Fatherland).[15] After reading Edmund Wilson's portraits of the American Civil War inPatriotic Gore, Fuentes recounts, "Sitting in a pub in Hampstead, we thought it would be a good idea to have a comparable book on Latin America. An imaginary portrait gallery immediately stepped forward, demanding incarnation: the Latin American dictators."[31] Vargas Llosa was to write aboutManuel A. Odría,Jorge Edwards aboutJosé Manuel Balmaceda,José Donoso aboutMariano Melgarejo, and Julio Cortázar aboutEva Perón.[32] As M. Mar Langa Pizarro observes, the project was never completed, but it helped inspire a series of novels written by important authors during theLatin American literary boom, such as Alejo Carpentier, Augusto Roa Bastos, Gabriel García Márquez, and Mario Vargas Llosa.[33]
BothDomingo Faustino Sarmiento'sFacundo andJosé Marmol'sAmalia, published in the nineteenth century, were precursors to the twentieth century dictator novel; however, "all fictional depictions of the Latin American 'strong-man', have an important antecedent in Domingo Faustino Sarmiento'sFacundo, a work written as a sociolodical treatise".[34]Facundo is an indirect critique ofJuan Manuel de Rosas' dictatorship, directed against the actual historical figure,Juan Facundo Quiroga - but is also a broader investigation into Argentine history and culture. Sarmiento'sFacundo has remained a fundamental fixture because of the breadth of its literary exploration of the Latin American environment.[35]
InFacundo, Sarmiento criticizes the historical figure Facundo Quiroga, a provincial caudillo, who like Rosas (dictator of Argentina from 1829 to 1853) was opposed to the enlightened ideas of progress. After returning from exile, Sarmiento worked to reinvent Argentina, eventually becoming president himself from 1868 to 1874.[36] Sarmiento's analysis of Facundo Quiroga was the first time that an author questioned how figures like Facundo and Rosas could have maintained such absolute power,[34] and in answering this question,Facundo established its place as an inspirational text to later authors. Sarmiento perceived his own power in writingFacundo as "within the text of the novel, it is the novelist, through the voice of omniscience, who has replaced God",[37] thereby creating the bridge between writing and power that is characteristic of the dictator novel.
Set in post-colonial Buenos Aires,Amalia was written in two parts and is a semi-autobiographical account of José Mármol that deals with living in Rosas's police state. Mármol's novel was important as it showed how the human consciousness, much like a city or even a country, could become a terrifying prison.[38]Amalia also attempted to examine the problem of dictatorships as being one of structure, and therefore the problem of the state "manifested through the will of some monstrous personage violating the ordinary individual's privacy, both of home and of consciousness."[10] In the early twentieth century, the SpaniardRamón del Valle-Inclán'sTirano Banderas (1926) acted as a key influence on those authors whose goal was to critique power structures and the status quo.
Latin American novels that explore political themes, but that do not centre upon the rule of a particular dictator, are informally classified as "not quite dictator novels".[56] For example,Libro de Manuel (A Manual for Manuel, 1973), byJulio Cortázar, is apostmodern novel about urban guerrillas and their revolutionary struggle, which asks the reader to examine the broader societal matters of language, sexuality, and the modes ofinterpretation.[56]In the Time of the Butterflies (1994), byJulia Álvarez, tells the story of theMirabal sisters, whom patriotism transformed from well-behaved Catholic débutantes to political dissenters against the thirty-year dictatorship of theTrujillo régime in the Dominican Republic.[57] The novel sought to illuminate the officially obscured history of the deaths of the Mirabal sisters, not to determine what happened to them, but to determinehow the Mirabal sisters happened to the national politics of the Dominican Republic.[58] In the mock-diary "Intimate Diary of Solitude" (third part ofEl imperio de los sueños 1988; Empire of Dreams, 1994), byGiannina Braschi, the protagonist is Mariquita Samper, the diarist who shoots the narrator of theLatin American Boom in revolt against his dictatorial control of the fictional narration. Moreover, in Braschi's most recent workUnited States of Banana (2011), the Puerto Rican prisonerSegismundo overthrows his father, the King of the United States of Banana, who had imprisoned him for more than a hundred years in the dungeon of theStatue of Liberty, for the crime of having been born. The story ofDistant Star (1996), byRoberto Bolaño, begins on 11 September 1973, with thecoup d’état by GeneralAugusto Pinochet againstSalvador Allende, the President of Chile.[59] The writer and professor of literature Raymond Leslie Williams describes the aforementioned novels as not-quite-dictator-novels, which are reminiscent of the genre for being "acutely and subtly political fiction" that addresses themes different from those of the dictator novel, which cannot be divorced from the politics of the stories, and so each "can be read as a meditation on the horror of absolute power".[56]
Although it is difficult to establish the exact origin of the dictator novel in the nineteenth century, its intellectual influence spansLatin American Literature. Most of the novels were written in the middle years of the twentieth century, and each has a uniqueliterary style that employed techniques of the "new novel", by which the writer rejected the formal structure of conventionalliterary realism,[60] arguing that "its simplistic assumption that reality is easily observable" is a narrative flaw.[61] As a genre, the dictator novel redefined the literary concept of "the novel" in order to compel the readers to examine the ways in which political and social mores affect their daily lives. Therefore, the regional politics and the social issues of the stories yielded to universal human concerns, thus the traditional novel's "ordered world view gives way to a fragmented, distorted or fantastic narrative" in which the reader has an intellectually active role in grasping thethematic gist of the story.[61] Additional to the narrative substance, the novelists redefined the formal literary categories ofauthor,narrator,character,plot,story, andreader, in order to examine theetymological link between "author" and "authority", wherein the figure of the novelist (the author) became very important to the telling of the tale. In the dictator novels, the writers questioned the traditional story-teller role of the novelist as the "privileged, paternal figure, as the authoritative ‘father’, or divine creator, in whom meaning would be seen to originate", and so, the novelists fulfilled the role of the dictator.[62]