Political Fiction in the US and the UK - Essay Example

POLITICS AND FICTION: INTERRELATEDNESS Introduction This paper attempts to show knowledge and appreciation of methodological issues by focusing on political fiction in the US and the UK. General issues of representation shall be addressed as well as the uses of fiction in writing about politics. It shall identify the problems with political representation, the reasons why anyone interested in politics should study fiction, and what political fiction can tell us. Political fiction refers to a sub-genre of fiction which tackles the realm of political affairs. It often uses narrative in presenting commentary on political events and phenomenon (Edelman 1995). A fiction can depict a war, slavery, marriage in the verge of breaking up, suicide, murder, factories that shut down, and other plots which the author deems essential and unique. It can serve as a weapon towards change in a prevailing social system, tackle direct social and political repercussions, and discuss social struggle. Fiction can employ a particular topic and convey meaning and symbol related to an existing social and political system. The significance of fiction in history is not only confined within the realm of literature, but also explores the domain of politics. Fiction is seen to have worked its way in the political domain when Ignacio Salome's novel; Fontamara (1933) became popular upon gaining a favourable opinion of Mussolini's Fascism (Hanne 1994). Likewise, Alexander Solzhenitsyn's One Day in the Life of Ivan Denisovich (1962) personally authorized for publication by Soviet leader Khrushchev in order to discredit Stalin, is another example of fiction being influenced by politics. However, this connection is not limited to external influencing but extends to the more important functions of fiction and politics - that of the conveyance of meaning and symbol of political phenomena through their depiction of the fiction. Likewise, the realm of politics is likened to a fiction, including all its elements from plot to setting, characters, and scenes. Such is made possible through political representation embodied in the fiction, especially when it is a political novel. The Problems with Political Representation It is from assumptions, biases, and news reports from which political beliefs are normally spring, which makes politics a drama that takes place in an assumed world in which people as spectators, do not directly observe or touch. Politics is a domain that consists of images and models wherein people usually translate the reported news, a task considered a necessary undertaking (Edelman 1995). Edelman says that this translation is seen in an example in which a report about American missiles were launched against Baghdad to punish the Iraqi dictator which creates meaning for everyone's repertoire on the images of images of military actions, Arabs, and how war brings devastation even to civilians. Political phenomena are thus not taken as they are without any political representation involved. More so, political representation is an essential part of how symbols and messages are conveyed, in that in another example set by Edelman (1995), a report about an increase or reduction of welfare benefits brings images of cheaters and victims, as well as the possible consequences of such increase or reduction in relation to tax rates, and so on. These are examples of political images being drawn on the minds of people caused by attached meanings and assumptions on them. Political fiction often offers direct criticism of a present government, society, or political figure and presents an alternative of a sometimes fantastic reality, to what is being criticized (Edelman 1995). In doing such, political fiction often employs satire like The Simpsons in its depiction of the Western culture. It may be inferred that beliefs about politics and political discourse are products of art in which complex causal connection is drawn. This being said, Edelman states that art is a major and integral part of an environment in which political behaviour springs from. It is from works of art in which ideas about leadership and other noble traits emanate, which represents people's assumptions and reflections of their own observations and reasoning (Edelman 1995). Hence, the problem with political representation is that it is often a product of assumptions conveyed on a political atmosphere in which the basis of reference is established sets of (perceived) ideals. This is seen in the fact that political events are typically reported or assumed, not merely possessing a distinct, concrete, objective, and actual representation that may be true for everyone and in all situations. Rather, those political images are constructions, supplied by the works of art which construct the world in which people act. This lack of sameness of political representation is due mainly to the disparate characteristics of the social and economic environment in which one exists, whose life situations might allow them to view and perceive the world according to these situations. Politics and Fiction: Why Should Anyone Interested in Politics Study Fiction This paper concerns itself with the question, 'why should anyone interested on politics study fiction' in which we say the clear connection between politics and fiction is seen in the fact that no conception can be derived without shared objectification which symbolizes it through images or discourse (Edelman 1995). Shared objectification is the means for the necessary foundation for thought, which is essentially taking other people's roles (ibid). Art thus serves as an important and fundamental element about how political ideas and actions are shaped. As Edelman clearly states, and is quoted in this paper (p. 6): "Ideas of heroes and villains, of planning for a more desirable society, of threats to well being, of forms of action, and other paramount political conceptions emerge from written and oral stories, novels, romances, films, paintings, and other forms of high and popular art." The interpretation and decoding of political motives, symbols, and meaning are therefore understood with reference to the established sets of conduct and ideals which are often embodied in the fiction. This being said, there is a strong connection between how messages are encoded on a piece of work (i. e. fiction) and how politics is studied and understood according to these messages which govern the world and the human life in general. This may be illustrated in the prevalence of inequalities in society, which have been pointed out in many occasions by novels. Along with the depiction of inequalities, abuses and reforms of a prevalent political system are also some of the highlights of literature, assisting the people in their understanding of how the government works (McDowell 2000). Likewise, novels about law and politics have helped in the shaping and mirroring of American attitudes, proving the linkage between fiction and politics (McDowell 2000, p. 1). It is hence inferred that politics is not just a body of ideology that does not have any origination, but is rather its contrary. The arts, with their imposition of preexisting prejudices, are accountable to the vitality of images and symbols in politics. Fiction, which lies in the realm of the arts, reflects attitudes and beliefs existing in a society (McDowell 2000). These imaging and symbolism are so vital in that wars can be depicted as heroic or otherwise, futile or unnecessary, depending on the narratives that depict them (Elderman 1995). Novels often embody political situations that need scrutiny in order to understand then further. Weber (2001) cites Lord of the Flies as an example of a novel in which political situation in Britain upon being bombed by Germany is covertly but clearly seen, tackling a world of hierarchy and anarchy. The fiction employs many symbolisms such as the absence of adults, signifying a move from hierarchy to anarchy. The novel is however not just mere political imaging but one that depicts the actual political scenario of the international relations between UK and Germany and an analogy of what was happening during WWII (Weber 2001). This being said, we may posit that fictions have varying symbolisms about the political world which would help one in understanding the goings-on of politics. This is why anyone interested in politics should study fiction as fiction has the ability to connect far greater images to the concrete political situation. The Origin and Development of the Political Novel The origin and development of the political novel may have emanated from the connection between political theory and literature, whose linkage has been traced from pre-modern times. This is seen in the classic literary depiction of political theory by several philosophers stemming from Plato, Aristotle, Cicero, to name a few, whose writings created a direct connection between how politics was regarded and how fiction depicts such regard. Literature was never a separate realm discussing non-political events; rather, it was one discussing social and political ideals with reference to a prevailing social and political system. The concern about what literature can offer the complex realm of politics is answered by the very role of literature as an illustration of arguments in the field of political theory and as a form of moral education which may also be a concern of the field (Whitebrook 1996, p. 32). Edelman (1985) states that the role of political representation in theories is reduced to being a mere provider of information just as how a landscape panting will convey to a viewer the concrete details of its content. Language is very important in the perception of politics, and often enough, it is embodied in several meanings and symbolism (Edelman 1985). This importance creates the development of the political novel in which politics is decoded through its usage, which employs several language uses whose meanings and images intertwine with that of the political scenario being depicted. The political novel is thus a piece of work in which the language of politics is compiled in this form of literature, encoding and decoding symbols and images found in the political realm but could not be easily understood and decoded without its use. At the same time, the political novel unifies under certain circumstances the political condition and the relationships of elements and people in the prevailing social system, confining them into a single embodiment, in which actions are analysed according to its representation and in which rational reasons are provided (Edelman 1985). The political novel continues to discuss stories about certain political characters and/or situations that tackle a particular political situation. The government and the media alike have incorporated the soap opera format into their campaigns, in which characters are essentially introduced. This imaging has occurred in Britain when the then Prime Minister Tony Blair had a clash with the press (Zoonen 2005). This analogy supports the indispensable position of fiction in politics, and vice versa. Zoonen presents the UK situation with Tony Blair in terms of his 'media clash' as a relevant representation of the ubiquitous presence of the soap opera as a frame of reference for understanding politics. Likewise, the story about Bill Clinton and his affair with Monica Lewinsky has been told in a manner like how soap opera would be told, demonstrating a parallelism between it and politics (Zoonen 2005). The 911 bombing is likewise almost likened to a suspense thriller with audience vehemently watchful and were awaiting new developments. Politics is thus considered a classic avenue of fiction, whose stories occur like a soap drama in which turns of events are awaited by the viewing public. The political novel is thus only a repetitive discussion of these events, which is however real and is no longer fictitious. What Political Fiction Can Tell Us Political fiction can tell us several cues about the prevalent political condition, or even a past political phenomenon, which can be linked and understood according to the present condition. It is because there is always a hint of truth - or an absolute truth - in the manner by which political fictions are depicted, clearly drawing the readers to the political plot incorporated in the fiction, not just focusing on the characters of the story. Political fiction, apart from serving as presenters of cues on a prevailing (or even past) political order, also reinforces the claim that there is a need to deploy aesthetic or cultural representation in order to broaden people's understanding of political representation (Saward 2003). Without this representation, people and things which are the makers and receivers of representations do not get invested with meaning. It is according to this representation in which men and women are interpreted, including the very social and political environment in which they function. We may then infer that politics and fiction operate under this single environment and cling on each other to enable conveyance of symbols and meanings. It may also be posited that since political representation is dependent upon cultural representation, political fiction is hence a product of this dependence. Politics is the domain in which political representation is conveyed, while the arts (through fiction, i. e. the novel) are the realm in which cultural representation is embodied. The attempt to integrate the two has the political fiction/political novel as the product. Thus, political fiction tells us nothing but a political reality matched with the design of which the reader can decode symbols and images of in order to realise it. The political fiction, a product of a linkage of cultural and political representation, is therefore an easier way to decode the truth behind a political phenomenon. To illustrate the unified connection between culture and politics, we are citing Planet Simpson for an illustration. The fiction provides an in-depth analysis of the microcosm of the Western culture depicted hilariously and links each character to the different facets of the American character (Turner 2004). This is an example of the classic representation of culture through fiction, seemingly taken lightly though. From culture to unchecked capitalism personified, the fiction has conveyed a truth value of this representation as such is rested in the domains of politics. Conclusion Politics is not a neutral domain whose activities and events may just be taken irrelative to culture. Rather, it has a strong connection with culture through fiction. Political novel is an embodiment of the linkage between political representation and cultural representation, which best explains the meaning and symbols of an actual human experience. Fiction is the concrete manifestation of political events when these events are incorporated into a single story or novel as a plot whose discussion is necessary. Thus, one who is interested in politics must also be interested in fiction since fiction always involves relevant political settings that convey meaning and symbols that aid in the understanding of political events and phenomena. References Edelman, Murray, 1985. The symbolic uses of politics. University of Illinois Press. Edelman, Murray J., 1995. From art to politics: how artistic creations shape political conceptions. The University of Chicago Press. Hanne, Michael, 1994. The power of the story: fiction and political change. Berghahn Books. McDowell, James L., 2000. "From "Perry Mason" to "Primary Colors": using fiction to understand legal and political systems.' Legal Studies Forum. E-JOURNAL. Saward, Michael, 2003. The representative claim. Accessed 14 November 2008 from http://www.essex.ac.uk/ECPR/events/jointsessions/paperarchive/edinburgh/ws14/Saward.pdf Turner, Chris, 2004. Planet Simpson. How a cartoon masterpiece defined a generation. Da Capo Press. Weber, Cynthia, 2001. International relations theory: a critical introduction. Routledge. Whitebrook, Maureen, 1996. "Taking the Narrative Turn: What the Novel Has to Offer Political Theory." In Horton, J. & Baumeister, A. T. (eds) Literature and political imagination. Routledge. Zoonen, Liesbet van, 2005. Entertaining the citizen: when politics and popular culture converge. Rowman Littlefield. Read More