A Book of the Year for The Times and the Sunday Times ‘The writer is the engineer of the human soul,’ claimed Stalin. Although one wonders how many found nourishment in Turkmenbashi’s Book of the Soul (once required reading for driving tests in Turkmenistan), not to mention Stalin’s own poetry. Certainly, to be considered great, a dictator must write, and write a lot. Mao had his Little Red Book, Mussolini and Saddam Hussein their romance novels, Kim Jong-il his treatise on the art of film, Hitler his hate-filled tracts. What do these texts reveal about their authors, the worst people imaginable? And how did they shape twentieth-century history? To find out, Daniel Kalder read them all – the badly written and the astonishingly badly written – so that you don’t have to. This is the untold history of books so terrible they should have been crimes.

A Book of the Year for The Times and the Sunday Times 'The writer is the engineer of the human soul,' claimed Stalin. Although one wonders how many found nourishment in Turkmenbashi's Book of the Soul (once required reading for driving tests in Turkmenistan), not to mention Stalin's own poetry. Certainly, to be considered great, a dictator must write, and write lots. Mao had his Little Red Book, Mussolini and Saddam Hussein their romance novels, Kim Jong-il his treatise on the art of film, Hitler his hate-filled tracts. What do they reveal about their authors, the worst people imaginable? And how did they shape twentieth-century history? To find out, Daniel Kalder read them all - the badly written and the astonishingly badly written - so that you don't have to. This is the untold history of books so terrible they should have been crimes.

"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.

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, Ngugi 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.

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, Ngugi 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.

"A harrowing 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." -- From book jacket.