It Can’t Happen Here

Written during the Great Depression, when the country was largely oblivious to Hitler’s aggression, it juxtaposes sharp political satire with the chillingly realistic rise of a president who becomes a dictator to save the nation from welfare cheats, sex, crime, and a liberal press.

Lewis’ book is even more pessimistic than Philip Roth’s The Plot Against America because in “It Can’t Happen Here”, America spins out into a mess of mass murders under the Gestapo-like Militia Men (M.M.) corps which are deployed nationwide and terrorize all sectors of the population preferably the educated, Jewish, and anyone even suspecting of whispering slander against the administration. Again, unlike Roth, it is a terrifying narrative and does NOT have a happy ending.

We were warned at least twice by our own writers and by Orwell and others outside of the US of letting ignorant populism run away with American politics. I hope that the dire sequence of events under the fictional Windrip will not be echoed by the reality of U.S. political leaders, but then sometimes fact is even stranger and more terrifying than fiction.

Under a tyranny, most friends are a liability. One quarter of them turn “reasonable” and become your enemies, one quarter are afraid to stop and speak, and one quarter are killed and you die with them. But the blessed final quarter keep you alive.

It Can’t Happen Here by Sinclair Lewis is a thought-provoking novel that imagines the rise of a fascist regime in the United States. While the concept of the book is intriguing and its relevance in today’s political climate cannot be ignored, the execution falls short of its potential.

One of the major drawbacks of the novel is its lack of subtlety. Lewis’s portrayal of the political transformation is heavy-handed and lacks nuance, resulting in a simplistic depiction of the events unfolding. The characters are often one-dimensional, serving as mere vehicles for the author’s political commentary rather than fully developed individuals.

Additionally, the pacing of the story is uneven. The narrative at times feels disjointed and rushed, with significant events occurring abruptly and without sufficient buildup or exploration. This rushed approach undermines the impact and believability of the story, making it difficult for readers to fully immerse themselves in the dystopian world Lewis creates.

Furthermore, the prose itself lacks the elegance and finesse one would expect from a literary work of this nature. The writing style is often flat and lacks the lyrical quality necessary to engage readers on a deeper emotional level.

Despite these shortcomings, It Can’t Happen Here does offer valuable insights into the dangers of authoritarianism and serves as a cautionary tale. Its exploration of the erosion of democratic values and the fragility of freedom is a timely reminder of the need for vigilance and active participation in protecting democratic institutions.

In conclusion, while It Can’t Happen Here presents a relevant and important topic, its execution falls short in terms of character development, pacing, and prose. Despite its flaws, the novel serves as a reminder of the potential dangers that can arise when democracy is taken for granted.