Perspectives

I'm Telling You My Dear, That It Can Happen Here

Boston Globe
By Joe Keohane

PICTURE THIS: A folksy, self-consciously plainspoken Southern politician rises to power during a period of profound unrest in America. The nation is facing one of the half-dozen or so of its worst existential crises to date, and the people, once sunny, confident, and striving, are now scared, angry, and disillusioned.

This politician, a ''Professional Common Man,'' executes his rise by relentlessly attacking the liberal media, fancy-talking intellectuals, shiftless progressives, pinkos, promiscuity, and welfare hangers-on, all the while clamoring for a return to traditional values, to love of country, to the pie-scented days of old when things made sense and Americans were indisputably American. He speaks almost entirely in ''noble but slippery abstractions''-Liberty, Freedom, Equality-and people love him, even if they can't fully articulate why without resorting to abstractions themselves.

Through a combination of factors-his easy bearing chief among them (along with massive cash donations from Big Business; disorganization in the liberal opposition; a stuffy, aloof opponent; and support from religious fanatics who feel they've been unfairly marginalized)-he wins the presidential election.

Once in, he appoints his friends and political advisers to high-level positions, stocks the Supreme Court with ''surprisingly unknown lawyers who called [him] by his first name,'' declaws Congress, allows Big Business to dictate policy, consolidates the media, and fills newspapers with ''syndicated gossip from Hollywood.'' Carping newspapermen worry that America is moving backward to a time when anti-German politicians renamed sauerkraut ''Liberty Cabbage'' and ''hick legislators...set up shop as scientific experts and made the world laugh itself sick by forbidding the teaching of evolution,'' but newspaper readers, wary of excessive negativity, pay no mind.

Given the nature of ''powerful and secret enemies'' of America-who are ''planning their last charge'' to take away our freedom-an indefinite state of crisis is declared, and that freedom is stowed away for safekeeping. When the threat passes, we can have it back, but in the meantime, citizens are asked to ''bear with'' the president.

Sure, some say these methods are extreme, but the plain folks are tired of wishy-washy leaders, and feel the president's decisiveness is its own excuse. Besides, as one man says, a fascist dictatorship ''couldn't happen here in America...we're a country of freemen!''

While more paranoid readers might be tempted to draw parallels between this scenario and sundry predicaments we may or may not be in right now, the story line is actually that of Sinclair Lewis's 1935 novel ''It Can't Happen Here,'' a hastily written cautionary note about America's potential descent into fascism, recently reissued by New American Library in a handsome trade edition with a blood-spattered cover design.

For the rest of this review, click here.

Sinclair Lewis was the co-author of a play based on this novel, which was produced by over 20 companies around America through the Federal Theatre Project in 1936. MGM announced it would make a film version, but political pressure killed the project. Possibly because of the productions of this play, political controversy also killed the Federal Theatre Project.

Sinclair Lewis himself played the lead character in several summer stock productions in the late 1930s. For more information on the play, click here.