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Friday, December 1, 2006

Reading List: The Plot Against America

Roth, Philip. The Plot Against America. New York: Vintage, 2004. ISBN 1-4000-7949-7.
Pulitzer Prize-winning mainstream novelist Philip Roth turns to alternative history in this novel, which also falls into the genre Rudy Rucker pioneered and named “transreal”—autobiographical fiction, in which the author (or a character clearly based upon him) plays a major part in the story. Here, the story is told in the first person by the author, as a reminiscence of his boyhood in the early 1940s in Newark, New Jersey. In this timeline, however, after a deadlocked convention, the Republican party chooses Charles Lindbergh as its 1940 presidential candidate who, running on an isolationist platform of “Vote for Lindbergh or vote for war”, defeats FDR's bid for a third term in a landslide.

After taking office, Lindbergh's tilt toward the Axis becomes increasingly evident. He appoints the virulently anti-Semitic Henry Ford as Secretary of the Interior, flies to Iceland to sign a pact with Hitler, and a concludes a treaty with Japan which accepts all its Asian conquests so far. Further, he cuts off all assistance to Britain and the USSR. On the domestic front, his Office of American Absorption begins encouraging “urban” children (almost all of whom happen to be Jewish) to spend their summers on farms in the “heartland” imbibing “American values”, and later escalates to “encouraging” the migration of entire families (who happen to be Jewish) to rural areas.

All of this, and its many consequences, ranging from trivial to tragic, are seen through the eyes of young Philip Roth, perceived as a young boy would who was living through all of this and trying to make sense of it. A number of anecdotes have nothing to do with the alternative history story line and may be purely autobiographical. This is a “mood novel” and not remotely a thriller; the pace of the story-telling is languid, evoking the time sense and feeling of living in the present of a young boy. As alternative history, I found a number of aspects implausible and unpersuasive. Most exemplars of the genre choose one specific event at which the story departs from recorded history, then spin out the ramifications of that event as the story develops. For example, in 1945 by Newt Gingrich and William Forstchen, after the attack on Pearl Harbor, Germany does not declare war on the United States, which only goes to war against Japan. In Roth's book, the point of divergence is simply the nomination of Lindbergh for president. Now, in the real election of 1940, FDR defeated Wendell Willkie by 449 electoral votes to 82, with the Republican carrying only 10 of the 48 states. But here, with Lindbergh as the nominee, we're supposed to believe that FDR would lose in forty-six states, carrying only his home state of New York and squeaking to a narrow win in Maryland. This seems highly implausible to me—Lindbergh's agitation on behalf of America First made him a highly polarising figure, and his apparent sympathy for Nazi Germany (in 1938 he accepted a gold medal decorated with four swastikas from Hermann Göring in Berlin) made him anathema in much of the media. All of these negatives would have been pounded home by the Democrats, who had firm control of the House and Senate as well as the White House, and all the advantages of incumbency. Turning a 38 state landslide into a 46 state wipeout simply by changing the Republican nominee stretches suspension of disbelief to the limit, at least for this reader, especially as Americans are historically disinclined to elect “outsiders” to the presidency.

If you accept this premise, then most of what follows is reasonably plausible and the descent of the country into a folksy all-American kind of fascism is artfully told. But then something very odd happens. As events are unfolding at their rather leisurely pace, on page 317 it's like the author realised he was about to run out of typewriter ribbon or something, and the whole thing gets wrapped up in ten pages, most of which is an unconfirmed account by one of the characters of behind-the-scenes events which may or may not explain everything, and then there's a final chapter to sort out the personal details. This left me feeling like Charlie Brown when Lucy snatches away the football; either the novel should be longer, or else the pace of the whole thing should be faster rather than this whiplash-inducing discontinuity right before the end—but who am I to give advice to somebody with a Pulitzer?

A postscript provides real-world biographies of the many historical figures who appear in the novel, and the complete text of Lindbergh's September 1941 Des Moines speech to the America First Committee which documents his contemporary sentiments for readers who are unaware of this unsavoury part of his career.

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