As I prepare my upcoming lecture series, The Anatomy of Fascism, I’ve spent the past few months reading widely. Much of that work has focused on contemporary political philosophy and analyses of authoritarianism, fascism, and Nazism. But I’ve also returned to several older works that feel especially worth revisiting in the current political climate.
Some of these works connect obviously to authoritarianism and fascism.
- George Orwell: 1984 (1949) and Animal Farm (1945) are layered critiques of authoritarianism, each approaching the subject from a different angle: dystopian prophecy in one case, political allegory in the other. Together, they offer Orwell’s most forceful warning about how oppressive systems rise, consolidate power, and destroy truth
- Sinclair Lewis: It Can’t Happen Here (1935) remains one of the sharpest American literary warnings about fascism—not as a foreign import, but as something that could grow from U.S. traditions, anxieties, and political habits. Lewis suggests that American fascism would arise from populism, nationalism, economic fear, and the appeal of a “strong man” promising order.
Other works I’ve returned to are less obviously tied to The Anatomy of Fascism, but they still speak powerfully to the topic and to current political moments.
- F. Scott Fitzgerald: The Great Gatsby (1925) is an elegant critique of the American Dream. Jay Gatsby embodies that dream in motion, but Fitzgerald shows how the American’s Dream promise—that anyone can succeed through hard work—collapses under wealth, class, illusion, and human frailty. The novel portrays a nation where aspiration curdles into disillusionment, a theme I will connect to fascism’s roots in The Anatomy of Fascism.
- Ernest Hemingway: In A Movable Feast (1964) and The Sun Also Rises (1926), Hemingway traces two stages of disillusionment—one reflective and elegiac, the other raw and immediate. Both works show the “Lost Generation” struggling to rebuild meaning after World War I. Disillusionment is one of fascism’s emotional engines: not because disillusioned people seek tyranny, but because widespread loss of faith—political, economic, cultural, and moral—creates a vacuum that fascist movements can fill with certainty, identity, and rage.
- Christopher Isherwood: Goodbye to Berlin (1939) offers a vivid eyewitness account of fascism’s rise in everyday life—not through grand speeches, but through the gradual normalization of hatred, poverty, and political violence. Isherwood shows fascism emerging slowly, through social decay, economic desperation, moral collapse, and the willingness of ordinary people to look away. The 1966 musical play and 1972 film Cabaret are based on the 1951 play I Am a Camera, itself adapted from Isherwood’s Goodbye to Berlin.
To understand what we are experiencing today, we sometimes need to listen to the voices of earlier generations.
Read on!
