The Magazine

'It Can't Happen Here'

Hope springs eternal for prophets of fascism.

Aug 14, 2006, Vol. 11, No. 45 • By FRED SIEGEL
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The publication of It Can't Happen Here, Sinclair Lewis's Depression-era novel of how homespun fascists took over America, was greeted with extraordinary praise. The New Yorker described it as "one of the most important books ever produced in this country . . . It is so crucial, so passionate, so honest, so vital that only dogmatists, schismatics, and reactionaries will care to pick flaws in it." Published in 1935, when the American population was but 127 million, the book quickly sold 320,000 copies. A theatrical version staged by the Federal Theater project was similarly successful. Opening just prior to the 1936 presidential election, the production ran in 18 cities drawing 379,000 in just four months.

Reissued periodically, It Can't Happen Here became part of every young intellectual's required reading and a national byword that persists to the present day. Readers of Philip Roth's recent The Plot Against America, a fable of sorts, in which Charles Lindbergh leads a fascist takeover of the United States in 1940, will be struck by the echoes of It Can't Happen Here. When New American Library recently brought out a new printing of It Can't Happen Here, columnists, bloggers, and pundits such as Paul Krugman and Anthony Lewis drew on the book's authority to warn against what they saw as the current slow motion right-wing takeover of the United States by another down-home strongman, George W. Bush. For today's alarmists, as for Clifton Fadiman in the New Yorker, the book, its implausible plot notwithstanding, is unchallengeable revelation.

But it didn't happen here, and the book's scenario, like that of Roth's Plot Against America, bore what was, at best, a tortured relationship to events at the time. The Nazi seizure of power in Germany, which had been reported extensively by Lewis's wife, Dorothy Thompson, set off fears of fascism in the United States. Marxists touting the Leninist line about how fascism was the last stage of capitalism saw a Big Business coup as imminent. But they were hardly alone. Prominent independent leftists such as Robert and Helen Lynd and Alfred Bingham thought that greedy capitalists drawing on the dark psyche of small-town America would seize power in the name of protecting the United States from alien influence. What Lewis provided was a scenario (then and now) for the hysteria.

The premise of the novel, written before Huey Long was assassinated, was that the charismatic Louisiana populist and Father Coughlin, the anti-Semitic radio priest, and other assorted demagogues, would combine to win the 1936 election for the Union party. The creaky plot says little about Franklin Roosevelt, who's given but a cameo role in the novel. FDR is brushed aside quickly as a man "far too lacking in circus tinsel and general clownishness to succeed at this critical hour . . . when the electorate wanted a ringmaster-revolutionary."

Senator Berzelius "Buzz" Windrip, who, with his amalgam of a Finnish name and southern populist style, is meant to be a national version of Huey Long, wins the White House, and then proceeds to seize power. Part of what makes the scenario implausible is that Long and Coughlin were influential only as long as the public saw them as working with Roosevelt. When they opposed him, their popularity plummeted. Congressman William Lemke, a Midwest isolationist backed by Coughlin and Long's anti-Semitic aide, Gerald L.K. Smith, ran for president in 1936 and drew only 2 percent of the vote, which was barely noticed in the Roosevelt landslide over Republican Alfred Landon.

I hadn't read It Can't Happen Here since I was a teenager. Its mix of seriousness and satire doesn't wear well. The Nobel Prize-winning Lewis himself mocked the plaudits (for what he knew was a poorly written book) as politically motivated. "Boys, I love you all," he told a left-wing audience that was honoring him for It Can't Happen Here, "and a writer loves to have his latest book praised. But let me tell you, it isn't a very good book." He was right.

The characters, other than Lewis's alter ego, Vermont newspaper editor Doremus Jessup, are merely contrivances of the plot. Windrip, as his semi-satirical name implies, is a stage villain. He seems to be modeled, in part, on Elmer Gantry, the bogus/charismatic preacher in Lewis's earlier novel of the same name. But he's a far less compelling figure. There's some drama as the novel approaches Windrip's takeover, but then Lewis seems to lose interest and the plot plays out in near-rote fashion as Windrip establishes a Mussolini-style corporate state, only to be brought down by a heroic underground.