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In her discussion of Orwell’s 1984, Judith Shklar makes a compelling case for the use of literature in political theory contra the Platonic opposition to the poets. She concludes that political theory is not tied to an external reality, but rather is part of the ‘languages of the republic of letters’ and that it is by ‘attending carefully to all imaginative and scholarly literature’ that one can ‘establish the historical identity of ideas’ (Shklar, 1985, 17). The advantage of widening political theory’s compass to include literature is that this allows a greater capacity to play out the potentialities inherent in political theory, as literature, ‘illustrates, dramatizes, personalizes, and raises the questions that political theory asks and the ideas it suggests. It even helps us to tell our stories, and indeed may even help us to decide what story to tell and how to go about it’ (Shklar, 1985, 17). Richard Rorty goes further when he states: ‘Fiction … gives us the details about kinds of suffering being endured by people to whom we had previously not attended. Fiction … gives us the details about what sorts of cruelty we ourselves are capable of, and thereby lets us redescribe ourselves. That is why the novel, the movie, and the TV program have, gradually but steadily, replaced the sermon and the treatise as the principal vehicles of moral change and progress’ (Rorty, 1989, xvi).

Escaping the Politics of the Irredeemable Earth—Anarchy and Transcendence in the Novels of Thomas Pynchon