This book introduces Elite Theory to the literary study of class as a framework for addressing issues of the nature of governance in political fiction. The book describes the historical development and major tenets of Elite Theory, and shows how each of four post-war Washington novels-Gore Vidal's Washington, D.C.; Allen Drury's Advise and Consent; Joan Didion's Democracy; and Ward Just's Echo House-illustrates the way class-based political elites exhibit forms of "ruling-class consciousness" and maintain their legitimacy in an ostensibly democratic form of government by promoting themselves as models of behavior, promulgating an ideology that justifies their rule through their control of the media, and accepting new members from the lower classes. Reading these novels through a socio-political lens, David Smit offers suggestions for ways to work for a more just and equitable society in light of what this analysis reveals about the "culture" that produces our political elites.

This book analyzes what many critics consider to be the three best examples of modern American political fiction-Robert Penn Warren's All the King's Men, Edwin O'Connor's The Last Hurrah, and Billy Lee Brammer's The Gay Place-to address a specific problem in American governance: how the intense competition for power among elite factions often results in their ignoring major groups of their constituents, thereby providing political bosses with a rationale to seize authoritarian control of the government in the name of constituent groups who feel ignored or neglected, promising them more democratic rule, but in the process, excluding other groups, so that the bosses themselves become elitist, ruling only for the sake of some constituents and not others.

The Political Fiction of Ward Just: Imagining a Ruling Elite, Class, and Theories of Representation uses three theoretical frameworks of representation-literary, political, and diplomatic-to demonstrate how the upper-class status of the ruling elites in Ward Just's political fiction influences the way they govern. He illustrates how Just's ruling elites develop a coherent "upper class" form of consciousness that limits their ability as elected officials to adequately represent the interests of all the nation's citizens domestically-especially the poor and working class-and their ability as diplomats to adequately represent the interests of the nation as a whole internationally. In his conclusion, the author offers suggestions for ways to make our ruling elites more representative of the interests of the working class and underprivileged groups at home and more sensitive to the cultures of the countries in which they serve abroad.

This book introduces Elite Theory to the literary study of class as a framework for addressing issues of the nature of governance in political fiction. The book describes the historical development and major tenets of Elite Theory, and shows how each of four post-war Washington novels-Gore Vidal's Washington, D.C.; Allen Drury's Advise and Consent; Joan Didion's Democracy; and Ward Just's Echo House-illustrates the way class-based political elites exhibit forms of "ruling-class consciousness" and maintain their legitimacy in an ostensibly democratic form of government by promoting themselves as models of behavior, promulgating an ideology that justifies their rule through their control of the media, and accepting new members from the lower classes. Reading these novels through a socio-political lens, David Smit offers suggestions for ways to work for a more just and equitable society in light of what this analysis reveals about the "culture" that produces our political elites.

The author studies the woman behind her public image as a natural, wholesome, even saintly person, an image carefully crafted by Bergman's first producer David O. Selznick. Bergman hid behind that image to live her life on her own terms. That life included three difficult marriages, numerous lovers, and a major scandal that stained her reputation but which she survived by creating her own legend. Bergman was filled with contradictions: she was both dependent upon men and chafed under their control; she loved her children but constantly left them to perform; she longed for romance but walked away from her affairs without looking back; she desired to make great films but settled for being an entertainer; she hated the scrutiny of the media but learned to charm reporters. Bergman's artistry--her star qualities and her acting skills is also assessed: she did her best work in Alfred Hitchcock's Notorious, Roberto Rossellini's Voyage in Italy, and Ingmar Bergman's Autumn Sonata. Bergman's life and image were the inspiration for these films in the first place.