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What circumstances lead writers in a poor, multi-ethnic and largely illiterate country to produce a literature that both expresses and affects opposition to the regime? Who are these writers? This study examines these and other questions about the literature of resistance in Guatemala, from the days of Estrada Cabrera up to the events of May and June of 1993. Zimmerman provides the cultural context for the various modes of literary production and analysis, and identifies the currents of opposition in the nation’s fiction, poetry, and testimonial writing. He details the cultural politics involving Guatemalan writers and their organizations during their years of Cerezo and Serrano-Elías, paying particular attention to the role of women and indigenous groups, Rigoberta Menchú among them. These two volumes are companion texts to Guatemala: Voices from the Silence, an “epic-collage” of writings compiled by Zimmerman and Raúl Rojas.

A fresh perspective on the enduring relationship between literature, democracy, and dissent

Rhetoric and Resistance explores the transformative role of nineteenth-century literature in shaping modern concepts and practices of democratic dissent. By examining the works of Romantic and Victorian novelists, poets, and journalists, Maeve Adams identifies origins of modern theories and practices of resistance in nineteenth-century literary forms. Offering a literary history of dissent, the book recovers the intertwined development of democracy and aesthetics, revealing how narrative form became a potent tool for challenging authority.

Tracing the lineage of dissent from the radical fiction and journalism of the 1800s to contemporary movements like #MeToo, Adams offers a genealogy that highlights how literary texts experimented with political power, granting new and consequential voices to working-class individuals, women, colonized peoples, and other marginalized groups.

Adams takes an interdisciplinary approach, weaving together close readings of works by Thomas De Quincey, Walter Scott, Elizabeth Gaskell, and H. G. Wells, as well as lesser-known journalists, with insights from modern moral and political philosophy. Drawing on theories of democratic ethics and justice from scholars such as Miranda Fricker, Sharon Krause, Martha Nussbaum, and Philip Pettit, the book bridges literary history and contemporary debates about political agency and expression.

Subjects of Affection offers an alternative to the modern model of human rights in an unexpected archive: the monarchist tragedies that shaped Louis XIV’s absolutist France. Pairing political theory with performance studies, Anna Rosensweig argues that the right of resistance, largely thought to have disappeared from French political thought in the aftermath of the religious wars of the sixteenth century, actually endured throughout the seventeenth century as a conceptual framework embedded and embodied in tragic drama.

Contemporary scholars have critiqued the modern rights paradigm for its failure to acknowledge the ways in which individual rights depend upon state protection and national belonging. Through a reappraisal of early modern French tragedy, Rosensweig provides a corrective to accounts of human rights that begin with the French Revolution, exploring previously unrecognized models for collective action that had emerged during the religious wars. Subjects of Affection reveals how French tragedy sustained these models of collective action by binding together individuals and groups through affect. Rosensweig places sixteenth-century political treatises in dialogue with dramas by Robert Garnier, Jean Rotrou, Pierre Corneille, and Jean Racine that were performed and published between 1550 and 1700. In so doing, she demonstrates how these tragedies, through their poetics and performance potential, stage a subject of rights whose collective constitution differs from the individualism of our modern rights framework. Through fresh insights and incisive readings, Subjects of Affection explores a form of political subjectivity that locates political power in connection to others—from staged characters and choruses to unseen collectives.