Politics have always figured conspicuously in Graham Greene’s fiction. The concerns of his Thirties novels—It’s a Battlefield, England Made Me, Brighton Rock—are largely political; even his so-called entertainments, as we have seen,1 have pronounced political ingredients: Stamboul Train involves a Yugoslav insurrectionist, The Confidential Agent a continental civil war. Of all Greene’s novels, however, the ones that probably come to mind most readily when the word politics is mentioned—or, at least, those in which his political notions find their most memorable expression—are The Quiet American, The Comedians, The Honorary Consul, and The Human Factor. If in Greene’s...

 

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