In such thrillers, hard-won truth remains ambiguously suppressed by state and corporate power.

Evidence

Skelly never gets to file his story. The fact that he is as much a victim of Western meddling as of Afghan “barbarism” testifies to Fesperman’s liberal credentials and clear-eyed determination to confront political and economic power plays in which the writer and the truth are the first casualties. As in some of Le Carré’s recent novels, the fate of hard-gained knowledge is left ambiguous at the end of The Warlord’s Son. Will anyone ever be able to tell the whole story? Or will malevolent forces suppress it “in the national interest”? — Peter Morey, Islamophobia and the Novel, 353

Categorization

• XREF: The motif of suppressible truth ‘in the national interest’ maps onto the paranoid, withheld-knowledge texture of Changez’s monologue in The Reluctant Fundamentalist. — connects to: These thrillers stage truth-battles where characters are sacrificed to dominant interests.; Security narratives are constructed for neatness, not accuracy, so truth follows power’s predispositions — Peter Morey, Islamophobia and the Novel, 334
• yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: These thrillers stage truth-battles where characters are sacrificed to dominant interests.; Security narratives are constructed for neatness, not accuracy, so truth follows power’s predispositions — Peter Morey, Islamophobia and the Novel, 334

Broader Connections

• These thrillers stage truth-battles where characters are sacrificed to dominant interests. #expands (0.93)