In _The Charterhouse of Parma_ the witty and urbane Stendhal says, “Politics in a work of literature are like a pistol-shot in the middle of a concert, something loud and vulgar yet a thing to which it is not possible to refuse one’s attention.” His own work contradicts the great French novelist, yet his comment is perfectly accurate for many other novelists. Politics in some modern novels of political corruption, such as Charles F. Coe’s _Ashes_, do seem loud and vulgar, and in books like Upton Sinclair’s the reader may hear not one pistol shot but a cannonade. But this is not to say that the use of political material must disrupt a work of literature. The trick, of course, is all in knowing how. Harriet Beecher Stowe wrote an artistically weak, politically successful work in _Uncle Tom’s Cabin_, while Fyodor Dostoyevsky produced a politically unsuccessful, artistically enduring classic in _The Possessed_. The quality of these novels varies widely, just as would that of a group dealing with religion, sex, or any other complex, controversial theme. In general, the European novels considered here attain a higher level than the American books. This is partly because only the better European novels are treated. But they are also superior to the best American works, except for a few comparatively recent ones, because of the wider variety of political experience presented, the greater concern with ideology and theory, and the deeper insight into individual motivation and behavior. This in turn is probably due to several factors. From the time when the United States attained its independence until the end of the first quarter of this century, it possessed a relatively stable set of doctrines and frames of reference (compared to those existing in Europe) within which the individual led his political life. Although American parties rose and declined, although the Union was preserved, its borders expanded, and international responsibility accepted, this evolution was orderly and limited compared to that which occurred in Europe. The Declaration of Independence, the Constitution, and the Bill of Rights provided a stable yet sufficiently flexible political framework. Europe during the same period reverberated with the French Revolution, the Napoleonic Wars, the unification of Germany and Italy, and the Russian Revolution. These were violent changes not only in theory but in the actual form of government. It is not unnatural then that American political novels range over a relatively narrower area, with their main emphasis on local or national subjects, while those of European authors delineate changing, conflicting, and radically different ideologies and resultant events. It is only since the 1930s, with the increase in centralized government, the impact of international Communism, and the recent appearance on both the Right and the Left of what seem to be threats to traditional American freedoms, that the American political novel